Scorpions – Love At First Sting (Album Review)

Released in 1984, the Scorpions’ Love At First Sting is an album that not only epitomises the energy and musicianship that was prevalent in 1980s hard rock, but it would be the album that would solidify the Scorpions’ position as one of the biggest rock acts of the era. Building on the success of their previous records, and over a decade of well-received (but sometimes controversial) releases, the Scorpions would deliver their ninth studio album; a record that plays akin to a greatest hits release, for Love At First Sting is more than a mere collection of songs.

Where Love At First Sting really shines is in the mix of soaring guitar solos, Klaus Meine's unmistakable vocals, and a balance of power ballads and fast-paced rockers, that were commercially successful. While there’s no shortage of editions of Love At First Sting, with over 200 at the time of writing, the latest remaster and associated reissue (from 2015) is a bit of a double-edged sword. Yes, some will love the bonus material and demo tracks and while I’m not suggesting they should be omitted, I prefer album reissues to retain the original track listing and have any bonus material added as a separate disc. That isn’t the case for Love At First Sting as the demos are tacked onto the back end of not only the streaming editions but the CD re-issues. Yes, there is a two-disc set, replicated on streaming services, that contains a live performance from Madison Square Garden (in 1984), but it’s irritating that the concert remains intact while the core album is inundated with five additional demo songs. I know, first-world problems, but it’s an aspect that drives this music lover mad.

Thankfully, Apple Music et al allow for the omitting of songs that aren’t of interest and in the heyday of the compact disc player, these technological wonders had a program function that allowed the listener to program a set of songs that would be played, omitting those they didn’t wish to hear. Modern, high-end, CD players still offer this functionality, but it is no longer considered the norm across the board. We’ve truly gone backwards, it seems, in our attempt to march to the modern technological beats. What I can say, however, is that the 2015 remaster of Love At First Sting is exceptional. While not presented as an Apple Digital Master, the lossless CD-quality stream is thoroughly enjoyable with an enveloping soundstage that not only rocks but allows for separation between all elements. Some may criticise the heavy-handed compression and volume increase applied to this newest remaster, but I wouldn’t say it’s detrimental to the album for it may be loud, by comparison to the original releases, but it’s sonically pleasing enough that if you don’t already own a copy of this classic album, you’ll likely find this remaster to be more than adequate.

To facilitate a consistent overview of Love At First Sting, I’ll be sharing a playlist of the album’s original linear structure for you to enjoy as we take a look at the songs that make up this legendary release. Additionally, for those of you seeking a physical release, the vinyl reissues maintain the original tracking and when you have Helmut Newton’s photography adorning the cover art, those larger canvas releases undoubtedly look spectacular in any record collection.

Bad Boys Running Wild opens the album with a rock styling and guitar lick that is not only aggressive and full of rebellious energy but draws you into the sheer power of the song. It also has stadium filler written all over it for Bad Boys Running Wild is not only a classic Scorpions rocker but it’s a song that will appeal to the wild spirit of rockers everywhere.

Rock You Like A Hurricane is an iconic rock anthem of the 80s and, arguably, the Scorpions’ most famous song. It has all the elements of a classic: a catchy riff, a larger-than-life chorus, and a blazing guitar solo. Additionally, the song’s tight structure and sing-along hook make it irresistible. Rock You Like A Hurricane is one of those songs that no matter your musical tastes, will connect with your soul from the very first note and won’t let go until the last note has been played. Exceptional!

I'm Leaving You continues the rhythmic rocking nature of the album as it flows seamlessly from Rock You Like A Hurricane with a catchy chorus, thoroughly pleasing guitar work, and a high-energy vibe.

Coming Home slows the album slightly with its calm and melodic introduction. Not only is the musical bed exceptional, but before the song crescendos, Meine’s vocals will impress just about anyone. Yes, his vocals later in the song are equally impressive, but the delicate nature of the song's opening is to be celebrated. As the song progresses, Rudolf Schenker and Matthias Jabs provide some of their best intertwining guitar work, alternating between powerful chords and intricate solos. However, it is the launching into a fast-paced rocker, from calmer beginnings, with a touch of Iron Maiden influence, that truly turns this song into a hidden gem and one of the most incredible sonic journeys in the Scorpions’ extensive back catalogue.

The Same Thrill is a high-octane rocker driven by pounding drums from Herman Rarebell and aggressive guitar riffing. While it may not have the commercial appeal of songs such as Rock You Like A Hurricane, there are undoubtedly fans who would adore this tune for they prefer the Scorpions’ harder-edged sound.

Big City Nights is a classic 80s rock and roll number. The mid-tempo groove, catchy riff, and anthemic chorus make it appealing and it, therefore, isn’t surprising that it was released as the album’s third single and performed respectfully in the US.

As Soon As The Good Times Roll is a bold mid-tempo number and a quintessential album-only tune. While it is unlikely that this song will be anyone’s favourite tune, what is certain is that it’s a solid B-side and one that continues to drive the album forward as it offers a nice contrast to the more adrenaline-fuelled tracks.

Crossfire is one of the more musically complex songs on Love At First Sting, featuring a slower, more deliberate pace. Rarebell’s drumming is particularly noteworthy here, adding a military-like precision to the track, but with a mix where the guitars and vocals are more subdued, until the song launches into its powerful solo, it offers one of the greatest musical experiences on the album and within the Scorpions back catalogue. Crossfire is most certainly a hidden gem, for it’s worthy of greater recognition than it has ever received.

Still Loving You closes the album with one of the Scorpions’ greatest ballads. As someone who adores the power ballad, Still Loving You is amongst the greatest ever recorded with Meine delivering one of his most passionate vocal performances. As the closing song on the album, it not only offers a reflection of the music that has just been heard, but leaves a lasting impression while also encouraging you to play the record again, for classic albums such as this can seldom be listened to only once.

With a mix of hard-hitting rock anthems and emotional ballads showcasing the Scorpions’ versatility and ability to balance commercial appeal with genuine musicianship, Love At First Sting is not only an essential album in the Scorpions’ discography, but it is amongst the very best albums released in 1984. Add to that a plethora of catchy hooks and an accompanying high-energy guitar-driven sound with exceptional rhythm and vocals and what you’ve got is a timeless classic.

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Meat Loaf – Bad Attitude (Album Review)

By the time 1984 rolled around, Meat Loaf was at a crossroads in his career. After the massive success of Bat Out Of Hell (1977), the pressures of maintaining that momentum would naturally take its toll. Conflict with longtime collaborator, Jim Steinman, would further complicate matters; despite two of his songs being included on this release. Nevertheless, Bad Attitude, Meat Loaf’s fourth studio album, showcased that he was still capable of delivering powerful rock anthems; even if it was less cohesive than his 70s masterpiece. However, if we consider Bad Attitude as a unique experience from Bat Out Of Hell, rather than a continuation, it’s a thoroughly enjoyable album featuring a timeless collection of bombastic rockers and dramatic ballads.

As with several high-profile Meat Loaf releases, the album artwork for Bad Attitude is spectacular. Not only is it perfectly suited to the era, but it simultaneously harks back to what quickly became a Meat Loaf trademark; the motorbike. Yes, a beautiful woman adds to the allure but it isn’t just outward appearances that matter for you’ll come to see that the music contained within this release is quite incredible, yet it isn’t without fault.

Let’s be frank, Meat Loaf’s music has never truly been recorded, mixed, and mastered to what could be considered perfection. Bat Out Of Hell II: Back Into Hell was a marked improvement and his best-sounding record has to be Welcome To The Neighbourhood but all others are merely satisfactory. Granted, his music had a unique sound signature, but just as Bat Out Of Hell isn’t a sonic masterpiece, neither is Bad Attitude.

Given the album’s lacklustre sales performance, Bad Attitude is often overlooked and while it was remastered and reissued in 2014, it was only for a CD reissue that I’ve yet to hear. Interestingly, when you search on Apple Music et al, you’ll come across two editions of the album. Due to the way they’re listed, you have no idea what the differences are, other than one has more appealing visual colour tones and contrast compared to the album artwork on the other. However, in this instance, don’t let the bolder album artwork confuse you because whatever master that version is utilising, it’s downright atrocious.

While I acknowledge that not every music lover is focused on attaining the very best-sounding version of an album, I do wish each record would have a singular definitive master. That isn’t the case here, so let’s take a moment to compare the two different masterings of the same song; Surf’s Up. Click here to listen to the first version. Pay particular attention to the piano introduction and overall soundstage as the song progresses. Now, let’s play the same song but from what I think is the original CD mastering. Click here to listen to the second version. Different, aren’t they?

It’s elements such as this that can make or break an album and I’d love to say this is an isolated incident, but it isn’t. While I appreciate that both editions exist, particularly the second one which is my preferred version, relying on the Apple Music stream can be a recipe for disaster as there is always the chance that the superior edition could be removed for the inferior one. It’s a constant concern for music lovers who want their music to sound a certain way and never change. And, yes, dear reader, as you get older, and get more used to the way the music should sound, you’re less flexible with regards to substandard sonic presentations.

As it pertains to the edition I’m sharing below, I feel that it is the better-sounding version available on Apple Music as it may not be a recording that will set your stereo on fire, but it sounds right and a few minor EQ tweaks on the stereo can go a fair way to addressing any shortcomings.

Bad Attitude (feat. Roger Daltrey) certainly has an 80s synth vibe to it, despite the hard-rocking anthemic styling. There’s also a little Queen guitar lick to be heard on the song, but what is perhaps most disappointing is that Daltrey’s inclusion fails to enhance the song as, in some ways, his vocal is too similar to Meat Loaf’s to truly stand apart. Yes, this title song is a solid and thoroughly enjoyable opener, but when you have these two exceptional vocalists, it isn’t unreasonable to have expected more.

Modern Girl was the first single released from the album and while it didn't set the charts on fire, it did perform admirably in some regions. It’s a shame it wasn’t better received for it’s one of Meat Loaf’s greatest songs, offering a balance between the theatrical and that of a pop-rock masterpiece. While the lyrics may feel slightly dated, in the modern era, the song itself is catchy and energetic, thereby ensuring that it can still be enjoyed by those who are not only nostalgic but are driven towards radio-friendly pop-rock tunes with soaring melodies and lush production values.

Nowhere Fast is one of the two Steinman compositions to be included and was previously recorded by Fire Inc. on the 1984 Streets Of Fire soundtrack release. Meat Loaf’s interpretation has a bolder rock edge and is, arguably the stronger of the two, but retains the 80s synth styling. It suits the era perfectly, even if it isn’t ideal for Meat Loaf. Nowhere Fast is, subsequently, a thoroughly enjoyable album-only number with a killer chorus. Interestingly, the lyrics, aside from the chorus, are different between the two editions. As to why, I’ve no idea as information relating to the change is sparse at best. If you know, please reach out to me as I’d love to know a little more about this variant.

Surf's Up feels like a continuation of the cinematic rock sound from Bat Out Of Hell. Let’s just say that Steinman was a master songwriter of the highest calibre and when Meat Loaf would record his songs, for the most part, they were always exceptional. That is certainly the case here for Surf’s Up is one of the album’s most impressive songs and Meat Loaf’s vocal performance shines here, as he navigates the song’s emotional highs and lows. Add to that the exceptional mid-song guitar solo and you’ve got what can best be described as a masterpiece; an overused term, yes, but one that most certainly applies to this song.

Piece Of The Action is a mid-tempo rocker that flows seamlessly from Surf’s Up while also providing a change of pace. As the song slowly builds, you get the sense that something very special is coming and when the song reaches the first chorus crescendo, you’re given that sonic reward that is essential to mid-tempo rock numbers. With an infectious chorus and a straightforward anthemic 80s rock style, Piece Of The Action is a killer tune; one that is perfectly suited to Meat Loaf’s theatrical storytelling.

Jumpin' The Gun has a driving rhythm punctuated by tight guitars and energetic percussion, but the mix and overall recording isn’t great. It sounds as if it’s a demo and the additional atmospheric elements, while relevant to the era, simply don’t work. Nevertheless, Jumpin’ The Gun can most certainly be appreciated as an album-only tune, for each song need not be a hit for an album experience to be thoroughly enjoyable.

Sailor To A Siren plays into Meat Loaf’s ability to turn songs into mini-operas for the arrangement is dramatic, with soaring guitars and powerful drumming that drive the song forward. Sailor To A Siren may be brimming with 80s cues, but it’s also a stroke of musical genius for it is simultaneously timeless. It may never be one of Meat Loaf’s most recognised tunes, but it’s most certainly one of his greatest recordings.

Don't Leave Your Mark On Me has an interesting, yet offbeat, introduction. It works, however, following the Sailor To A Siren as it builds a large enough gap that the songs can be easily differentiated. While the arrangement of Don't Leave Your Mark On Me is straightforward compared to some of the bolder songs from the album, it doesn’t change the fact that this song is extremely compelling; particularly its chorus. I do, however, feel that it ends prematurely.

Cheatin' In Your Dreams is a beautiful closing introspective ballad that showcases Meat Loaf’s emotional intensity. Pairing his spectacular vocal with a delicate piano arrangement and lush strings ensured an orchestral feel prior to the bombastic energy that arose midway through the song. If nothing else, Cheatin' In Your Dreams will do what all good closers do – encourage you to play the record again.

Bad Attitude may not have reached the towering heights of Meat Loaf’s earlier or later works, but if you’re after a straight-up hard rock album filled with power ballads and rock anthems, look no further than this classic 80s release. While the era was dominated by synth-driven pop and new wave, Bad Attitude is a breath of fresh air as it not only rocks but is a reminder that outside of trends, good music is still prevalent and when combined with Meat Loaf’s larger-than-life persona, Bad Attitude is most certainly an album worthy of any music lover’s collection.

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Julian Lennon – Valotte (Album Review)

Julian Lennon’s debut album Valotte (1984) was a bold and promising start for the son of John Lennon, proving that Julian had his own voice, separate from his father’s legacy. While comparisons to his father are inevitable, if you take the time to listen to Valotte with a fresh perspective, you’ll find a beautiful set of songs that form an idealistic album experience for Valotte offers music lovers a stunning blend of pop, rock, and ballads that reflects the musical landscape of the mid-80s.

What isn’t 80s-styled is the striking artwork for its timeless appeal would have looked spectacular on the shelves of a local record store; especially via the larger vinyl canvas. It’s humble and unassuming and doesn’t detract from the music itself as it is complementary. While I haven’t been fortunate enough to hear this release on vinyl, what I can say is that the overall production, mix, and mastering, that has been made available via Apple Music, is thoroughly pleasing.

No, the Apple Music stream offers no unique mastering and isn’t an Apple Digital Master, but as it pertains to CD facsimiles, it doesn’t get much better than this. The presentation has an airiness that allows each musical element space to breathe and while not entirely enveloping, the presentation is sonically beautiful and will leave most fans more than satisfied. Could a vinyl edition, perhaps the 2021 Friday Music vinyl reissue, offer an even more compelling presentation? Yes, possibly, but in the absence of attaining that edition, you can rest assured knowing that there are no glaring omissions from the Apple Music stream.

Valotte opens the record with a sophisticated, melancholic ballad that sets the tone for the entire album. The piano-led arrangement is naturally reminiscent of some of John Lennon’s softer compositions, but it is Julian’s vocal delivery that is the standout element here for his performance is distinctly smooth. Add to that the polished production values and you’ve got not only an exceptional album opener but a track that is both radio-friendly and emotionally resonant. It’s, therefore, hardly surprising that Valotte became one of the album’s most successful singles and rose to the Top 10 in both Canada and the US.

O.K. For You shifts the tone into a more upbeat pop-rock rhythm. Featuring an infectious groove and bright instrumentation that contrasts nicely with Julian’s vocal style, O.K. For You is one of the most memorable numbers on the album, demonstrating Julian’s diversity as an artist. It’s a true hidden gem in every sense of the word and could have been a chart-topping hit of the 80s had it been released as a single.

On The Phone is a mellower mid-tempo track that features an enduring melody, supported by a jangly guitar and synth arrangement. As is the case throughout the entire album, Julian’s vocals are placed prominently within the mix and are allowed to shine without being overpowered by the accompanying musical bed. That said, we need to acknowledge just how exceptional the musicians are playing on this song for that mid-song solo ensemble, alone, is spectacular.

Space has a beautiful atmospheric arrangement with an ethereal approach that is somewhat of a trademark for Julian and it’s an aspect that works incredibly well with his vocal style. As the song progresses, the swirling synths and dreamlike production create a sense that the listener is drifting through space and time. Space is, subsequently, a spectacular tune and one of the most sonically pleasing from the album.

Well I Don't Know returns us to a more grounded, rock-oriented sound that is perfectly positioned within the era. It isn’t, however, as catchy as some of the other songs from the album, but its straightforward rock sound works well with the album’s structure. As a result, it’s a quintessential album-only tune; one that drives the record forward while ensuring that it doesn’t detract from the stronger compositions throughout.

Too Late For Goodbyes is an infectious pop song with a lively rhythm, driven by a snappy bassline and upbeat melody. As the lead single from the album, I don’t consider it to be single-worthy; particularly as there are far more compelling songs that could have been selected. Nevertheless, it charted well so let’s just say it’s probably a good thing that my subjective opinion isn’t a recommendation to artists looking to launch themselves on the world stage.

Lonely is a beautiful tune, even if its mood is sombre. It’s another exceptional hidden gem and it’s music like this that has me coming back for more as it enhances the album experience. Again, it’s songs such as this that highlight Julian’s uniqueness and the musical bed is so exceptional that I consider Lonely to be not only one of the best songs from the album, and Julian’s career, but one of the best songs ever recorded in all of music history.

Say You're Wrong returns us to an upbeat pop-rock sound that is filled with 80s cues. There’s nothing wrong with that, of course, but following Lonely, Say You’re Wrong is a slight jolt to the senses. Regardless, it’s a solid tune with a radio-friendly style that, while not setting the charts on fire, was worthy of being Valotte’s third single.

Jesse will see you toe-tapping and head-bopping to the addictively good 80s groove and while released as the fourth single, I honestly feel that it would have been better as the lead single for it leans more into the era’s sonic qualities than Too Late For Goodbyes does.

Let Me Be has an interesting, almost vaudeville musical styling that initially sounds out-of-place with the other songs on the album. As the song progresses, however, and you settle into the restrained composition, with its soft guitar strumming and gentle percussion, you’ll likely find yourself compelled by this slightly offbeat closing track as it will encourage you to play the album again, whilst simultaneously considering the music you’ve just heard.

Valotte is one of those special albums that is seldom replicated. While later records, such as Photograph Smile (1998) and Jude (2022), are exceptionally beautiful, none quite match the allure of this debut record; one that should be in every music lover’s collection and one that is amongst the very best the 80s had to offer.

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Joe Cocker – Civilized Man (Album Review)

Released in 1984, Civilized Man is Joe Cocker’s ninth studio album and is representative of a period of change in his career. During this era, which also includes his 1982 release, Sheffield Steel, Cocker transitioned from the raw, soulful blues-rock that defined his early years into a more polished, radio-friendly sound indicative of the 80s. Despite the shift, Cocker’s unmistakable gravelly voice remains paramount as he explores a range of styles, from heart-wrenching ballads to upbeat rock numbers, on this exceptional release.

One of the more interesting aspects of Civilized Man is that the two core recording sessions were undertaken by two different producers and a different lineup of musicians on both occasions. It’s as if two EPs were smashed together to make an album. However, if you were not aware of this fact, you’d likely not notice any difference as the album comes across as a single body of work. Achieving that result takes incredible skill, but it’s also important to acknowledge the variances as both lineups are amazing. It’s, therefore, somewhat disappointing that Civilized Man failed to set the charts on fire and has, subsequently, been all but forgotten.

While we’re incredibly fortunate to have this album readily available, thanks to streaming services, it hasn’t been reissued in any format for decades. Granted, for a reissue to be successful, the record label needs to know there’s an audience actively interested in getting their hands on the release and given it wasn’t the most successful of Cocker’s albums, possible hesitations are understandable. Of course, I’m the kind of music lover who would likely send a record label broke, for out-of-print is not something I’d ever let happen; particularly on such an exceptional release.

As already alluded to, in the absence of a physical release, the CD counterpart delivered via Apple Music is sonically beautiful. As the album has never been remastered, to my knowledge, it appears that this is the original mastering and it’s exceptional with a full-bodied sound that complements Cocker’s vocal styling perfectly. Every element can be heard in the mix and you’ll find yourself sitting back and relaxing to this outstanding release.

Civilized Man sets the tone for the album with its polished production and catchy melody. The blend of synthesisers and traditional rock elements gives the song a distinct 80s feel, while Cocker’s gravelly delivery ensures that it’s memorable.

There Goes My Baby is a cover of the classic Drifters’ hit, but Cocker delves deep into his soulful roots to pull off an extraordinary interpretation. His voice, rich with emotion, breathes new life into this timeless tune, making it one of the standout tracks on the album.

Come On In is a beautiful mid-tempo tune showcasing Cocker’s ability to seamlessly blend soul and pop. Cocker’s vocal performance here is reserved, yet effective, allowing the song's easygoing vibe, and smooth rhythm, to shine through.

Tempted is a sensational tune, originally recorded by the British rockers, Squeeze, but while this interpretation retains the song’s original groove, it’s Cocker’s gruff vocal that adds a layer of depth and maturity to the song. Add to that the slick radio-friendly sound and what you’ve got is one of the most enjoyable songs in all of recorded music history, with a touch of the legendary Joe Cocker.

Long Drag Off A Cigarette is a slower, acoustic bluesy number that brings out the best in Cocker’s voice thanks to the song’s minimal arrangement. It’s a simply beautiful song, but I do wish it was a little longer as it feels as if it ends prematurely. Of course, when music is this good, you always want more, so that could most certainly be a contributing factor to my prior thought.

I Love The Night takes things up a notch, but it isn’t the strongest song from the record. Nevertheless, it flows well within the album’s structure and holds the record together. Sometimes, that’s all that’s needed from album-only tunes, for each song need not be a standout for it to be successful.

Crazy In Love slows the tempo on what can best be described as a stunningly beautiful tune.

A Girl Like You is most certainly a song of the 80s and while there’s nothing wrong with that, particularly as it aligns with the era in which the album was released, the musical bed is a little too lively for Cocker’s style. It works, but only marginally. Let’s just say that I thoroughly enjoy the musical bed, separate from Cocker’s vocal, and vice versa. It’s as if there are two different songs, excellent in their own right, that have been combined to make a single tune.

Hold On (I Feel Our Love Is Changing) is a stirring ballad-styled number. Cocker’s vocal performance is both powerful and emotional and the lush production ensures that this song is not only one of the best from the album but is amongst Joe Cocker’s greatest recordings.

Even A Fool Would Let Go is a lovely soulful ballad and an ideal closing tune for it compels the listener to play the album again. With rich orchestration and Cocker’s heartfelt delivery, Even A Fool Would Let Go leaves a lasting impression and is somewhat of a hidden gem.

From start to finish, Civilized Man showcases Joe Cocker’s ability to adapt to the changing musical landscape of the 80s while staying true to his soulful roots. The album’s diverse range of songs highlights Cocker’s versatility as a vocalist, with each track offering something unique. Whether it’s the emotional depth of the ballads or the energy of the rock-infused tracks, Civilized Man is a testament to Cocker’s enduring talent and his ability to connect with listeners.

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INXS – The Swing (Album Review)

Released in 1984, The Swing, INXS’s fourth studio album, was a pivotal release that propelled the Australian band into the international spotlight. Whilst similar, yet somewhat removed from their earlier releases, The Swing would ultimately shift INXS’s sound from their post-punk influences to a more polished, radio-friendly, groove-oriented rock; a sonic styling that would later culminate in their masterpiece, Kick. Encompassing a mix of infectious grooves, catchy melodies, and innovative production techniques, The Swing became not only a commercial success but a landmark release with such enduring appeal that it can still be appreciated to this day.

As already alluded to, the production quality of The Swing is superb. Every aspect, from the recording, to the mix, and the mastering of the album has been handled with care, for when you play the record, particularly via Apple Music, you won’t be disappointed with the sonic presentation. It’s so good that you’d be hard-pressed to find a better facsimile of the album than the Lossless Apple Digital Master. It’s bold, detailed, and thoroughly enjoyable to listen to. While I was fortunate to have owned the 2011 CD reissue, it just wasn’t as pleasing to the senses as the streaming counterpart is.

Technically, both editions should sound the same, as they’re derived from the same remaster series, but the Apple Digital Master is delivered as a 24-bit 44.1kHz ALAC file compared to the 16-bit 44.1kHz version found on the CD counterpart. It’s important to note that higher numbers don’t automatically correlate to greater quality, but to truncate the 24-bit 44.1kHz to the CD’s 16-bit 44.1kHz requirements, dithering is added to reduce distortion but that process also adds noise. It’s a minor detail, but the Apple Digital Master process manages to preserve all the dynamic range of the source file while eliminating the need to add dither. Granted, most music lovers won’t care about this aspect, but I mention it to only highlight that, in this case, the stream offers a much more pleasing sonic presentation than the equivalent CD release. So, with that in mind, let’s take a look at the songs that make up this landmark release.

Original Sin is a quintessential album opener. It not only sets the tone for the music that’s to come but has such a compelling and catchy rhythm that you’ll find yourself bopping along to this upbeat number. Produced by Nile Rodgers (co-founder of Chic), Original Sin has a funky bassline, dynamic horns, and layered vocals that create a powerful anthemic sound. Daryl Hall’s harmonic vocal inclusion with Michael Hutchence, in the chorus, is idealistic and further amplifies this timeless, and iconic, tune.

Melting In The Sun shifts the style slightly, with a more laid-back, rock-oriented vibe. There’s no doubt that Melting In The Sun is an 80s tune for it has all the signature cues, but for those of us who lived through the era, it’s highly nostalgic and the jangly elements are a feature rather than a deterrent.

I Send A Message picks the tempo up again and is the natural successor to Original Sin with its infectious funk-driven melody. While not as tight as the opening tune, I dare you to sit still as I Send A Message is playing. I know I can’t do it for the song’s blend of synthetic elements, the overall musical bed, and Kirk Pengilly’s saxophone reach into the soul and don’t let go until the very final note has been played.

Dancing On The Jetty is an interesting track as the introduction is considerably different to the styling of the songs that preceded it. The darker, more atmospheric, sonic signature with the brooding bassline and haunting synths create a sense of tension, while Hutchence’s vocals add a layer of emotional intensity. As it pertains to the chorus, however, I can’t help but hear a slight Midnight Oil influence. Nevertheless, the track's moody ambience and experimental production make it a fascinating listen, showcasing the band's willingness to push the boundaries of their sound.

The Swing may be the title track, but this album-only number is solid but not exceptional. It is doubtful that this song alone will compel you to listen to the album, but as connective tissue, holding the record together, it works perfectly well.

Johnson's Aeroplane is a sonic masterpiece that blends rock and new wave elements with a symphonic-influenced musical backing. The song's somewhat unusual structure, with its shifting tempos and varying dynamics, adds to its intrigue, but it’s songs such as this that offer a prime example of INXS’s ability to craft musically compelling songs.

Love Is (What I Say) returns the album to an upbeat, danceable sound, with this mid-tempo number. It’s catchy with a funky bassline and lively percussion and while it may not be the most innovative track from the record, its role as an album-only tune ensures that The Swing, as an album, is essential for fans of the band and the music that the era had to offer.

Face The Change has a great mid-tempo groove. The atmospheric production, combined with layered guitars and synth elements, creates a captivating and unconventional soundscape. While it was never going to be a chart-topping hit, even if it had been released as a single, there’s something extremely satisfying about Face The Change that I can’t quite put my finger on. What I do know is that each time I play the album, I unpack the musical elements of this song and appreciate it differently each time, meaning that even after all these years, Face The Change remains fresh.

Burn For You flows seamlessly from Face The Change and quickly becomes one of the album’s standout tracks; one that blends pop perfectly with a rock edge. The song's catchy melody, combined with its driving beat and lush production, makes it an irresistible listen. The 80s cues, throughout, don’t sound dated but are one reason why it performed so well on the singles charts, reaching #3 in Australia. Regardless, Burn For You is one of INXS’s greatest songs.

All The Voices is a compelling closing tune, but not in the way that you’d normally expect. Yes, I feel compelled to play the album again, as I listen to this track, but the overarching style is considerably different to the previous songs. Nevertheless, as with Face The Change, I find myself dissecting the song upon each listen and can appreciate it, thoroughly, for its layered production encapsulates all elements of the band.

The Swing is not only INXS’s most pivotal release, but it’s a masterpiece as it pertains to the recording, mix, mastering, songwriting, and overall performances. Yes, Kick will forever be their magnum opus, but The Swing is the origin of that release and all other INXS tunes that would be released post-1984. The album's blend of rock, new wave, and dance elements not only made it a commercial success but offered a unique musical presentation that ensures The Swing is a must-listen for fans of not only the 80s but of INXS.

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Bruce Springsteen – Born In the U.S.A. (Album Review)

Released in 1984, Born In The U.S.A. was not only a landmark release for Bruce Springsteen but it would rocket to the top of the charts and become an enduring classic 80s release that deserves all the praise bestowed upon it. With its anthemic title track and a series of hit singles, the album captured the zeitgeist of 1980s America, combining rock, pop, and heartland rock influences. It also marked a shift in Springsteen's sound, moving to a more polished, radio-friendly production; a style that suited Springsteen, perfectly.

As Springsteen’s seventh studio album, there’s no shortage of exceptional music, preceding this release, particularly the exceptional Darkness On The Edge Of Town, but Born In The U.S.A. is special. It plays akin to a greatest hits release and is amongst the greatest music in all of recorded music history. Truly, you don’t need this review or any other to appreciate Born In The U.S.A., for listening to this classic release allows it to speak for itself. That said, I’ll still offer my thoughts.

Incorporating pop elements into an established rocker’s toolkit can be a recipe for disaster, yet The Boss blended styles perfectly, thereby creating a far more accessible album than his previous releases had been capable of. No doubt there were detractors, but the stylistic shift was a masterstroke as Born In The U.S.A. is still a rocker through and through, it just incorporates the sounds of the era. Interestingly, as you listen to the record, you get a sense of the album’s timeless nature for despite the synthetic cues, commonly associated with the 80s, Born In The U.S.A. sounds as fresh today as when it was released some four decades ago.

Part of the longevity and appeal of the album can be attributed to the songs and production values, but that album cover is iconic. Even for those of us who are not American, you can’t help but feel a sense of pride and patriotism when looking at the cover. It was naturally destined to be a success stateside, but with international sales exceeding 13 million units, and total certified sales being in excess of 30 million, it’s an album that resonated with music lovers the world over and is not only Springsteen’s most successful, but is amongst the best selling albums of all time.

Aside from the songwriting and musical performances, where Born In The U.S.A. truly shines is in its recording, mix, and mastering. The songs contained within will reach into your soul and not let go until the final note has been played. Interestingly, in what can be considered uncommon for the time, Born In The U.S.A. had four producers, all with different perspectives, yet Springsteen and Co. managed to put together an incredibly cohesive album; with the help of behind-the-scenes legends, Bob Clearmountain (mixing) and Bob Ludwig (mastering). In the modern era, where production credits are an afterthought, it’s essential to acknowledge the creatives that helped to shape one of the most recognisable records of all time. While Springsteen and the E Street Band are exceptional musicians, Clearmountain’s and Ludwig’s contributions ensured they sounded their very best.

Keeping with the sonic prowess of the album, and as it pertains to the Lossless Apple Music stream, an Apple Digital Master, the sonic reproduction is stunning with a bold and bombastic rock-focused sound. The reproduction is crystal clear with a thoroughly enjoyable presentation across the entire audio spectrum. As you listen to the stream, you’ll likely find yourself reaching for the volume knob in order to crank the volume, and there’s plenty of headroom available thereby ensuring that the stream can be enjoyed at both modest and room-filling sound levels with no distortion or fatigue from the listener’s perspective. While Vinyl aficionados will be sharpening their pitchforks, the truth is that unless you’re interested in the larger artwork, and physical media ownership, there’s absolutely nothing missing, sonically, from the Apple Digital Master that would compel me to seek out a physical release. It, really, is that enjoyable!

Born In the U.S.A. launches the album with a vibrant rocker that has stadium-filling tune written all over it. While it, arguably, is Springsteen’s most well-known song, it’s also one of the most misinterpreted of all time. Not due to a mondegreen, but the catchy chorus that screams of patriotism; should you ignore the lyrics in each of the song’s verses, that is.

As long-time readers will note, I seldom appreciate music for its literal intent, instead appreciating the vocal as another musical element within the mix. In this case, it’s a benefit as Born In The U.S.A. is not a song of patriotism, but one criticising the treatment of Vietnam veterans post-deployment. Nevertheless, it’s easy to see how it can be appreciated by some as an unofficial national anthem and if you don’t look too deeply into the lyrics, you should feel no shame for misinterpreting this classic tune.

Cover Me with its driving rock rhythm and a touch of funk and pop ensures that it’s the perfect follow-up to the album’s explosive opener. If the tempo doesn’t get you toe-tapping and head-bopping along, you’ll find yourself playing the air guitar for Cover Me is an incredibly complex and pleasing tune.

Darlington County has plenty of Southern rock influences and the twang element shines throughout. Despite not being released as one of the album’s seven singles, Darlington County is addictively good and it’s album-only tunes such as this that make Born In The U.S.A. the classic it is today.

Working On the Highway shifts the tone slightly, particularly with regard to Springsteen’s vocal delivery. The song’s infectious energy, with its rockabilly rhythm and upbeat tempo, make it a quintessential album-only tune that continues to drive the record forward.

Downbound Train has a melancholic melody that perfectly reflects the despair of the protagonist’s life. While it may not be the first song that draws your attention to the album, Downbound Train remains essential to the flow of the record with a minimalist rock styling that prepares you for the music that’s about to come.

I'm On Fire is a further departure from the bombastic tunes that opened the album, but this minimalist, simmering ballad, is one of the most beautiful songs ever recorded. It not only encapsulates the sonic cues of the era, but the song's sparse arrangement creates an intimate atmosphere, allowing Springsteen’s hushed vocal to take centre stage in what could be his most defining moment as a vocalist.

No Surrender picks up the tempo and is a solid rocker. It’s unlikely to draw you to the album, but each song need not be a standout for an album to be exceptional.

Bobby Jean is a classic Springsteen tune, yet I’ve never been awed by it. I do, however, get drawn into Clarence Clemons’ saxophone performance, for that is the musical highlight of the song.

I'm Goin' Down is a playful rocker with a compelling sing-along chorus.

Glory Days has rock anthem written all over it, for the solid tempo, incredible percussion, and Springsteen’s powerful vocals ensure that this reflective number resonates with the universal experiences surrounding nostalgia.

Dancing In the Dark is a synth-driven pop-rock masterpiece. There’s little doubt as to why it’s become one of Springsteen’s biggest hits, for you simply can’t sit still while this song is playing.

My Hometown slows the tempo considerably, but the flow from Dancing In The Dark is so seamless that it needs to be mentioned for music is seldom tracked this perfectly. That aside, this synth-driven reflective ballad will leave you wanting more for Springsteen’s vocal dexterity, on this song, is amongst the very best of his career.

Born In the U.S.A. is, subsequently, a masterful blend of rock anthems, 80s synth-pop rockers, and introspective ballads that capture the complexities of American life during the era. Its enduring appeal, however, is a result of its combination of accessible, radio-friendly production values that are accompanied by deeply resonant lyrics that explore themes of disillusionment, resilience, and hope. With its mix of chart-topping singles and thought-provoking tracks, Born In the U.S.A. remains the defining work of Springsteen's career and a quintessential album of the 80s.

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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.

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