Nazareth – Snakes 'n' Ladders (Album Review)

Released in 1989, Nazareth’s Snakes 'n' Ladders is not only one of the most underrated albums released by this classic band, but it is the very definition of a hidden gem. Featuring soaring vocals and their signature hard rock flair, Snakes 'n' Ladders continued to showcase the band’s dedication to their art; even as their commercial success waned. Perhaps it could be suggested that the frequency in which Nazareth was pumping out albums caused fatigue amongst fans, or maybe it was simply a changing of the musical landscape that resulted in lacklustre sales and interest from music lovers. What it most certainly wasn’t, however, was Nazareth’s musical talent for as much as I adore and consider Hair Of The Dog to be their greatest album, it is but one album in an exceptional career spanning more than five decades and Snakes 'n' Ladders is, in every way imaginable, it’s equal.

For long-time fans of the Scottish rockers, Snakes 'n' Ladders is also notable in that it marked the final studio release to feature Manny Charlton, the legendary guitarist who laid down some of hard rock’s greatest licks and riffs. However, as with much of Nazareth’s back catalogue, the output was truly a band effort and singling out individuals only aims to highlight their specific musical contribution of which Charlton’s was essential.

From a visual standpoint, some may lament the low-key album artwork, but it’s one of their more compelling record covers and a massive improvement over the cover art of their 1986 release, Cinema. Sonically, while I don’t currently own a physical release of this classic album, the lossless Apple Music stream is more than adequate and is most likely an exact copy of the 1997 remastered reissue as it contains the same 14-track structure as that release. Subsequently, if you already have access to that reissue, the streaming edition is unlikely to offer you any sonic differences. That said, the recording, mix, and mastering are ideal and at no time will you feel as if the sound is lacking for the soundstage is well developed and the album rocks.

Additionally, while I appreciate that many of you enjoy bonus material, I am less enamoured with it, particularly as it pertains to adding live recordings to the backend of studio albums. Subsequently, as we take a look at the songs that make up this incredible release, you will notice that the two live recordings of Woke Up This Morning and Bad Bad Boy have been omitted.

Animals launches the album with a masterful rhythmic beat that melds into a song with country rock tuning. McCafferty’s vocals are exceptionally strong, as has always been the case, but when combined with the overall mix of Animals, you’ll be blown away by this underrated opening track as the raw essence of Nazareth’s rock roots comes shining through.

Lady Luck shifts the pace slightly with this mid-tempo bluesy number. Charlton’s guitar work on this song is to be commended for his playing is simply magnificent as it complements the song’s laid-back soulful vibe. The result is a killer tune that deserves to be heard by all but has sadly only been heard by die-hard fans of the band.   

Hang On To A Dream features a more melodic and contemplative sound, when compared to the previous tunes, but the ballad-like quality of Hang On To A Dream provides a pleasant contrast to the album’s heavier songs. McCafferty’s vocals are, again, a highlight, but as you listen to the song, you’ll likely be amazed by the lush production as this tune is multi-layered and has a mix that is an absolute pleasure to listen to.

Piece Of My Heart is a cover of Erma Franklin’s original 1967 tune and is a darn good one. While it pays homage to the original, Nazareth infuses the song with their signature style. The result is an exceptional hard rock interpretation featuring powerful vocals and a solid instrumental backing. Granted, there is no shortage of interpretations for Piece Of My Heart, but none are quite like Nazareth’s.

Trouble brings back the hard-hitting rock sound with a fast-paced energetic rhythm. McCafferty sings his soul out, on this tune, and the musical bed showcases the band’s ability to craft engaging rock anthems for Trouble is a sonic delight and a highlight of the album.

The Key has a killer opening guitar lick that remains constant throughout the song. However, it becomes a little fatiguing as you’re waiting patiently for the song’s direction to change, but it doesn’t do so until almost halfway through the song, then returns to the same lick. It had promise, but The Key is most certainly an album-only tune, a solid one, but not a memorable one.

Back To School is a fun, upbeat track, with a rebellious spirit that captures the essence of rock ’n’ roll’s carefree attitude.

Girls is a straightforward rocker with a catchy hook and McCafferty’s characteristic raspy vocals shine through on this enjoyable no-frills track.

Donna - Get Off That Crack is a great tune, from a musical perspective, but more importantly addresses the serious issue of drug addiction; an aspect of life that is unfortunately still prevalent in the world today. It is, therefore, a shame that so few will hear this song for the gravity of the subject matter can’t be understated.

See You See Me is a melodic soft rock number that was never destined to be a standout, but I’ll be damned if it isn’t worthy of an Essentials, or Deep Cuts, playlist; it’s that good!

Helpless is the album’s original closer and while the slow build lacks the finesse and drive of Nazareth’s other songs, this Crosby, Stills, Nash & Young cover is a lovely tip of the hat to the supergroup. The instrumentation is rich and layered, with McCafferty delivering an impassioned vocal performance, and while it will leave you in a contemplative mood, I’m glad to say that my preferred tracking sees Winner On The Night as the closing tune for it’s a stronger finale, in an otherwise exceptional album.

Winner On The Night is an exceptional tune and one in which McCafferty knocks it out of the park for his vocal dexterity here is magnificent. My only complaint is that the fadeout is a little abrupt. Nevertheless, while some may prefer the closing track Helpless, Winner Of The Night is much more in line with Nazareth’s overall style and it therefore not only allows for reflection but will see you compelled to play the record again for this is one release that can be seldom listened to only once.

Overall, Snakes 'n' Ladders is a testament to Nazareth’s enduring ability to adapt and evolve while staying true to their rock roots. Yes, it wasn’t a commercial success for the band, but with the album’s mix of hard-hitting rockers and melodic ballads, this is one release that offers something for every fan whilst remaining a hidden gem within their extensive back catalogue. If you’re a fan of classic rock, don’t overlook this masterpiece for it is amongst their greatest works and is one of the best albums of the 80s; particularly 1989.

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Mötley Crüe – Dr. Feelgood (Album Review)

Mötley Crüe's Dr. Feelgood, released in 1989, stands as one of the band's most iconic albums, and is, without a doubt, one of the greatest hard rock albums of the 80s. Produced by the legendary Bob Rock, this album showcases a polished and powerful sound that blends the band's raw energy with a refined production style. Dr. Feelgood not only achieved commercial success, reaching No. 1 on the Billboard 200 with sales exceeding 6 million units, but also cemented their status as rock and roll legends.

Part of the appeal is due to the incredible album artwork that looks magnificent on the larger vinyl canvas. Of course, in 1989, CDs and the Compact Cassette had overtaken the vinyl record in album sales, but the striking nature of the album’s cover would have most certainly stood out in record stores worldwide. While I’m fortunate to own the 2008 Eleven Seven/Mötley Records reissue (cat: ESM/MR 342), a sonic marvel of a reissue, the artwork reproduction is sadly lacklustre.

Unfortunately, there’s a mottling effect that appears throughout; likely a by-product of the original album artwork being scanned incorrectly. The inner-sleeve liner notes and lyrics are reproduced clearly but the inner-sleeve artwork also exhibits this mottling effect. While it isn’t a major issue, and one should be more concerned with the sonic reproduction of their records, it’s an element that collectors may wish to look out for, should they consider picking up this particular reissue.

Of course, regardless of cover art, an album is only as strong as its songs and in this regard, there isn’t a bad tune to be heard for Dr. Feelgood is all killer, no filler; one that plays like a greatest hits release rather than a studio album. As it pertains to the 2008 vinyl reissue, the record is flat with a relatively low noise floor that is only audible between tracks. The mastering of the record, however, is spectacular. While the original album was mastered by George Marino at Sterling Sound, this particular reissue was re-mastered by Kevin Gray at Acoustech.

While the average music lover may be unaware, these two mastering engineers are revered and are known for pumping out some of the very best-sounding records. As to why Dr. Feelgood was remastered in the first place, I’ve no idea, as I would assume the original mastering would have been superb. Nevertheless, if you’re after a warm, rich, analogue sound with an enveloping and rocking soundstage that offers clear separation between all musical elements, and bass that will penetrate your soul, you can’t go wrong with this particular release.

While the vinyl reissue is sonically impressive, the same cannot be said for the lossless Apple Music stream. By comparison, it sounds flat and lifeless with a shallower soundstage. Of course, you can’t easily take vinyl with you; unless you’re into creating needle drops, that is. As a result, I seldom listen to the stream for it simply doesn’t compare, but if you enjoy the Apple Music stream, may I suggest that you don’t compare editions for doing so will only bring about frustration and it really isn’t as bad as my comparison above makes it sound.   

T.n T. (Terror ‘n Tinseltown) is a great, to-the-point, starter track that is an ideal non-musical introduction for Dr. Feelgood.

Dr. Feelgood is a hard-hitting funk metal anthem, for the riff and rhythmic introduction is legendary; even if you’re new to the album and Mötley Crüe. Mick Mars’ sensational guitar riff, and performance throughout, is a highlight, but that could be said for the entire band as Dr. Feelgood is a textbook example of how to write, produce, record, and mix a killer rock and roll tune.

Slice Of Your Pie oozes with a bluesy groove and slows down the tempo of the album a little. It’s also great to hear a little Steven Tyler (of Aerosmith) in the song’s introduction, as well as on backing vocals, for his unmistakable vocal cues add to the overall appeal of the song. If nothing else, Slice Of Your Pie showcases the band's ability to blend different musical styles, combining their signature hard rock sound with a touch of blues-rock.

Additionally, if you’re a Beatles fan you may appreciate the closing elements that pay homage to I Want You (She’s So Heavy); one of their best songs from their legendary 1969 release, Abbey Road.

Rattlesnake Shake, with its swaggering rhythm and catchy chorus, delivers a high-energy rock and roll vibe that will see you toe-tapping and head-bopping from the very first note.

Kickstart My Heart is one of Mötley Crüe’s most well-known songs. The adrenaline-fuelled anthem, complete with rapid-fire guitar riffs and pulsating drums, creates a sense of urgency and excitement that will appeal to just about any music lover for it reaches into your soul and doesn’t let go.

Without You is a beautiful power ballad that showcases the band’s softer side without losing their edginess. The overall arrangement and layered production add a grandiose feel, but when you combine the emotional vocal delivery, and melodic nature of the song, particularly with regard to the guitar solo, it’s difficult to find fault in this classic tune.

Same Ol’ Situation (S.O.S) is an upbeat rocker featuring catchy hooks and a sing-along chorus. It successfully captures Mötley Crüe’s signature blend of glam metal and hard rock and quickly becomes one of the most enjoyable songs from the album.

Sticky Sweet brings back the bluesy rock vibe and Steven Tyler’s unique vocal backing. Interestingly, Bryan Adams is also credited for backing vocals, but his contribution gets lost in the mix. Nevertheless, between the playful lyrics and catchy rhythm, you really won’t have time to consider the individual guest vocalists on this infectious and memorable tune.

She Goes Down, with its raunchy lyrics and sleazy guitar riffs and overall rhythm, embodies the band's notorious wild side. It is, quintessentially, Mötley Crüe!

Don’t Go Away Mad (Just Go Away) features a mix of acoustic and electric guitars, creating a dynamic and engaging blues-based sound. While not a ballad, per se, the song’s catchy melody ensures that Don’t Go Away Mad (Just Go Away) is one of the album’s most memorable tracks.

Time For Change is not only epic, but it’s one of the greatest closers in all of recorded music history. Not only will it leave you in a reflective mood, but it will compel you to listen to the album again for Dr. Feelgood can seldom be listened to only once.

Dr. Feelgood is a testament to Mötley Crüe's ability to evolve while staying true to their roots. The album's diverse range of songs, from hard-hitting rock anthems to heartfelt ballads, showcases the band's versatility and enduring appeal. Add to that its polished production and memorable tunes and Dr. Feelgood becomes a defining album in Mötley Crüe's discography and a must own/listen for any hard rock fan.

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Michael Bolton – Soul Provider (Album Review)

Released in 1989, Soul Provider, Michael Bolton's sixth studio album firmly established him as a powerhouse in the adult contemporary and pop-rock genres. Known for his raspy yet soulful voice, Bolton delivers a collection of songs that balance power ballads with upbeat tracks, showcasing his vocal prowess and passionate delivery. Most importantly, there is a focus and level of cohesion not heard on his earlier releases. While some will lament the soppy love song style of Soul Provider, no one can deny the success this formula generated for this exceptionally talented musician.

Sonically, Soul Provider is amongst the very best recorded, mixed, and mastered albums of the era. Every aspect has been carefully considered and is perfectly aligned with Bolton’s overall style. The result is a record that is thoroughly enjoyable to listen to, so much so that even the lossless Apple Music stream offers a pleasant listening experience that will appeal to even the most ardent audiophiles. Granted, as with all albums, Soul Provider won’t appeal to everyone. However, for those of us who do appreciate the album, it is easy to understand why it has sold more than 12 million copies; for it is exceptional.

Soul Provider, with its soulful melody and heartfelt lyrics, launches the album superbly. Kenny G features prominently on saxophone and the song is, most certainly, stronger for his inclusion; especially when it comes to his short, but magnificent, solo.

Georgia On My Mind pays homage to Ray Charles’ legendary interpretation of the song. Bolton’s rendition is emotionally charged, with a rich orchestral arrangement that further highlights the timeless nature of the song. Georgia On My Mind may forever be associated with Ray Charles, but Bolton’s is one of the best interpretations; another being Willie Nelson’s from his 1978 release, Stardust.

It's Only My Heart is one of the strongest songs on the album, yet it wasn’t released as a single. Of course, when you have a selection of songs as strong as those featured on Soul Provider, some naturally have to remain as album-only tunes and in this case, It's Only My Heart is a hidden gem. Yes, it is 80s 101, but unless you dislike 80s-era recordings, that isn’t a bad thing.

How Am I Supposed To Live Without You is, arguably, the most well-known song from the album for it wasn’t only a massive hit for Bolton, but this powerful ballad also saw incredible success for Laura Branigan when she released it as a single in 1983. The song's poignant lyrics, lush production, and soaring chorus have made it a classic; one that resulted in Bolton winning a Grammy Award for the song in the Best Male Pop Vocal Performance category.

How Can We Be Lovers switches gears with this upbeat, catchy, pop-rock anthem. Featuring memorable guitar riffs and dynamic percussion, it's one of the more radio-friendly tracks on the album and one of Bolton’s greatest recordings.

You Wouldn't Know Love is an incredible rocking tune that suits Bolton perfectly for as strong as Cher’s Heart Of Stone album is, her rendition simply doesn’t have the oomph that Bolton could deliver; despite the same musical composition. Either way, if you haven’t already, this is one song that you will want to turn the volume up on for the only way to listen to You Wouldn't Know Love is at room-filling levels.

When I'm Back On My Feet Again is a beautiful song that speaks to the resilience and determination to overcome adversity. While Diane Warren penned it with her late father in mind, it’s such an inspirational tune that it can be applied to all, and any, challenges we face throughout our lives. Ultimately, Bolton’s performance is uplifting and he was the perfect vocalist for this song as his vocal reach will not only touch your soul but will envelop you in the hope of better days ahead.

From Now On is a duet with Suzie Benson that blends Bolton's powerful vocal with Benson's softer tones. The song is a heartfelt promise of commitment and love, with harmonies and an understated musical bed that adds emotional depth, allows the vocals to shine. From Now On is, arguably, a perfect mix and could be considered a textbook example of how to record and mix a duet.

Love Cuts Deep is another tune that showcases Bolton’s impressive vocal range. It’s a mid-tempo number with a rock edge and some incredible musical elements that drive the song forward. Yes, it’s an album-only tune, one that was never destined to be a chart-topper, but songs such as this ensure that the album experience is stronger than the hits alone.

Stand Up for Love is a beautiful closer with a dynamic arrangement that, again, highlights Bolton’s powerful vocals. Stand Up For Love will leave you in a contemplative mood whilst simultaneously encouraging you to spin the record again and is, therefore, the quintessential album closer.

Soul Provider, as an album, encapsulates Michael Bolton's strengths as a vocalist and songwriter. The mix of ballads and upbeat tracks showcase his versatility, while the polished production ensures each song shines. The emotional depth of his performances, combined with memorable melodies, makes this album a standout in his discography and one of the best albums released in the 80s; certainly in 1989.

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Lenny Kravitz – Let Love Rule (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Faith No More – The Real Thing (Album Review)

It may not have been their first record, but The Real Thing, released in 1989, is Faith No More's breakthrough album and so happened to be the debut with their new lead vocalist, Mike Patton. With a blending of genres, including funk, metal, rap, and elements of progressive rock, The Real Thing is a groundbreaking release that has become not only a classic of the associated genres but is amongst the very best music released during the era.

While fans of Faith No More’s previous vocalist, Chuck Mosley, may lament the lineup change, it’s fair to say that Patton, much in the same way as Brian Johnson did with AC/DC, took on the role as new lead vocalist and not only paid respect to his predecessor but ensured that his unique styling melded perfectly with the band. Additionally, as solid as their earlier albums We Care A Lot and Introduce Yourself are, both pale in comparison to the higher production values, songwriting, and musical performance featured on The Real Thing; a release that would see Faith No More rise to the top of the charts for the first time in their career.

While the recording and mix of the album are excellent, the mastering of the lossless Apple Music stream is less than ideal. The soundstage is a little too boxed in, meaning that you’ll notice your speakers rather than them disappearing. There’s adequate separation between all elements, and the lead vocal does position itself perfectly atop and slightly in front of the musical bed. It just isn’t as immersive an experience as one would ideally like. If you have a manually adjustable equaliser, attached to your stereo, you’ll likely find it useful in extracting a sonic presentation that best suits your subjective tastes.

From Out Of Nowhere was the first single released from The Real Thing but it failed to set the charts on fire. It’s a great tune, and an incredible album opener, but it just doesn’t have the hook that Epic does. Nevertheless, its energetic driving rhythm makes it an ideal album opener.

Epic is funk metal gold. It is also one of Faith No More's most popular songs. Featuring a mix of rap verses, killer guitar riffs, and a memorable piano outro, along with Patton’s charismatic vocal, Epic is, for lack of a better term, EPIC!

Falling To Pieces is a bass guitarist's dream come true. That groove-filled introduction is exceptional and doesn’t stop there for the catchy hooks, playful vocal delivery, and overall tight performance ensure Falling To Pieces is another standout.

Surprise! You're Dead! limits the funk and is straight-up thrash metal. It’s raw and relentless with an aggressive vocal and rapid-fire guitar riff that is worthy of comparison with any other thrash metal release of the era. While it’s a great little tune, and showcases Faith No More’s diversity, I must admit that I prefer their funkier and more easily accessible tunes.

Zombie Eaters opens with a gentle acoustic guitar and soft vocal approach before quickly evolving into a powerful and dynamic track. The alternating between mellow verses and explosive choruses is intriguing for it shouldn’t work. Yet, the band had the talent to not only pull it off but to blend the contrasting elements perfectly. While it isn’t one of their most well-known songs, Zombie Eaters is a hidden gem.

The Real Thing has a sprawling expansive structure with an epic eight-minute runtime. In classic Faith No More style, The Real Thing is so carefully crafted that you’ll be captivated from the very first note to the last, even if the outro is unnecessary.

Underwater Love returns the album to its funkier vibe with a laid-back groove, killer bass track, and smooth vocal presentation. While Underwater Love was never destined for anything greater than being an album-only tune, it’s songs such as this that make The Real Thing one of the best albums released in 1989.

The Morning After is another tune that shows off Bill Gould’s incredible skill on the bass. In many respects, his bass tracking is the backbone for the entire song and makes for a memorable hook and the skeleton on which the song's dynamic arrangement rests.

Woodpecker From Mars truly showcases the band’s musical prowess for the intricate guitar riffs, dynamic drumming, and atmospheric keyboards come alive sans a lyrical component. It’s fair to suggest that vocals can, at times, overshadow the musical genius of the band, but Faith No More has proven that in the absence of vocals, a different kind of intensity is possible; one that tells a story of the Woodpecker From Mars through our emotional response to the music.

War Pigs is a Black Sabbath cover and stays true to the original whilst simultaneously adding their own unique touch to this classic tune.

Edge Of The World closes the album with a jazzy, lounge-inspired track, that further showcases Patton’s vocal versatility as well as the band’s talent and ability to not limit themselves to specific styles and genres. Yes, the song's smooth piano, laid-back rhythm, and crooning vocals provide a surprising conclusion to the album, but it’s delightful and is most certainly in the key of Faith No More.

No matter which way you look at it, The Real Thing was a groundbreaking album that solidified Faith No More's place in the alternative, rap, and funk metal scenes. Its seamless fusion of genres, innovative songwriting, and charismatic performances make it a timeless classic. Mike Patton's debut as the lead vocalist brought a new dynamic to the band's sound, and the album's diverse range of tracks ensures there's something for everyone. Whether you're a fan of metal, funk, rap, or hard rock in general, The Real Thing has it all, making it an essential listen for any music enthusiast.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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