Glenn Frey – No Fun Aloud (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Check out more Glenn Frey reviews by Subjective Sounds

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Check out more Meat Loaf reviews by Subjective Sounds

Lionel Richie – Self-Titled (Album Review)

Released in 1982, Lionel Richie's self-titled album marked a pivotal moment in his career. Stepping away from his tenure with The Commodores this eponymous album saw Richie establish himself as a solo artist with a unique sound that would shape the R&B and pop landscape for decades to come. The album, often referred to simply as Lionel Richie, is an iconic piece of 1980s music history, combining smooth vocals, heartfelt lyrics, and memorable melodies.

Comprised of nine tracks, with each song showcasing Richie's exceptional songwriting and vocal talents, this self-titled release is a pleasure to listen to for the lossless Apple Music stream, an Apple Digital Master, is simply exquisite. It certainly helps that the album's production is top-notch for Richie worked with talented musicians and producers to create a sound that was fresh, innovative for its time, and remains timeless in retrospect. The arrangements are lush and well-crafted, with a perfect balance of instruments to complement Richie's vocals. The result is a memorable musical experience that is one of the greatest releases in all of recorded music history. 

Serves You Right kicks off the album with a lively, funky groove and infectious rhythm that makes it impossible to resist toe-tapping or dancing along to.

Wandering Stranger slows the tempo, allowing Richie to showcase his incredible vocal range and emotional depth. With a tender moving arrangement, featuring gentle piano notes and strings, Wandering Stranger becomes a melancholic beauty that is amongst Richie’s greatest recordings, for it’s nothing short of a masterpiece and Joe Walsh’s guitar solo ensures that Wandering Stranger is taken to the next level for what can only be described as being a perfect composition.

Tell Me is an up-tempo number that perfectly suits Richie’s vocal style. While it isn’t a standout, and you’re unlikely to seek it out on its own, as an album-only tune it holds the album together and Lionel Ritchie simply wouldn’t be the same record sans Tell Me. 

My Love is one of the album's standout tracks with a lush arrangement that showcases Richie's incredible vocal range, tender delivery, and ability to deliver heartfelt ballads that continue to touch the hearts of music lovers everywhere.

Round And Round is a pleasant and easygoing track with a touch of Motown influence, particularly in the song’s chorus. Richie's vocals are relaxed and smooth, but it is the catchy melody and the harmonious backing vocals that ultimately make Round And Round so enjoyable. While it may not be as prominent as other songs on the record, the success of an album is the sum of all its parts, rather than a couple of exceptional songs. Round And Round is, subsequently, a quintessential B-side.

Truly is, arguably, the most iconic song from the album. It’s a classic love ballad with a simple, yet unforgettable melody. Richie's vocal is at its most soulful throughout this song, and the lyrics express deep and genuine affection. The song's timeless quality has made it a staple at weddings and romantic occasions, and it remains one of Lionel Richie's signature tunes.

You Are oozes warmth and sincerity as Richie's vocals are filled with tenderness and love. It’s another of Ritchie’s timeless classics with a chorus that you simply can’t help but sing along to. Exceptional!

You Mean More To Me is a gentle, heartfelt ballad that perfectly suits Lionel Richie's signature style. The song's lyrics express deep affection and gratitude for a loved one, and Richie's vocals are so tender and sincere that you simply can’t help but be drawn into this song. The melody is simple and memorable, with a delicate arrangement composed with the use of soft piano keys and subtle orchestration, along with the entire band, resulting in a beautiful song that will captivate your soul. 

Just Put Some Love In Your Heart is a short, but ideal closing track as it leaves a lasting impression that will compel you to play the album again. 

Overall, Lionel Richie's 1982 self-titled album is a timeless classic that remains a pinnacle release from the 80s. With its unforgettable melodies, heartfelt lyrics, and Richie's exceptional vocal delivery, it continues to resonate with listeners across generations and is a testament to Lionel Richie's enduring talent and his ability to create music that speaks to music lovers everywhere. Whether you're a longtime fan, or discovering it for the first time, Lionel Richie is a must-listen for anyone who appreciates the beauty of love songs and the magic of a truly gifted artist.

Check out more Lionel Richie reviews by Subjective Sounds

Black Eyed Peas – MASTERS OF THE SUN VOL. 1 (Album Review)

For many fans, the Black Eyed Peas may seem incomplete without Fergie, but MASTERS OF THE SUN VOL. 1 proved that the trio of will.i.am, all.de.ap, and Taboo is still as relevant as ever. Truth be told, the styling the trio has aimed for returns us to old-school Black Eyed Peas; albeit with a more sophisticated musical style. If you’re expecting the pop-styled dance music that has been their cornerstone since Elephunk, however, you’re likely to be disappointed.

MASTERS OF THE SUN VOL. 1 sees the trio focus on political issues that pertain to gun violence, police brutality, race relations, and social media ramifications. While I don’t generally enjoy music for its lyrical meaning, preferring to enjoy the human vocal as another instrumental element in the mix, some songs are so important that they warrant closer lyrical interpretation. That aspect alone is a superpower of the Black Eyed Peas for you can jive with the music, oblivious to meaning, or thoroughly engross yourself in the music and lyrical messaging; the choice is yours. Either way, there’s no wrong way to listen to MASTERS OF THE SUN VOL. 1.

MASTERS OF THE SUN VOL. 1 is an album experience first and foremost, but it is missing a few songs that were released as promotional singles. Street Livin’ is a brilliant song and one that commands empathy within the listener. Get It is a great little tune but is different enough from the other songs featured on MASTERS OF THE SUN VOL. 1 that it simply wouldn’t have been a good fit, unlike Street Livin’, had it been included on the album. 

What is a good fit, however, is the album artwork. While the appreciation of art is as subjective as music is, the Black Eyed Peas never disappoint with their chosen cover art designs. Similarly, the Lossless Apple Music stream is simply stunning and has been mastered perfectly for the Black Eyed Peas’ style. There are no glaring aspects that will detract from the experience for the mix and soundstage are perfectly presented, ensuring that no aspect is concealed. Even with heavier bass-driven tracks, you won’t find muddiness creeping into the music, unless you add EQ’d bass, as the album thumps just as the best Hip-Hop/Rap albums do. It really is quite spectacular to listen to for not all music is made, in the modern era, with such perfection. 

BACK 2 HIPHOP (feat. Nas) is a fantastic start to the album. The song emphasises the return to their authentic hip-hop roots and explores the theme of rekindling the essence of the genre. Like all good opening songs, it sets the tone of the album from the outset. Yes, this isn’t a song that you’ll likely rap along to, but I dare you to sit still while listening to BACK 2 HIPHOP as it’s impossible to not connect with the rhythm.

YES or NO flows seamlessly from BACK 2 HIPHOP and while I don’t go for lyrical interpretation or meaning, as I’ve suggested earlier, YES or NO is vocally brilliant. A great song, yes, although the sampling is a little pedestrian despite being perfectly suited to the song. Additionally, the short vocal calculation rhythm at the end is brilliant. 

GET READY is one of the greatest songs on MASTERS OF THE SUN VOL. 1. I’d also class it as one of the greatest songs that the Black Eyed Peas has ever recorded and the inclusion of Lauren Evans pulls the song together. Yes, I love The Jacksons’ sample from Destiny of That’s What You Get (For Being Polite). Plus, the jazzy Joe Henderson Black Narcissus sample is also a superb addition and further ensures that GET READY is an absolute masterpiece.

4EVER (feat. Esthero) is smooth and melodic, but the introduction is a little underwhelming. While I’ve suggested how strong the mix is, and I stand by that assessment, I find that some of the instrumental elements and vocals, on this song, are too distant in the soundstage. It’s clearly intended to be that way, meaning that I don’t consider it a fault, but it’s an interesting choice nonetheless. 4EVER isn’t fundamentally bad, but it isn’t a tune that you’ll be seeking out on its own, most likely due to the chosen composition. 

CONSTANT Pt.1 Pt.2 (feat. Slick Rick) is a great track with a fluid transition from 4EVER. Given it’s a two-part song, I can’t help but wonder if 4EVER couldn’t have been shortened and merged into CONSTANT Pt.1 Pt.2 because it would work well sonically. Nevertheless, CONSTANT Pt.1 Pt.2 is a fantastic tune.

DOPENESS (feat. CL) has a killer rhythm that combines hip-hop and pop elements, with a catchy chorus, that ensures your body keeps moving involuntarily. 

ALL AROUND THE WORLD (feat. Phife Dawg, Ali Shaheed Muhammad & Posdnuos) continues the masterful flow of the album and while ALL AROUND THE WORLD may not be a standout tune, it again validates the importance of the album experience for the Black Eyed Peas have done far more than just slap together a series of random songs and call it an album. 

NEW WAVE is magnificent. I suggest you turn the volume up and become immersed in the soundstage. 

VIBRATIONS Pt.1 Pt.2 has a great vibe. 

WINGS (feat. Nicole Scherzinger) is a flawless song and Scherzinger’s vocal is a perfect addition to the tune. 

RING THE ALARM Pt.1 Pt.2 Pt.3 is, jazzy, hypnotic, and nothing short of perfection.

BIG LOVE has a pertinent message that needs to be heard by all. While not as important as the focus on the messages of unity, love, and the impact of gun violence, BIG LOVE is a perfect closing tune that compels you to listen to the album again. Given its topical subject, it’s also one of those songs that will reside in your mind, thereby allowing you to reflect on the song’s message long after you’ve heard it. 

MASTERS OF THE SUN VOL. 1 wasn’t just a return to form, it is one of the most compelling and socially conscious albums the Black Eyed Peas have ever released. Pivoting back to their hip-hop roots, while addressing pressing social issues, was a masterful use of their platform and is a testament to their musical versatility. If you're a fan of Hip-Hop and appreciate socially aware themes, this album is worth a listen. Even if lyrical interpretation isn’t your thing, and you just want a killer Hip-Hop/Rap release, MASTERS OF THE SUN VOL. 1 won’t disappoint as it’s a musical marvel.  

Check out more reviews by Subjective Sounds

Michael Jackson – Thriller (Album Review)

Iconic best describes Thriller, but is it Michael Jackson’s greatest album? 

From a sales perspective and the ability to capture the zeitgeist; absolutely! However, the more I reflect on the album, the more I find that it isn’t as cohesive as the masterpiece that is Off The Wall. It also isn’t as energetic as Bad and while Dangerous rounds out his most successful solo era releases, and is a little too lengthy, it too is a stronger album. 

Don’t get me wrong, dear reader, Thriller is an exceptional release, but once you get past the fanfare and key singles that came from the album, the album-only songs don’t necessarily ensure that Thriller is a fluid album experience from start to finish. Nevertheless, one thing is indisputable and that is that Thriller forever changed the world of music upon its release in 1982. 

As a game-changing cultural phenomenon, Thriller continues to captivate audiences, transcending generations, to this day and remains one of the greatest releases from 1982. Of course, it wasn’t just the music that made Thriller so successful, for it arrived hot on the heels of the MTV era and Jackson took thorough advantage of this new platform ensuring that his music videos were every bit the visual spectacle counterpart to his audible wonders.

In many respects, had it not been for the emerging music video revolution and the Motown 25: Yesterday, Today, Forever television special, where Jackson performed Billie Jean and debuted the moonwalk, one must question if Thriller, Jackson’s sixth solo studio album, would have been the cultural landmark it turned out to be.

Album artwork, certainly in the 80s, played a key role in attracting an audience and while Thriller was successful for a multitude of reasons, the iconic cover art would have been stunning when seen on the shelves of your local record store. It isn’t far-fetched to suggest that the artwork alone could have sold the album for it has a unique quality that allows it to stand out from the crowd. With a level of visual sophistication, you immediately get a sense that what you’re about to hear is something very special. While we shouldn’t judge a book, or a record, by its cover, it is often true that compelling artwork mimics intriguing music and in this case, Thriller doesn’t disappoint. 

However, with over 700 different versions of Thriller, modern collectors face an incredible challenge in finding an edition that best suits their tastes. The good news is that due to its high production, most fans will be content to listen to any version of the album. There are, of course, reasons why one may wish to own multiple copies of Thriller but I find myself content with not only the Hi-Res Lossless Apple Music stream, an Apple Digital Master, but with my 2009 Music On Vinyl (MOV) reissue edition that I’m fortunate to own. Yes, I could track down the various versions, many of which are highly regarded, but I increasingly find myself tiring of such endeavours as it becomes more about finding perfection than simply appreciating the music I love. 

As to which edition I prefer, both have their unique qualities. The Apple Music stream is exquisite and if you haven’t got a physical copy, the stream is likely all you will ever need; it’s that good! However, the vinyl reissue is musically fluid with exceptional dynamics and plenty of bass punch. It’s a lovely all-rounder. The only flaw that I can speak of is that there is a little too much sibilance throughout Side 2 of the record. The sibilance becomes less apparent when playing on my smaller, less revealing system, but it’s something that some of you may find distracting. That said, Jackson does have a small lisp in his vocals anyway, but it’s an issue here as it is amplified a little. Additionally, there are some minor musical elements that sound too distant in the mix on the vinyl reissue, whereas they are much clearer on the streaming counterpart. Again, these issues are not major, and most music lovers won’t even notice them, but if you choose to pick up the vinyl reissue from 2009 as I have, knowledge of this may help you make an informed decision. 

Before taking a look at the songs that make up Thriller, I wanted to take a moment to acknowledge the 2008 reissue and its series of remixes with various artists. Yes, it was officially sanctioned, but I don’t classify it as being true to the Thriller album experience. Subsequently, this review will focus on the core nine tracks that make up the original release of the album. The subsequent bonus material that was on the 2008 reissue remains readily available for those of you who are interested. The 2001 Special Edition is a little more uncommon and truthfully, I never appreciated the bonus songs, and interviews, tacked onto the backend of the album. It really should have been released as a separate disc, but alas, that is one edition that I’ll never experience the Fear Of Missing Out (FOMO) over. Finally, the Dolby Atmos mix on Apple Music is adequate. At this stage, I’ve been listening to Thriller in stereo for over four decades and the surround mix offers me nothing new. In my mind, Thriller should always be a stereo-only release.

Wanna Be Startin' Somethin’ is a superb funk-styled opening track that is a fantastic complementary counterpart, in Jackson’s catalogue, to Don’t Stop Till You Get Enough. With a dynamic rhythm and mix to match, Jackson’s vocal delivery is as catchy as the infectious melody. If you’re sitting still while listening to this song, you’re listening wrong as your body wants to move involuntarily to one of the greatest album openers of all time. 

Baby Be Mine offers a smooth disco-styled flow that slows the tempo somewhat. It should by all metrics be a jolt to the senses, especially following the album’s energetic opener, but the sequenced flow ensures that Baby Be Mine is not distracting in its chosen position.

The Girl Is Mine (with Paul McCartney) is playful and a little gimmicky, yet that is similar to the style these two master musicians had utilised previously with Say Say Say. Still, the interplay between these two legends is simply wonderful and while The Girl Is Mine is far from my favourite Thriller era tune; Thriller simply wouldn’t be the same without this light-hearted pop song. 

Thriller is a synthetic disco-funk masterpiece that is eerie, captivating, and a true musical marvel. The spooky atmosphere, incorporating Vincent Price’s unique voice-over, ensures that Thriller is not only the perfect title track but a song that remains part of the social consciousness to this day. In fact, Thriller doesn’t sound dated at all; thanks to the exceptional production. That aspect alone is surprising, especially considering 80s-era sound effects were applied to the mix, but good music will always stand the test of time and Thriller is timeless. 

Beat It is arguably the heaviest rock and roll song the King Of Pop ever recorded and is so good that I also consider it to be one of the greatest rock and roll songs of the 80s; an unlikely candidate, yes, but it’s right up there with the best of the best. Of course, it doesn’t hurt having the one and only Eddie Van Halen performing one of the greatest guitar solos ever recorded. Add Jackson’s dynamic vocal presentation, and the song’s anti-violence message, and you’re left with a song that can only be described as an anthemic rocker.

Billie Jean is dance meets funk with a touch of soul and R&B. Much like the other landmark songs on this release, as soon as you hear the first note, you know it's a Michael Jackson song. The captivating bassline and infectious rhythm further ensure Billie Jean will remain an earworm long after the album has concluded.

Human Nature is a soothing ballad that shifts the tone for the rest of the album. While it’s a lovely tune in its own right, and a perfect song for the album, I find that it’s one that I rarely seek out on its own. It isn’t that I dislike it, anything but, it just isn’t a standout when a record, such as Thriller, has so many other exceptional songs.

P.Y.T. (Pretty Young Thing) is so bad it’s good. It really is the embodiment of 80s pop with a touch of disco that our senses thoroughly enjoy, for it’s impossible not to dance along to this classic tune. 

The Lady In My Life is a simply gorgeous song to close the album on as Jackson’s tender vocal reaches right into your soul, encouraging you to spin the record again.

Thriller is ultimately a testament to Michael Jackson's versatility and ability to create music that resonates with a broad audience. While I don't rank it as his greatest release, and feel it is overrated, it is successful because it’s extraordinarily good. From energetic dance tracks to soulful ballads, Thriller offers a diverse range of musical experiences that will stay with you well after the album has ended, thereby making it an exceptional release in the world of music and one of the best albums released in the 80s.

Check out more Michael Jackson reviews by Subjective Sounds

John Denver – Seasons Of The Heart (Album Review)

In 1982, John Denver released Seasons Of The Heart, a beautiful collection of songs that exemplify his signature folk-pop sound and heartfelt songwriting. As a masterful storyteller, Denver takes music lovers on an audible journey that resonates deeply with themes of love, nature, and the human spirit. This record stands as a testament to his remarkable ability to create songs that capture the essence of the ever-changing seasons of life.

Receiving only modest success at the time of release, Seasons Of The Heart is a hidden gem within Denver’s extensive catalogue of music. Of course, sales success is a poor judgement of quality and there’s little doubt that this album was overlooked at the time as I consider it to be one of the greatest albums released in 1982. Regardless of where you would subjectively rate this release, one thing is for certain, it’s a masterpiece! 

While it hasn’t been reissued, via any physical format, since the last official CD release in 1986, the Lossless Apple Digital Master is spectacular. It’s so good that while I may lament the absence of a physical reissue for Seasons Of The Heart, I can say with complete honesty that from a sonic perspective, we’re not missing anything. This is one, of many examples, whereby the stream is more than good enough and is so impressive that even if a physical release was available, I’m not sure it would warrant a purchase. Although, I adore the album artwork and would love to have that on the larger vinyl canvas. 

Seasons Of The Heart is a glorious opening tune and an ideal title track. Featuring introspective lyrics and Denver's unmistakable warm vocals, Seasons Of The Heart will draw you in from the very first note as it sets the tone for the entire album.

Opposite Tables is a lovely hidden gem that not only plays into Denver’s style but incorporates nostalgic memories of the greatest recordings of yesteryear with a catchy chorus and toe-tapping rhythm that will captivate you. 

Relatively Speaking has a lighter upbeat tune that is simply delightful. While all of the songs on Seasons Of The Heart are exceptional in their own right, when listening to the album’s intended sequencing, you’ll notice a cohesion that ensures the album experience is alive and well.

Dreams is simply gorgeous. The song's melody is infectious, and its lyrics resonate with the dreamer in us all. If you’re after a relaxing tune, you can’t go wrong with this one for the musical backing tells a story all by itself, sans lyrics. 

Nothing But A Breeze reminds me fondly of John Fogerty and as much as I would love to hear him cover Nothing But A Breeze, Denver performs it so perfectly that even Fogerty, with his musical prowess, would be unlikely to add anything of substance to this classic country rock masterpiece. 

What One Man Can Do slows the tempo for what can only be described as a beautiful ballad. It’s not only one of the best songs from the album, it is one of the greatest songs Denver ever recorded.

Shanghai Breezes continues the beautiful musical experience. If there is a criticism to be made, however, it’s that the drum rhythm has an audible crunching. It may have been intentional, but it’s ultimately distracting.

Islands is John Denver 101 with its magnificent sweeping musical backing and Denver’s otherworldly vocal presentation.

Heart To Heart is one of my favourite songs of all time. Yes, it’s corny and cliché and is very much a song of its era, but that chorus is one that I could listen to on repeat indefinitely as it’s exceptional.  

Perhaps Love is the solo counterpart to the original duet with Plácido Domingo. While both versions have a place in the annals of music history, I must admit that I prefer this solo interpretation as it simply sounds right.

Children Of The Universe closes the album beautifully for Denver is once again front and centre with an introspective piece that is layered onto a lovely musical bed. 

Seasons Of The Heart, ultimately, showcases John Denver's musical and emotional depth like no other album from his extensive discography. His soulful vocals, meaningful lyrics, and masterful guitar work make this album timeless; one that you’ll find yourself coming back to time and time again. 

Check out more reviews by Subjective Sounds

Glenn Frey – After Hours (Album Review)

Glenn Frey's After Hours, released in 2012, offers a delightful departure from his rock 'n' roll roots with the Eagles. Delving into the Great American Songbook, Frey delivers a collection of timeless classics with his signature charm and musical finesse that fans, and newcomers alike, will find endearing.

Sadly, After Hours would be Frey’s final studio album, but in many respects, I couldn’t imagine a more fitting closing chapter for After Hours is reflective, beautiful, and offers a level of maturity that even at the height of Frey’s career, he never quite reached for the music he recorded for this album required the soulful tones of a mature musician. Even those who were not as enamoured with Frey’s Eagles’ recordings, instead preferring his solo works, will find After Hours to be considerably different but the shift in style simply sounds right. It is as if it were always meant to be and while dissimilar to his more commercial works, I’ve no doubt that fans will find something to love about After Hours for it is not that far removed from his other recordings and these interpretations are so lovely that you simply shouldn’t overlook this masterpiece.

While many will note the spit and polish applied to all of the Eagles’ output, it is fair to say that Frey’s 80s releases weren’t necessarily of the same sonic calibre. Granted, they were 80s rock releases that had the specific sonic cues of the era, but in After Hours we don’t need to be concerned for it was recorded, mixed, and mastered beautifully. The Lossless Apple Music stream, an Apple Digital Master, is exquisite and is simply a pleasure to listen to. While I’ve been fortunate to have heard the vinyl release, which was stunning by the way, the Apple Music stream is in every way its complementary counterpart. Yes, the vinyl release was a little smoother, for that is the nature of the format, but the emotive element rings through as true on both releases.

While the music is undoubtedly impressive, the same can’t be said for the cover art. It works for the style of music, and invokes the nighttime street view associated with countless jazz clubs, but is somewhat lacklustre for an artist of Frey’s calibre. That said, most of Frey’s solo works had average cover art designs, if we’re to be completely honest, so I really shouldn’t be as surprised as I am by the simple design of After Hours. That said, it’s all about the music, so let’s take a look at the songs that make up After Hours.

For Sentimental Reasons opens the album with a warm and inviting rendition of this classic song. Frey's smooth vocals immediately set the tone, drawing listeners into a world of nostalgic melodies and heartfelt sentiment.

My Buddy is campy, but I love it! That drumming is off-the-charts good, and the fullness of all backing musical elements will immerse you in the music while Frey remains front and centre. The performance and subsequent recording of My Buddy is done so well that you’d swear you were in the studio with the band.

Route 66 is lively and full of energy. Yes, Route 66 is one of the greatest songs to have ever been composed and this interpretation is no exception. It isn’t fundamentally different and doesn’t necessarily take the tune in new directions, but it also doesn’t detract from the classic renditions we all know and love. It is this similarity that is the song’s strength for fundamentally changing a classic such as this would be met with exasperation.

The Shadow Of Your Smile is a lovely song that further showcases Frey’s vocal versatility as he adds a touch of sophistication to this recording.

Here’s To Life is one of the most beautiful songs on the album. Frey manages to capture the essence of the song’s lyrics, reflecting on life’s ups and downs, masterfully. As much as I adore Frey’s rendition, however, I can’t help but wonder just how exceptional this tune would have sounded had George Michael recorded it for his spectacular Symphonica release. Nevertheless, Frey’s moving and contemplative performance is flawless and is one of the greatest vocal recordings of his career.

It’s Too Soon To Know is a poignant ballad, and Frey's vocal delivery is, as is the case throughout After Hours, sincere and touching.

Caroline, No is a standout recording of this Beach Boys classic. Frey adds his own style to the song while preserving its melancholic beauty, making it a fresh and captivating interpretation.

The Look Of Love oozes with sensuality and sophistication, but nobody does it better than Diana Krall.

I’m Getting Old Before My Time is a lovely tune, even if not a standout on the album. While it flows well within the album’s structure, it is unlikely you’ll be compelled to seek out I’m Getting Old Before My Time on its own.

Same Girl is stunning! Frey’s vocal prowess shines through and the song quickly becomes a hidden gem of his illustrious career. Filled with nostalgia and warmth, it’s an audible pleasure to be able to sit back and listen to this master musician at work.

After Hours is the only original composition, on this release, and it’s a lovely way to close the album. Writing with Jack Tempchin, the result is incredible as After Hours doesn’t feel out of place with the other standards featured on this record. That’s no easy task, even if you are as skilled as these gentlemen. Standards are standards for a reason and After Hours is a modern-day offering that encapsulates the overall mood of the album.

After Hours is a delightful journey through the classics of American music. Frey’s smooth, soulful vocals and heartfelt interpretations breathe new life into these timeless songs. The album is a testament to Frey's musical maturity and versatility, proving that his talent transcends rock music. After Hours really is Frey at his very best. Yes, his Eagles work is beyond reproach, but After Hours is his greatest solo release and one that should not be overlooked.

Check out more Glenn Frey reviews by Subjective Sounds