Midnight Oil – Diesel And Dust (Album Review)

Ian McFarlane's Encyclopedia of Australian Rock And Pop references Diesel And Dust as “groundbreaking and one of the greatest Australian albums of all time”. I dare anyone to challenge that claim as Diesel And Dust is the quintessential album Midnight Oil should be remembered for.

John O'Donnell, Toby Creswell, and Craig Mathieson also thought so highly of Diesel And Dust that it was awarded the No.1 Australian album in their book, The 100 Best Australian Albums. They go on to say “in the process of reinventing themselves, Midnight Oil has crafted an album of brilliant, passionate, and intelligent songs that carry a message”.

Following these greats with any additional commentary on Diesel And Dust would be seemingly superfluous, but bear with me as I take a look at the music that makes up Diesel And Dust.

Beds Are Burning is iconic! With its catchy guitar riffs and anthemic chorus there’s little doubt as to why it has remained as revered as it has over the years. Addressing the plight of Australia's Indigenous people and their stolen lands also adds to the emotive element of the tune and while politically-charged lyrics are not everyone’s cup of tea, few would gripe about Midnight Oil’s lyrical direction as the music is off-the-charts good.

Put Down That Weapon is sonically gorgeous. In fact, while the lossless Apple Music stream is from the 2008 remastering sessions, you won’t be disappointed for Put Down That Weapon, in particular, is mastered with kid gloves meaning that the pounding drums and infectious guitar hooks give the song a rebellious edge, while Garrett's vocals convey a sense of urgency and conviction.

Dreamworld shifts the tempo and tone but the driving rhythm section and memorable melodies ensure that Dreamworld remains a captivating listen. That said, Dreamworld is one song that can be a little jarring on the senses, especially when listening repeatedly as it isn’t quite as smooth, from a sonic perspective, as the other songs featured on Diesel And Dust.

Arctic World is an atmospheric marvel and while some may dislike the styling of the song, the evocative nature of Arctic World ensures the listener sits up and takes notice of a song that addresses climate change; an issue that is still plaguing modern society.

Warakurna flows seamlessly from Arctic World with rhythmic perfection. It’s one of my all-time favourite Midnight Oil songs as it blends traditional rock elements with indigenous influences to deliver a song with a poignant message.

The Dead Heart is another sonic standout from an album that defines Midnight Oil. The combination of all musical elements and Garrett's passionate vocals creates an emotionally charged atmosphere that is both captivating and deeply moving from both literal and musical perspectives.

Whoah is sonically beautiful. Close your eyes, relax, and enjoy.

Bullroarer picks up the pace with driving guitar riffs and a rhythmic and infectious chorus that ensure Diesel And Dust is remembered for its high-energy sound as much as it is for its sociopolitical messaging. With a tip of the hat to Midnight Oil’s Punk roots, Bullroarer is a musical masterpiece and one of the best songs they have ever written and recorded. If you haven’t already, turn the volume up to 11.

Sell My Soul is a hidden gem with introspective vocals and a melodic arrangement. While it was never destined to be a standout hit, Diesel And Dust is all the better for Sell My Soul’s inclusion.

Sometimes showcases Midnight Oil’s Punk roots and while there’s absolutely nothing wrong with that, it isn’t the strongest song on the album, particularly with regards to the verses. The chorus, however, is another issue entirely for it’s thoroughly enjoyable and captivating.

Gunbarrel Highway, while not featured on the vinyl and cassette releases of Diesel And Dust, made it to many of the CD editions as a bonus track. While I’m normally dismissive of bonus tracks, Gunbarrel Highway is one exception as it is a perfect closing tune to the album; one that encourages me to play it again.

Midnight Oil’s Diesel And Dust is timeless from both the perspective of sociopolitical issues and musicality. This is one album whereby each track stands on its own but the collective nature of the album experience further amplifies a cohesive musical statement. While some will turn to it for literal meaning, others such as myself will prefer to enjoy the album for its masterful musicality. No matter how you choose to appreciate Diesel And Dust, one thing is for certain, this is one album that you need to have in your collection.

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Quincy Jones – The Dude (Album Review)

Released in 1981, The Dude stands as a timeless masterpiece that incorporates elements of Funk, Jazz, Pop, R&B, and Soul, yet Quincy Jones isn’t the only star here for the lineup of studio musicians chosen is not only extensive but impressive. While you may be most familiar with Jones for his production of classic albums, including Big Band Bossa Nova, Off The Wall, and Thriller, to name a few, his legacy continues well beyond these signature releases as The Dude represent some of his most creative works.

Yes, Jones’ collaborations with Michael Jackson will always be what he is most remembered for, but it’s important to note that The Dude was nominated for an impressive twelve Grammy Awards. It would go on to win three; an extraordinary achievement for an album that not only is so varied but also utilised various musicians and vocalists. And, yes, while Michael Jackson appeared on the title track as a backing vocalist his inclusion on this release is minimal at best.

Regardless, there’s little doubt as to the musical chops of The Dude, but what I find most fascinating is the album’s artwork. The morphing “Dude” creates a visual illusion that matches the shifting styles heard throughout the record and is perfectly set against a simple black frame. It’s one of the best album covers from the era and immediately captures one’s attention. You can imagine just how fascinating it would have been seeing it on the shelf in your local record store in 1981.

Sonically, however, all is not perfect. The lossless Apple Music stream is adequate but to get it to sound its best, you’ll likely be fiddling with your EQ settings. It’s a shame considering the music is, otherwise, incredible. The problem is that in its flat presentation, it’s a little too clinical. The result is a sound that lacks an emotive feel; an aspect that is paramount to this style of music. Despite this, once your preferred EQ settings are dialled in, there’s no doubt that you’ll find it encapsulating. A remastered edition, however, would be welcome, but as music is subjective you, dear reader, may find the core stream to be perfectly acceptable. As for myself, I’ll be thoroughly enjoying this particular release until the streamed version is either updated or until I attain a physical release as the music is that good!

Ai No Corrida (feat. Dune) has an infectious rhythm and is the perfect tune to launch The Dude with. With a mix of jazz, funk, and pop stylings, Ai No Corrida will hook you from the very first note. Ai No Corrida, however, wasn’t first recorded by Jones et al as Chaz Jankel (along with Kenny Young) wrote and recorded it for his self-titled 1980 release, Chas Jankel. Jankel’s version is similar in style but as Jones always does, he hears and subsequently refines a tune so that it is greater than the original song. It’s his gift and while Jankel’s recording is excellent in its own right, it pales in comparison to this version.

The Dude blends funk undertones, captivating jazzy brass sections, and memorable hooks to create an unforgettable musical experience.

Just Once slows the album’s tempo but you won’t mind as James Ingram’s vocals are exceptional on this tender love song. Yes, it is very much a song of the 80s, but don’t let nostalgia influence you for Just Once is as beautiful today as the day it was recorded.

Betcha Wouldn't Hurt Me (Extended Version) will encourage you to turn the volume up, if you haven’t already, as its atmospheric musicality is enveloping. Patti Austin vocalises the song perfectly and with a flawless mix of jazz and funk elements, Betcha Wouldn’t Hurt Me remains a standout tune on The Dude.

Something Special is smooth. Austin, once again, performs vocal duties here; she is truly magnificent! One aspect, however, that may be detracting is the slower tempo as it’s unassuming. Granted, the song flows well within the linear structure of the album, but Something Special isn’t a song that is likely to be anyone’s favourite as there isn’t anything here that is truly memorable.

Razzamatazz, however, will have you coming back for more as the 80s funk rhythm is so infectious that you’ll lose yourself in this tune. It’s arguably Austin’s greatest vocal contribution to The Dude for her addition not only amplifies the groovy musical bed but ensures that those looking to sing along will be in good company, especially throughout the chorus.

One Hundred Ways is a timeless masterpiece. Ingram’s vocal is extraordinary and leaves a lasting impact.

Velas calms the senses for this serene tune takes you on a thoroughly enjoyable musical journey. While it could be argued that it could have been a stronger song, it does set up the album well for the closing burst of energy that is Turn On The Action.

Turn On The Action is the quintessential closer as it brings our attention to the Funk elements that are at the core of The Dude. In doing so, it will remind you of the mastery heard and compels you to listen to the album again.

There is little doubt that The Dude is a testament to the exceptional talent and musical genius of Quincy Jones. With its interweaving styles, impeccable craftsmanship, and infectious grooves, The Dude remains not only a landmark release for Jones but is one of the greatest albums released in 1981.

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Elton John – The Fox (Album Review)

Elton John's 1981 studio album, The Fox, arrived during a transitional period in the singer-songwriter's career. By this point, John had already established himself as one of the most iconic figures in popular music, with a string of hits and critically acclaimed albums under his belt. However, The Fox continued the sonic departure from his classic era, embracing a more experimental and electronic direction that reflected the evolving music landscape of the early 80s.

Naturally, the shifting styles mean that The Fox will not appeal to all Elton John fans, but it’s an album that grows on your the more you listen to it. It, subsequently, stands as a testament to his versatility as an artist and his willingness to embrace new musical styles; a core reason why he remains relevant within the music industry to this day.

The Fox may be considered a unique album on its own, but several songs were originally recorded, during the same sessions, for John’s incredible, and severely underrated, 21 At 33. Subsequently, you may find it interesting to listen to that album first before reaching for The Fox as correlations are most certainly present. No, The Fox, is not merely a collection of previously discarded songs, but it is understandable as to why some may consider this to be the case.

Given the lacklustre commercial success, one can understand why the album has received no attention since the 2003 remastering that remains the gold standard for this release on Apple Music et al. That, however, shouldn’t be seen as a negative aspect for the 2003 remaster is stunning. The dynamic range presented will enthral as every musical element is clearly presented in the soundstage and turning the volume up, or even listening at lower levels, results in an exceptional sonic presentation that is more than anyone could ask for. Is there room for improvement? Perhaps, but there are no glaring issues to note and sometimes it is best to leave well enough alone; a trait the music industry often fails to understand.

Breaking Down The Barriers opens the album with a catchy and energetic melody. The modern 80s sound signature of included synthesizers and electronic elements set the tone for the entire album but as much as they’re present, they don’t detract from the song itself or John’s vocal delivery. Would Breaking Down The Barriers have been a far better song had it been recorded in his classic era style, probably, but it’s enjoyable just the way it is.

Heart In The Right Place features a tight moody rhythm section with some absolutely killer lead guitar licks. John's soulful vocals will also captivate you for it’s a hidden gem from his extensive catalogue. It’s without a doubt one of his best songs from the 80s and the incorporation of blues-based rock, with a touch of funk and some R&B, ensure that Heart In The Right Place is a memorable track.

Just Like Belgium is a solid pop-rock tune that initially makes me think of Bruce Springsteen; due to the musical style presented during the introduction to the song. Nevertheless, it isn’t a standout track, despite being lively and playfully energetic, but it is very 80s so if 80s music is your thing; you’ll love it!

Nobody Wins is one of the album's standout tracks for that tempo will instantly grab you. As with Just Like Belgium, Nobody Wins offers listeners a much-appreciated nostalgic trip down memory lane.

Fascist Faces has a driving soft rock sound signature and while there’s nothing wrong with that, John's processed vocal on this song can be a little off-putting. Additionally, the chorus isn’t overly compelling and all-in-all Fascist Faces just isn’t a great song. It works within the album structure, but it isn’t a song that you’d seek out, outside of the album format. A shame considering this was a songwriting collaboration with the one and only Bernie Taupin.

Carla / Etude / Fanfare / Chloe is a lovely song, or collection of songs, that is truly worthy of being a part of John's back catalogue and reminds me somewhat of Alan Parsons’ recordings. When the 2003 remaster was released, the four songs were combined into a single song and it works for it’s absolutely beautiful from start to finish. It really is one of the greatest pieces of music John has ever recorded.

Heels Of The Wind shifts the tone of the album as it’s an energetic track that showcases John's ability to blend rock and pop elements seamlessly.

Elton’s Song is lovely. While rather controversial at the time of release and while I don’t normally delve too deeply into lyrical meaning, this heartfelt tune, if released today, would be celebrated rather than receiving the same level of pushback and negative press it did in 1981. A lovely song!

The Fox follows Elton's Song nicely and is the quintessential closing tune for it ensures I’ll spin the album again and stay within John’s extensive catalogue of exceptional music. As divisive as his 80s output may have been, The Fox, both the song and the album, are thoroughly enjoyable and are Elton John recordings to the core; albeit with a modern 80s twist.

While it may not be as accessible as his classic era recordings, The Fox, John’s fifteenth studio album, offers a unique listening experience for fans willing to venture into the uncharted territories of Elton John's discography. It's an album that rewards repeat listens for The Fox can be seen as a notable chapter in Elton John's illustrious career, capturing a moment of artistic exploration and evolution while staying true to his artistic vision.

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Tom Jones - Praise And Blame (Album Review)

The legendary Welshman, known for his powerful voice and charismatic stage presence, took a bold and unexpected turn with his 38th studio release, Praise & Blame, from 2010. Departing from his usual mainstream sound, Jones embraces the genres of gospel, blues, and roots music to deliver a collection of soulful and introspective songs. With his gritty vocals and heartfelt delivery, Jones showcased that his artistic versatility knew no bounds.

Of course, Jones isn’t the only notable element here for Praise & Blame is a stunningly beautiful recording that has been mixed and mastered with respect. The entire production team and players on this release deserve acknowledgement for all aspects complement Jones' vocals perfectly by adding layers of richness to his captivating vocal performance.

While the music is extraordinarily good, however, the artwork is absolutely horrid. I get it, it shows a place of worship, but the chosen design elements and the photograph itself, aren’t exactly compelling. Seriously, if you saw that on display at your local record store, you’d give it a miss, wouldn’t you?

In my mind, all Tom Jones albums should feature Jones on the cover and while Jones may have wanted the songs to speak for themselves, I feel the artwork on this particular album takes away from the incredible musical experience you’ll have when listening to the record. Nevertheless, we listen with our ears and not our eyes so join me as I take a look at the selection of songs that make up Praise & Blame.

Please note that the shared Apple Music stream below is a playlist I created as the Apple Music edition features the bonus track Burning Hell (Ethan John's Wood Room Version). Regular readers will note my penchant for the original sequencing of albums and as such that is why I’ve chosen to present the album in this manner.

What Good Am I? opens the album with a haunting and introspective track. Jones’ weathered vocals add a layer of vulnerability to the song that works exceptionally well with the monotone rhythm thereby making it a standout tune.

Lord Help picks up the tempo with a blues-meets-gospel song that leaves a lasting impression. I do, however, feel that Jones’ vocals are a little too concealed in the mix but that need not be a detrimental factor as Lord Help is quite the toe-tapper.

Did Trouble Me focuses on Jones’ soulful delivery for the sparse instrumentation, on this song, is a feature that ensures Did Trouble Me remains a poignant and thought-provoking tune.

Strange Things is lively with an upbeat tempo set to the background of a roots musical style. It isn’t, however, the greatest song on the album and part of that conclusion is due to Jones’ vocal delivery as he’s over-performing on this track.

Burning Hell is raw and gritty blues-based rock and roll. Needless to say, I love it! Jones' passionate vocals ensure Burning Hell is an emotionally charged and memorable song and is, without a doubt, one of Jones' greatest recordings.

If I Give My Soul is another exceptional example of the rather stripped-down style of Praise & Blame. It’s this musical technique that ensures Jones’ vocal remains central in the mix while simultaneously intensifying the emotional impact of the songs’ lyrics.

Don’t Knock is a lively and infectious gospel-influenced track. Jones' spirited vocals, and the energetic instrumentation, create an atmosphere that’s hard to resist.

Nobody’s Fault But Mine is incredible! This bluesy rendition showcases Jones' vocal prowess and ability to infuse a song with soulful intensity for few vocalists have such control over their octave range.

Didn’t It Rain with its lively gospel-infused sound, is a toe-tapping track that exudes joy and celebration. Jones' energetic vocals and the vibrant instrumentation create a lively and infectious atmosphere, leaving listeners wanting more.

Ain’t No Grave embraces a rootsy and spiritual vibe that is thoroughly enjoyable. Jones' powerful vocal once again shines through ensuring that Ain’t No Grave is one of the best songs from Praise & Blame.

Run On creates a rousing conclusion to the album that embodies the spirit of traditional gospel music, featuring an energetic and foot-stomping rhythm, with a touch of blues-based rock. Listeners are left with a lasting impression that is both energised and uplifting and Ride On, by default, becomes the quintessential closing track that encourages repeat listens of the album.

While some longtime fans of Jones' earlier hits may find Praise & Blame to be a departure from his familiar style, it is a testament to his evolution as an artist as this album is a standout in his discography, proving that even after decades in the music industry, he can still captivate and surprise his audience. Whether it's the introspective and haunting tracks or the uplifting and celebratory ones, Jones' expressive vocals and the rawness of the arrangements make for a captivating and emotionally charged listening experience from start to finish.

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Foreigner – 4 (Album Review)

Few albums are quite as cohesive and memorable as Foreigner’s 1981 release 4. With its collection of iconic tracks, 4 propelled Foreigner to even greater heights of success, solidifying their status as one of the most prominent rock acts of the era. Packed with infectious melodies, powerful vocals, and expertly crafted songs, 4 showcases the band's ability to create timeless anthems that continue to resonate with audiences to this day.

As for the titling of albums, more often than not they’re associated with an individual song, but with 4, Foreigner is not only referencing the fact that it was their fourth studio album but it also marked a reduced musician lineup where the band only consisted of Lou Gramm, Mick Jones, Rick Wills, and Dennis Elliot. Sometimes less is more!

While the music is beyond reproach, let’s be honest and say that the album artwork is a little underwhelming; although coming on the heels of Head Games, a quite controversial piece of cover art, one can understand the need for a more subdued piece of visual art. That said, the Apple Music animated artwork adds a level of detail that couldn’t be achieved outside of the digital domain, but it still doesn’t match the mastery of the music, does it?

Turning our attention to the sonic qualities of the recording, streamed via Apple Music, it’s perplexing! As with all of Foreigner’s albums on Apple Music, they’re presented in CD Quality lossless and 4 is derived from the 2002 remaster. Now, there’s nothing fundamentally wrong with that until you realise that this classic album has been reissued and remastered various times with a focus on Hi-Res Lossless presentations, via SACD and DVD-Audio as well as associated surround sound mixes found on those formats. With Apple’s expansion into Hi-Res Lossless and Spacial Audio mixes, it’s surprising that we’re still only given access to the CD equivalent from 2002, especially considering the SACD/DVD-A is well-regarded. Plus, why update the album artwork but not the available versions? I have no answer, clearly, but it’s an aberration that is mildly irritating. Of course, Hi-Res Lossless sources aren’t always a guarantee of quality, but the CD Quality stream sounds a little anaemic. A boost to the bass in the EQ settings somewhat helps, but that tends to muddy the sound presentation more than improve it. Hopefully, fans of Foreigner, and specifically 4, won’t have to wait too long before a higher-quality stream is made available, but until then we can still enjoy this timeless classic for it’s a solid facsimile to the CD counterpart.

While the stream offers the Expanded Version and regular readers will note my penchant for listening to an album in its original sequencing, sans bonus material, the Apple Music stream that I’ll share with you will be in the form of a Playlist as that allows me to share just the core songs of this landmark release.

Night Life kicks things off with a burst of energy that sets the tone for the entire album. The catchy hooks, and killer power chords, combined with Lou Gramm’s sensational vocals are what rock and roll dreams are made of.

Juke Box Hero with its instantly recognisable guitar riff is not only a fan favourite but is one of Foreigner’s most well-known songs outside of their core fan base. For me, at least, it’s that bass-driven introduction with Gramm’s vocal being a little more distant in the mix, before exploding, that is truly remarkable. There’s little doubt in my mind that Juke Box Hero is a textbook-perfect song; one that creates a powerful listening experience that will leave you craving more.

Break It Up slows the tempo initially but it quickly builds to a rocking melodic tune with ballad-styled intentions that’s captivating.

Waiting For A Girl Like You is, arguably, the most romantic power ballad of all time. If the atmospheric musical bed doesn’t grab you, the silky smooth vocals will. Absolutely stunning!

Luanne injects a dose of energy into the album and perfectly embodies the spirit of 80s rock. The upbeat tempo, infectious guitar riffs, and Gramm's electrifying vocals create an irresistible party anthem; even though it has achieved little fanfare outside of the album structure.

Urgent is a masterpiece! If you haven’t already, turn the volume up. The interplay between Mick Jones' guitar and the saxophone solos adds a layer of intrigue, making Urgent a standout on 4 and one of the very best songs that Foreigner ever recorded. Gramm’s vocal is superb here, as it is throughout the entire album, but it’s this presentation, in particular, that makes me think Urgent would have been the perfect song for John Farnham to cover as their vocal styles are complementary to each other.

I’m Gonna Win is a motivating listen that exudes confidence and determination. With its driving rhythm and powerful vocals, Foreigner's ability to infuse positivity and strength into their music shines through, making this track a perfect addition to any playlist that requires a little attitude-driven motivation.

Woman In Black is one of my all-time favourite Foreigner tunes. The guitar work is extraordinary but it’s the rhythm that gets so deep into your soul that you’ll quickly find yourself immersed in one of the greatest songs ever recorded.

Girl On The Moon has a hypnotic and relaxed feel to it. It’s a perfect album-only tune with tight musical elements and beautiful vocals. 4 really is one album that plays like a greatest hits release for there isn’t a bad song to be heard and it’s Foreigner at their very best.

Don’t Let Go closes the album on a high note with an infectious chorus and melodic hooks that will encourage you to spin this exceptional record again.

From the moment you tap play, 4 takes listeners on a captivating journey, blending powerful rock anthems with heartfelt ballads and infectious pop sensibilities. With chart-topping hits like Juke Box Hero and Waiting for a Girl Like You, Foreigner has solidified their place in music history with one of the greatest albums ever recorded. A true masterpiece in every sense of the word.

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Rick Price - Heaven Knows (Album Review)

When I think of the very best that the Australian music industry has to offer, Rick Price and his debut album, Heaven Knows, are always at the top of my list. In a time when Australian music was flourishing with artists like John Farnham, Jimmy Barnes, and Diesel, Rick Price held his own and carved a niche for himself with this highly acclaimed debut from 1992.

With its heartfelt lyrics, soaring melodies, and polished production, Heaven Knows remains a timeless, and somewhat hidden, classic. Unfortunately, it has been out of print for decades and as much as I’d love to see it reissued on a physical format, it’s unlikely to happen. Never say never, of course, but this is yet another example whereby streaming and digital download stores reign supreme with regard to out-of-print music being readily available for new audiences to enjoy.

Speaking of the digital offerings, Heaven Knows is presented in lossless CD Quality on Apple Music and I really couldn’t be happier for it’s a superbly recorded, mixed, and mastered album. While The Essential Rick Price contains many of the landmark tunes from Heaven Knows, the mastering is too hot meaning that while there’s greater punch and forwardness to the songs you know and love, it becomes fatiguing to listen to. Yes, some albums sound better when the dynamic range is compressed, but that is not the case here.

What’s Wrong With That Girl? has an addictive rhythm with stunningly beautiful guitar work. Add Price's incredible vocal and you’ll be captivated from the very first note.

Not A Day Goes By continues to enthral with its poignant lyrics and Price's heartfelt delivery. The soaring chorus and infectious hooks make it an instant earworm; although, I would have liked the chorus to be sung in a lower register as it can become a little jarring on the senses. Regardless, Not A Day Goes By is a trademark Rick Price tune and is one that is thoroughly enjoyable.

A House Divided picks up the tempo with an excellent pop-rock tune that will see you singing along throughout the chorus. It’s perfectly suited to Price's style but I’d also love to see a country music artist reimagine A House Divided for there’s a touch of country within the song that I feel could be explored further.

Walk Away Renee is a fantastic cover of The Left Banke's original 1966 recording. With Price's knack for crafting catchy melodies, backed by rich arrangements that perfectly complement his soulful vocals, Walk Away Renee has never sounded better.

Heaven Knows is simply magnificent. Price's smooth vocals effortlessly glide over a lush musical arrangement, blending elements of pop, rock, and soul that create an instant connection with the listener.

Church On Fire is the first track on the album that doesn't immediately excite me and is a poor follow-up to Heaven Knows. It does, however, become more palatable as the song builds towards the chorus, but it isn’t likely to be anyone’s favourite song. Yes, it is sequenced poorly within the album structure, but I really don’t feel Church On Fire would have fit anywhere else on the album and I’d go as far as saying that it should have been omitted.

Life Without You is an enjoyable song with a touch of country, folk, and pop that fits perfectly with the overall style of the album and Price’s vocal presentation. It’s an album-only tune, for sure, but it’s songs such as Life Without You that make the album experience all that much more cohesive.

Foolin’ Myself has a killer guitar intro and is a solid pop-rock tune with a catchy chorus that will keep you on the hook.

Forever Me And You is a beautifully crafted ballad that showcases Price's ability to tug at the heartstrings. Price's impeccable vocal control knows few limits meaning that Forever Me And You, much like the rest of the album, is exceptional!

Fragile is a beautiful closing track that permits reflection while also encouraging listeners to play the album again.

Price’s ability to seamlessly blend different genres and deliver heartfelt performances has always set him apart from his contemporaries. The album's production is polished and timeless, allowing it to transcend the era it was released in. Hence, if you're a fan of heartfelt ballads, infectious melodies, and soulful performances, this album is an absolute must-listen; not just for fans of the Australian music scene but for music lovers worldwide.

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Generation X – Kiss Me Deadly (Album Review)

Released in 1981, Kiss Me Deadly by Generation X (Gen X) stands as a monument to the band's contribution to the punk rock and new wave movements of the late 1970s and early 1980s. Fronted by the charismatic Billy Idol, Gen X brought a unique blend of energy, attitude, and musicality to the table, and this album perfectly captures the essence of their sound.

At the time of its release, Kiss Me Deadly found itself firmly entrenched within the punk zeitgeist, albeit with a touch of new wave influence. Yet, perplexingly, Kiss Me Deadly was a commercial failure. During the time many punk bands were beginning to explore different musical territories and Gen X managed to strike a delicate balance between their punk roots and a more melodic, pop-oriented sound; one that ultimately brought punk to the masses as this fusion made the album accessible to a wider audience without sacrificing the rebellious spirit that defined the genre.

Despite being out-of-print since its last physical release on CD in 2005, Apple Music et al, along with digital stores such as iTunes and Quobuz, still have the Deluxe Edition of this classic genre-defining album available. While many will lament the lack of availability of a physical release, it’s wonderful to know that Kiss Me Deadly is still available without the need to seek out a secondhand copy. As such, for this review, we’ll be focusing on the core 10 tracks that were originally released, for the bonus inclusions are B-sides and a couple of live recordings. There’s nothing wrong with that, of course, but as regular readers would note, I’m very focused on the original album experience and feel that you should get to know the album well before venturing into bonus material. Subsequently, the Apple Music stream that I’ll share with you below will be in the form of a Playlist as that allows me to share just the core songs that make up this exceptional album.

Speaking of Apple Music, Kiss Me Deadly is delivered as a CD-quality lossless stream and it’s a rocker. The dynamic range is exceptional and while there are a couple of minor tweaks I’d make to the midrange, simply to fill it out a little more, that can be achieved by tweaking the EQ settings. Other than that, this is one stream that I’m sure you’re bound to enjoy, especially as you find yourself turning the volume up for this is not reproduced with fatiguing brick walling in mind but a dynamic range that harks back to the pre-loudness wars.

Dancing With Myself is the perfect opener for Kiss Me Deadly. While not hardcore punk, per se, Dancing With Myself would go on to become one of Gen X's most recognisable hits. Its driving rhythm and catchy hooks encapsulate the energy and youthful exuberance that defined punk rock.

Billy Idol would remix Dancing By Myself in 1981 for his solo EP release Don’t Stop. While it was still billed as a Gen X tune, I can’t pick my preferred mix for both are thoroughly enjoyable with Idol’s remix being more radio-friendly.

Untouchables shifts the musical direction somewhat as the tempo is reduced. Interestingly, the sonic quality of this particular recording is considerably different to Dancing With Myself. While I’m not sure if that was intentional or an element of the mix and mastering process, the more mellow approach makes Untouchables a thoroughly enjoyable tune as it is far from fatiguing to listen to.

Similar to Dancing With Myself, Untouchables was also redone by Idol for his debut EP, but in this case, I most definitely prefer the original Gen X recording for it’s simply a better rocker and isn’t overproduced.

Happy People has eclectic musical elements that are to die for and that driving bass track is heavenly. It’s a fantastic song; one of their best!

Heaven’s Inside is a great tune that flows perfectly from Happy People. While it isn’t necessarily going to be everyone’s favourite, I find myself captivated by the guitar work for its unassuming, yet it becomes my most appreciated element of this song.

Triumph is a captivating and emotionally charged composition that reminds listeners of the diversity Gen X was aiming for as the new wave elements are present, but more importantly, Triumph is arguably the greatest example of post-punk on the album.

Revenge is so relaxing. Such an emotional response may seem out of place when looking at the album as a whole, but it just goes to show that musical skill can go beyond one’s core genre for Revenge is a beautiful tune.

Stars Look Down has a killer rhythm and while it’s a rather nondescript album tune, Kiss Me Deadly wouldn’t be the same without it. The only criticism I have is related to the chorus for it’s got that coming-of-age teen-styled film soundtrack element that we all once loved but now loathe as we’ve matured. Nevertheless, it’s still a good song.

What Do You Want is Punk 101, what’s not to like?

Poison is one of my favourite songs from Kiss Me Deadly as the pulsating bassline, catchy hooks, and infectious chorus create an irresistible edginess. Idol's snarling vocals are of particular note here, for his raw emotion ensures Poison won’t be easily forgotten.

Oh Mother is, as Dancing With Myself was, a perfect bookend for the record. It encourages me to play the album again as well as turning my attention to other recordings from Gen X and Billy Idol.

Kiss Me Deadly is a cohesive album that embodies the spirit of its time. Gen X successfully blended punk and new wave elements, creating a sound that resonated with fans of both genres. The album's strength lies in its ability to balance aggression with melody, providing listeners with an accessible entry point into punk rock without compromising its rebellious nature.

Ultimately, Kiss Me Deadly remains a testament to the musical prowess of Gen X. With Billy Idol's distinctive vocals and the band's knack for crafting infectious melodies, Gen X solidified their place in music history with this release; an album that is most certainly one of the very best releases from 1981.

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