Bon Jovi – Bon Jovi (Self-Titled) [Album Review]

As far as debuts go, Bon Jovi’s Self-Titled 1984 release is astonishingly good with core musical aspects that were not only unique at the time but would become the band’s trademark as they traversed the musical landscape over the next four decades. However, longevity in this case wasn’t known upon the release of Bon Jovi but with the safety net of reflection, it’s easy to hear the origins of a band that would become loved by millions. Combining elements of hard rock, glam metal, and pop, Bon Jovi laid the foundation that would eventually lead them to global stardom.

Speaking of superstardom, Bon Jovi went on to sell more than two million units; a very respectable number for a debut. Most recently, the album has been reissued for the 40th Anniversary on Vinyl and Cassette, but in a strange dichotomy, the reissue remains absent from the humble CD. It’s a frustrating omission for those who are interested in the bonus material that the Deluxe Edition has to offer. Thankfully it is available via Apple Music et al and the Deluxe Edition can be purchased on the iTunes Store and the Qobuz Download store. However, it’s an oversight for physical media collectors. Additionally, this bonus content isn’t available via the Vinyl or Cassette releases; even as an included download. Making matters even more complex, Qobuz only offers the 18-track Deluxe Edition that doesn’t include the bonus music videos for Runaway and She Don’t Know Me. That additional content, however, appears to be an Apple Music/iTunes exclusive.

Despite the confusion, one thing is for certain and that is that Vinyl collectors will thoroughly appreciate the exceptional cover art for it didn’t only stand out on record store shelves at the time of release, but it will look incredible in any music collection as it's bold and demanding of one’s visual attention. While purists of the Vinyl format will suggest that the stream cannot compare to the Vinyl release, and I have no intention of suggesting otherwise, the Hi-Res Lossless Apple Music stream is spectacularly good, so much so that I don’t feel compelled to pick up the reissue. Yes, the stream is audibly compressed, and the volume has been boosted overall, but it works well for the style of music as it gives the album a bombastic feel, one that will grip your soul from the very first note to the last.

Additionally, while I was fortunate to have owned the Special Edition from 2010, I found it almost unbearable to listen to as it was mastered with nothing but loudness in mind. The Apple Digital Master, by comparison, is far smoother and more enjoyable to listen to. Yes, the stream is mastered loud, but not in an obnoxious way that will make you want to turn the volume down or stop playing the album. That all said, trust your ears, dear reader, and give the stream a listen as we take a look at the songs that make up this classic record.

Runaway is a high-energy number with infectious hooks, a memorable guitar solo, and Jon Bon Jovi’s highly compelling vocal delivery. There’s nothing to dislike here for out of all the songs featured on this debut release, Runaway is the one that became a runaway success (pun intended) and is the truest example of the sound that Bon Jovi would ultimately lean into as their career progressed.

Roulette combines a pulsating rhythm with driving guitar riffs as Richie Sambora’s guitar work and Tico Torres’ drumming stand out on this edgy number. While it may not be the first song that everyone thinks of when putting the album on, Roulette is an exceptional album-only tune and has another killer Sambora solo that, when combined with Jon’s vocal, makes this a hidden gem.

She Don't Know Me is a masterpiece. Seriously, this mid-tempo ballad is utterly superb and if you’re like me, you’ll turn the volume up and rock out, particularly during the bridge and chorus. Interestingly, it’s the only song that no member of Bon Jovi had a part in writing. Yet, it’s ideally suited to the band and was a perfect choice for the debut.

Shot Through The Heart is a powerful rock anthem featuring rhythmically charged riffs and a soaring chorus. Based on the lyrics alone, it would be easy to confuse the song with their later hit You Give Love A Bad Name, but the two songs couldn’t be more different. Still, Shot Through The Heart continues to showcase the origins of the powerhouse that Bon Jovi would ultimately become for this is another hidden gem in the band’s back catalogue.

Love Lies slows things down a little with this fantastic ballad. It serves as a great example of Jon Bon Jovi’s vocal presence and his ability to deliver a highly compelling chorus. Yes, had this been released a few years later, Love Lies would have been a chart-topper, but it’s songs such as this that make the album experience so rewarding for Bon Jovi is an incredible album, not because of one or two hits, but because of a series of incredible songs that were recorded and sequenced perfectly.

Breakout is 80s 101 with synthesised elements, a driving rhythm, and an anthemic chorus.

Burning For Love is a fast-paced rocker that’s, arguably, a little off-tempo as it pertains to Jon Bon Jovi’s vocal style. Don’t get me wrong, it’s a great tune, with a killer musical bed, and one that I thoroughly enjoy, but if I’m looking at this in contrast with the other songs on the album, and against the headlining music Bon Jovi has released over the years, I can honestly say that I’m glad they didn’t pursue this musical direction.

Come Back is a solid album-only number, but in much the same way as Burning For Love doesn’t quite suit Bon Jovi, Come Back doesn’t adequately represent the band's talent at the time.

Get Ready has an infectious energy that makes it an ideal closer; one that will compel you to play the album again. Despite not being a standout, the song’s upbeat nature ensures the album experience, as a whole, is memorable.

Bon Jovi’s debut is a testament to the band’s potential and raw talent as it presents a glimpse into the sonic signature that would make them one of the biggest rock bands in the world. With a mix of high-energy rockers and heartfelt ballads, Bon Jovi remains not only a significant and influential album in the band’s discography but is amongst the greatest records released in 1984.

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Dan Fogelberg – Windows And Walls (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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Billy Ocean – Suddenly (Album Review)

Released in 1984, Billy Ocean’s fifth studio album Suddenly is a masterpiece; one that not only has a plentiful supply of hits and addictively good rhythms, but one that even by today’s standards, and upon nostalgic reflection, sounds vibrant and fresh. It also happens to be the album that would catapult Ocean to international success.

By the time Suddenly was released, the post-disco era was in full swing. While Disco-styled music was quickly becoming a thing of the past, Disco elements, merged with R&B and Soul influences ensured that artists such as Ocean had a unique sound unlike anything that had come before. Yes, we could point to artists such as The Jacksons and Stevie Wonder and look at their 70s-era releases and suggest that they had already achieved a post-disco styling, despite being right in the middle of the movement, but suggesting that would detract from the wonder that is Suddenly, for this is one album that shouldn't be overlooked as it’s a landmark release of the 80s. Suddenly is so impressive that it plays like a greatest hits release for there isn’t a dull tune to be heard. While every song didn't have the potential to set the charts on fire, when the linear structure of an album is this strong, even the album-only tunes become essential recordings.

While songwriting and the musical style were a crucial element in the success of Suddenly, and its corresponding single releases, the recording, mix, and mastering are second to none. Despite being a multi-million seller, Suddenly has received minimal attention post-release. It’s as if the now-defunct Jive Records (distributed, currently, via Sony Music Entertainment) forgot that they had released the record. However, while it is difficult to come by on physical formats, unless you seek it out on the secondhand market, the one benefit of a lack of interest from the record industry has meant that the existing mastering remains untouched.

While the Discogs listing states it as being remastered, and it would have needed to have been for the label to include the bonus tracks for the Expanded Edition, there’s no indication as to who had undertaken the remastering process. Regardless, they’ve done an exceptional job for the sonic qualities of the recording are so pleasing that you’ll simply become immersed in the music. Seriously, take a listen to the lossless Apple Music stream (a CD counterpart of the 2011 reissue); it’s a sonic marvel. Ocean is front and centre and the soundstage is as deep as it is wide. The result is you’ll be enveloped in music as the songs won’t merely emanate from your speakers. Every musical aspect is given room to breathe and the result is that Suddenly is one of the best-sounding records from the 80s.

Caribbean Queen (No More Love On The Run) is a stunning album opener and if the rhythm doesn’t get you, that saxophone will; thank you, V. Jeffrey Smith. With a catchy synth riff and pulsating beat, embodying the essence of the 80s, there’s little wonder as to why Caribbean Queen became not only a massive hit but Ocean’s most successful. A little of Michael Jackson’s influence can also be heard, in the musical backing, so fans of his will likely find this song extremely compelling.

Mystery Lady slows the tempo slightly but don’t let that deter you for this mid-tempo number has a smooth, jazzy feel, and a laid-back rhythm that is Ocean 101.

Syncopation is, perhaps, one of the most interesting song titles one could come up with, yet it works perfectly for Ocean’s pronunciation style. That aside, Syncopation is a beautiful tune that, despite being an album-only number, is a contributing factor as to why Suddenly is such an incredible album experience from start to finish.

The Long And Winding Road is a Beatles’ cover from their 1970 release Let It Be and is one of the most beautiful interpretations of the song I’ve ever had the pleasure of hearing. It remains true to the original, but with Ocean’s style and a touch of the 80s to go along with it for good measure.

Loverboy is an atmospheric dream come true, as it applies to the song’s introduction, for the multi-layered presentation is superb. Ocean’s vocal is exceptional here, particularly during the bridge, but it’s the chorus and the musical accompaniment that sets Loverboy apart from the other songs on the album. The driving rhythm, with its mixture of pop and rock stylings, will quickly meld with your soul as this is one catchy tune.

Lucky Man has a somewhat relaxed groove, following Loverboy, but this mid-tempo number with its smooth bassline and subtle synth elements is a thoroughly pleasing tune. It’s a quintessential album-only number and all songs need not be a standout for an album, such as Suddenly, to be exceptional.

Dancefloor will compel you to get on the Dancefloor for despite having two left feet, this song permeates my soul with its funky rhythm.

If I Should Lose You is a lovely mid-tempo album-only tune that further confirms Ocean’s exceptional vocal talents. While the backing musical bed is fundamental in its approach, its arrangement is thoroughly pleasing to the senses, thereby allowing you to lose yourself within the music.

Suddenly is a true masterpiece. Ocean’s vocal prowess is on display and his tones are so smooth, and recorded so well, that you’ll feel as if he is in the room with you, singing this beautiful ballad. It’s an ideal closer, one that offers reflection whilst also encouraging you to play the record again as Suddenly is one album that is easily put on repeat for it’s nothing short of exceptional.

If there was one album that could adequately showcase 80s-era post-disco pop to a new music lover, Suddenly would be that album. Impeccably recorded with a series of songs that meld together beautifully, Suddenly is not only one of the greatest albums Billy Ocean ever recorded, but is amongst the best albums released in the 80s; particularly in 1984. If you don’t have this album in your music library, ask yourself why not as it’s a timeless classic.

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Tracy Chapman – Crossroads (Album Review)

Released in 1989, Crossroads is Tracy Chapman's sophomore album, following her critically acclaimed self-titled debut, and maintains Chapman's signature blend of folk, soft rock, and soul. With themes relating to social justice, personal introspection, and resilience, Crossroads is a compelling album that, while not quite as profound as her debut, is an incredible follow-up and one of the best albums released in 1989.

While the cover art isn’t as striking as her debut, one thing is for certain and that’s the music contained within has been recorded, mixed, and mastered with kid gloves. That shouldn’t shock longtime fans of Chapman’s music, for her music production has always been pristine. It is notable, however, as quality such as this is often the exception rather than the rule.

As it pertains to the lossless Apple Music stream, it’s simply exquisite. You’ll be amazed by the sonic wonder of this edition as you’ll get a sense that Chapman and the band are in the room with you. The presentation is immersive and the soundstage is well-developed with clear separation between all musical elements thereby ensuring that Chapman shines on vocals while the backing musical bed is luscious. Of course, don’t take my word for it, give it a listen as we take a look at the songs that make up this incredible release.

Crossroads opens the album with a contemplative relaxed tone and a steady rhythm. It is, exactly, what fans would have been expecting at the time, having just come off the success of Chapman’s debut. While it isn’t necessarily the strongest song from the record, despite being released as the first single, it’s still lovely in its own right and a worthy opener that sets the tone for the entire album.

Bridges has a gorgeous acoustic arrangement and is, without a doubt, one of Chapman’s greatest recordings. If there is a hidden gem from the album, this is most certainly it and if I had my way, this masterpiece would have been released as a single.

Freedom Now is a lovely tribute to Nelson Mandela and the struggle against apartheid. However, as I don’t generally appreciate music for its literal interpretation, I find that the musical aspects of Freedom Now are a little pedestrian. It is, for lack of a better term, an album-only number; one that holds the album together, yes, but one that you’re unlikely to seek out on its own.

Material World picks up the tempo with a catchy melody and overall rhythm that melds with your soul. While I just got through mentioning that literal meaning isn't the way I define my love of music, the song’s critique on consumerism, and the obsession with wealth attainment, are topics that are still, sadly, at the forefront of humanity. Nevertheless, Material World is a reminder for us all to seek fulfilment beyond material acquisitions.

Be Careful Of My Heart is ballad-focused and is simply stunning. Chapman’s vocals are, as always, exquisite, but it is the delicate musical bed that not only allows the vocals to shine but makes Be Careful Of My Heart such a memorable tune.

Subcity is a mix between Bob Dylan and Neil Young, in relation to the chosen style, and topical nature, of the song. It’s another solid album-only tune and it’s songs such as this that make Crossroads so compelling for each song on a record need not be exceptional for the album to be thoroughly enjoyable.

Born To Fight has a jazzy undertone that makes it unique, when compared to the other songs on Crossroads, but it’s this distinctive nature that ensures it’s one of the standout songs from the album as you’ll feel compelled to move to the rhythm.

A Hundred Years is a lovely tune and while it could be suggested that the musical backing is a little pedestrian, Chapman’s vocal prowess absolutely shines with the gentle flutter she is renowned for. Yet, at no time, does her vocal go beyond the acceptable range as she has exceptional control over her delivery. The result is that A Hundred Years is thoroughly enjoyable to listen to.   

This Time opens with a magnificent acoustic element that’s so good I wish that it was an instrumental number. Of course, when Chapman’s vocal enters the mix my thoughts change and I become immersed in the entire song, but when music is this extraordinarily good, every element stands on its own and the culmination of all aspects only strengthens the recording. Magnificent!

All That You Have Is Your Soul is a beautiful closer with its straightforward acoustic arrangement and deeply personal lyrics. As with all good final tracks, All That I Have Is Your Soul will leave you in both a contemplative mood and one willing to play Crossroads again for this singer/songwriter folk-focused record is amongst the best you’re ever likely to hear.

Crossroads is a compelling follow-up to Tracy Chapman's landmark debut that showcases her growth as a songwriter and artist. Chapman's ability to blend addictively good music with potent storytelling makes Crossroads a timeless and essential listen, especially for those of you who have yet to venture beyond her acclaimed debut and the associated hits. Crossroads, subsequently, is not just a collection of songs, but an album experience; one that should be in every music lover’s collection.

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Spandau Ballet – Heart Like A Sky (Album Review)

Released in 1989, Heart Like A Sky is Spandau Ballet’s sixth studio album; a record that is an often-overlooked gem that encapsulates the band's sophisticated pop and new wave sound. Delivering a mix of introspective lyrics and a highly polished production, Heart Like A Sky showcases that even though it was to be the band’s final studio release, of completely original material, it’s amongst their best recordings with a song selection that plays akin to a greatest hits release. Granted, the album failed to set the charts on fire, but success at the cash register is often a poor indicator of quality.

Speaking of quality, the album artwork is exquisite and while released during the era when the vinyl record was declining in popularity, this is one album deserving of a reissue on the larger vinyl format. Interestingly, the reissue label, Music On CD (the CD counterpart to Music On Vinyl) re-released the album in 2017, yet no vinyl release was forthcoming. This omission was most likely due to the lacklustre sales performance of the album, but I believe that all music should be reissued on both formats as it not only appeases fans but has the potential to deliver the album to an entirely new audience; one that may be experiencing it for the very first time.

Turning our attention to the production values of the record and the lossless Apple Music stream, a CD-equivalent counterpart, it sounds simply exquisite. One can appreciate the recording, mix, and mastering, for 80s-era music is seldom this sonically pleasing. You’ll be met with an encapsulating soundstage, one that is perfectly balanced and allows each musical element space to breathe. Most importantly, however, it screams of Spandau Ballet’s style. With that in mind, dear reader, join me as we take a look at the music that makes up this hidden gem.

Be Free With Your Love opens the album vibrantly with its upbeat tempo and catchy chorus. Tony Hadley’s vocals are, as usual, exceptional but it’s the culmination of all aspects that make Be Free With Your Love such a compelling opening that is also perfectly suited to the sounds of the late 80s.

Crashed Into Love is a melodious number characterised by its lush instrumentation, as well as Hadley’s emotive delivery. It is, however, the bridge and chorus that grab me each time I hear this classic tune for it’s thoroughly pleasing to the senses.

Big Feeling is layered with the synth-driven elements that categorised the 80s. That isn’t a bad thing, unless you’re not interested in 80s nostalgia, but the catchy hook, sleek production, and blend of electronic and traditional rock elements highlight the band's versatility.

A Matter of Time is a slower, more contemplative song with a minimalistic arrangement that allows Hadley’s soulful vocals to take centre stage. It is, subsequently, one of the most beautiful tunes Spandau Ballet ever recorded and one of the very best songs released in the 80s.

Motivator brings the album back to a more upbeat tempo and while it isn’t a jolt to the senses, following the exceptional A Matter Of Time, Motivator is most certainly an album-only tune. That shouldn’t be seen as a negative aspect for songs like Motivator are essential in ensuring the album experience is memorable.

Raw is a standout track with its blending of elements of rock and funk, with a bold and edgy 80s new wave sound. It’s addictively good and you’ll no doubt find yourself toe-tapping and head-bopping along to the song.

Empty Spaces has a melancholic tone with a haunting melody that will resonate with your senses. Hadley’s vocal presentation is, again, flawless and perfectly positioned in the mix and the musical bed is layered beautifully, ensuring that you’ll not only hear each element perfectly, but upon repeat plays, you’ll likely come away from Empty Spaces with a greater appreciation for the tune and Spandau Ballet.

Windy Town is a mid-tempo number with a breezy melody. It’s a standout track and that’s partly due to the addition of The Phantom Horns for their inclusion ensures that Windy Town goes beyond what one would consider to be a Spandau Ballet tune.

A Handful of Dust is a stunning closing song that will not only leave you in a contemplative mood but will encourage you to play the album again. Featuring a rich and layered arrangement, with Hadley’s evocative vocals, A Handful Of Dust is another hidden gem that ensures Heart Like A Sky is the sum of its parts, rather than merely a series of haphazardly thrown-together tunes.

Heart Like A Sky is, truly, a testament to Spandau Ballet's musical prowess and artistic growth. The album blends catchy pop melodies with deeper, more introspective themes, showcasing the band's ability to evolve while staying true to their roots. Each track offers something unique, contributing to a cohesive yet diverse listening experience that is equally memorable. If you’ve yet to experience Heart Like A Sky or have dismissed it over the years, give it a play for you may find, as I have, that this album is one of the most underrated releases of 1989.

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Resurrection Band – Innocent Blood (Album Review)

Released in 1989, Innocent Blood, Resurrection Band's ninth studio album stands out for its raw energy, lyrical depth, and a fusion of rock styles that span from classic blues-based rock to more contemporary sounds of the late ‘80s. Also known as Rez, particularly during this era, the Resurrection Band was not only a pioneer in Christian rock but are amongst the greatest recording artists within the subgenre. Of course, to label them as a Christian rock band would do them a great disservice for despite their lyrics delivering messages of faith, social justice, and personal introspection, they are an incredible rock and roll band, in general, and Innocent Blood is, arguably, their greatest release.

While it’s true that Christian rock generally has a focus on positivity, the cover art adorning this exceptional album tells a different story entirely. According to the band, in the CD booklet liner notes, the girl featured on the cover, named Trish, was abducted and sadly never found, despite the knowledge that she had become a victim of a pedophile network. It isn’t easy to comprehend, for the girl on the cover is full of life and happiness, yet it’s an admirable memorial. It should also be noted that the original album artwork is slightly different on CD and Spotify; when compared directly to Apple Music. Apple Music’s edition seems to censor the artwork more than originally intended. While I don’t disagree with that approach, the 2023 CD reissue maintains the original artwork which I feel doesn’t require additional censorship.

As it pertains to the sonic presentation of Innocent Blood, you’ll likely be pleased as the recording, mix, and mastering have been done beautifully for the style of music. The result is that you’ll find yourself immersed in a three-dimensional soundstage that requires no tweaking to sound its best. So, dear reader, sit back, relax, and take a listen to this hidden gem.

Rooster Crow is a short and sweet album opener that sets the tone for the entire record with its blues-focused approach.

Altar Of Pain kicks things up a notch, yet offers a superb transition from Rooster Crow. The riff is off-the-charts and Glenn Kaiser’s vocals are simply stunning and are amongst some of the very best in hard rock music history. Whichever way you look at it, Alter Of Pain is intense, with powerful guitar solos, exceptional vocals, and a driving rhythm that will see you rocking along as the song plays.

The House Is On Fire has so much energy that you’ll feel the song reaches right into your soul and not let go until the very last note has been played. Wendi Kaiser’s vocal performance is perfect for this tune and she can certainly belt out some incredible lyrics, but it’s also the energetic guitar work and overall rhythm that makes The House Is On Fire so memorable.

80,000 Underground continues the rebellious mid-paced rhythm and is reminiscent of AC/DC; a compliment for 80,000 Underground is an exceptional tune.

Fiend Or Foul slows the tempo a little but the compelling rhythmic nature that has been prevalent so far is maintained. Wendi Kaiser is, once again, perfectly suited to the song and for those of us who adore the bass guitar, you’ll be pleased with Roy Montroy’s solid bass performance for it remains prominent throughout the mix. Similarly, the guitar solo again highlights the talent of Stu Heiss for each solo benefits the song rather than detracts from it. Fiend Or Foul is, subsequently and most certainly, a hidden gem and one of the best songs on the album.

Where Roses Grow rings out like a Gary Moore blues-based masterpiece. Exceptional!

Right On Time is synth 80s 101 with some magical vocals and a compelling musical bed that’s perfectly suited to the era.

Child Of The Blues is, as you may expect, a blues-based number with a masterful arrangement. Glenn Kaiser’s vocal dexterity here is magnificent, but it’s the culmination of all elements that makes this bluesy rock song a hidden gem.

Laughing Man returns us to a hard rock pace. Despite encouraging you to toe-tap and head-bop along, Laughing Man is one song that you’ll not seek out on its own. Still, it’s a solid album-only number that enhances the record.

Bargain is a cover of The Who’s classic; a fine one at that. While it pays homage to the original and contains all the energy and spirit you’d expect from the Resurrection Band, I’d still consider The Who’s original to be the standard that has yet to be surpassed.

Great God In Heaven is, arguably, a perfect closer for a Christian rock band that’s anthemic and creates a sense of grandeur and reverence. Most importantly, however, it allows for reflection and encourages the listener to play the album again for Innocent Blood deserves to be heard more than once.

Overall, Innocent Blood is a testament to the Resurrection Band's ability to blend blues-based rock and roll with deep, meaningful lyrics. Each track offers a unique perspective, from reflections on personal faith to broader social issues, but it’s the band's musicianship and vocal performances that are consistently strong throughout the album, making it a compelling and thought-provoking listen.

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Queen – The Miracle (Album Review)

Released in 1989, Queen’s thirteenth studio album, The Miracle, is a remarkable, significant, and memorable musical achievement. Recorded during a period of personal trauma, for both Brian May and Freddie Mercury, the built-up angst was reappropriated superbly with creative energy that will captivate you from the very first note to the last. Featuring a blend of rock, pop, and operatic influences, The Miracle is one of Queen’s greatest records and is a landmark release from the era.

While the music is, naturally, the most important aspect, the cover art for The Miracle is interesting. While I neither love nor hate it, it’s compelling to look at while the album is playing. I’d love to offer a reason as to why I find it captivating, but words somewhat escape me for it’s far from Queen’s best album artwork, yet it is strangely perfectly suited to the band.

Moving our attention to the sonic qualities of the album, as one might expect, the recording, mix, and mastering of The Miracle is beyond reproach. However, not all editions are created equal, despite the same core remastering. For instance, the vinyl edition from the Queen Studio Collection is nothing short of perfection with a warm, detailed, and enveloping sound. The CD release is equally impressive but lacks the tonal warmth that is a trademark of vinyl records. Whereas, the lossless Apple Music stream, an Apple Digital Master, sounds a little concealed and somewhat muffled by comparison. It isn’t fatiguing to listen to and remains thoroughly enjoyable, but the presentation isn’t as bold as it, arguably, could be.

Party is a fun high-energy tune that sets the tone for the music to come. With its dynamic guitar riffs and lively vocals, it may be short, but it flows quickly into Khashoggi’s Ship.

Khashoggi’s Ship continues the vibrant energy with a fast-paced rock sound, but the jolt between the opening song and this one can take a moment for the senses to adjust to. As the song progresses, it becomes apparent that this is an album-only number that is unlikely to be memorable. Still, for an album to be exceptional, all songs need not be a hit. With that in mind, Khashoggi’s Ship holds the album together as we head towards the title track.

The Miracle is a multi-layered masterpiece that is characterised by lush harmonies and a sweeping melody that combine to create an anthemic feel. It’s, subsequently, a perfect title track and while repeat plays can cause this incredible tune to become a little fatiguing, due to the chosen vocal style, there is little doubt as to why it has become such a popular tune amongst fans.

I Want It All is a powerful rock anthem and one of the very best hard rock songs Queen ever recorded. Featuring a memorable guitar solo by Brian May, and assertive vocals by Mercury, I Want It All is impossible to not sing along to for it’s an unforgettable Queen classic.

The Invisible Man sounds as if it was leftover from Queen’s Flash Gordon soundtrack. Despite that, The Invisible Man, with its quirky and innovative sound, showcases Queen’s ability to blend rock with a touch of funk and pop. The result is a catchy synth-driven tune with a unique charm that will appeal to just about anyone.

Breakthru is an uplifting and dynamic track that starts with a gentle vocal intro before transitioning into a driving rock rhythm. With its energetic tempo, infectious chorus, and blend of synthetic and electric guitar elements, Breakthru creates a sense of urgency and excitement that makes it one of the more compelling tunes from the album.

Rain Must Fall adds a touch of Caribbean influence to the album, with its laid-back rhythm and breezy melody. It’s most certainly an album-only tune and while it could be said that it isn’t the strongest song from the record, it surprisingly doesn’t feel out of place. Featuring a smooth blend of percussion, gentle guitar riffs and an associated solo, along with Mercury’s soothing vocals, you’ll be in a relaxed state to appreciate the hidden gem of the album; Scandal.

Scandal is utterly brilliant and is not only one of the best songs that Queen ever recorded, but it’s one of the best songs from the 80s. That said, you won't find it on any compilation release, most likely due to its lacklustre chart performance when released as a single. Nevertheless, the riff and rhythm are off-the-charts and it’s impossible to sit still while this unforgettable tune is playing.

My Baby Does Me has a smooth, laid-back, rhythm with some lovely bass tracking and some thoroughly enjoyable guitar licks. It’s an album-only tune, yes, but one that works extremely well within the tracking of the record.

Was It All Worth It is an incredible closer; one that will compel you to play the album again. Initially, things start on a gentler note, but the moment May’s riff comes into the mix, you know you’re in for a treat as the multi-layered production makes it thoroughly pleasing to listen to.

Ultimately, The Miracle is one of the greatest albums Queen ever released and stands as a powerful testament to the band’s enduring spirit and musical ingenuity, despite periods of personal struggle. While every song may not be a hit, each track showcases a different facet of Queen’s versatility. From Freddie Mercury's charismatic presence to Brian May's masterful guitar work, along with Roger Taylor's dynamic drumming and John Deacon's solid bass lines, The Miracle offers a cohesive yet varied musical journey that has remained timeless and is one of the greatest albums released in the late 80s.

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