Julian Lennon – Valotte (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Joe Jackson – Body And Soul (Album Review)

There are albums and then there is Body And Soul; a masterpiece in every sense of the word.

Released in 1984, Joe Jackson’s Body And Soul is amongst his finest recordings and is one of the greatest albums ever released. With a blend of jazz, pop, and Latin influences, Body And Soul showcases Jackson’s continued evolution as a songwriter and arranger. The album’s sound is heavily inspired by big band jazz and classic pop orchestration, giving it a unique and compelling presentation. Body And Soul is, ultimately, so diverse that to pigeonhole it into a particular style or genre would be to do it a disservice for this is a timeless classic that sounds as fresh today as it did upon release.

Striking is one way to put it for the music isn’t the only aspect of this release to impress. Yes, I’m referring to the cover art and the boldness of the simple, yet utterly perfect design. Jazz fans will likely point out that the concept is hardly original as it emulates Sonny Rollins’ 1957 release, Sonny Rollins, Vol. 2, but imitation is the greatest form of flattery and Jackson pulls it off. Of course, had it not been for such an extraordinary collection of music, one could suggest that Body And Soul’s artwork wouldn’t be nearly as endearing, but when the music complements the artwork so well, the combination is the very embodiment of the album experience.

Of course, no matter how exceptional the artwork is, it is for nil if the recording, mix, and mastering of an album are lacking in any way. Body And Soul doesn’t disappoint, in that area, as it’s a textbook example of how to properly produce an album. Every element in the mix is perfectly positioned and the sonic reproduction is heavenly. Yet, I’m not referring to the numerous audiophile-grade editions that have been released, as I have not heard them, for I am simply referencing the Lossless Apple Music stream.

Yes, dear reader, the Apple Music stream is what I would consider to be perfect. So much so that when listening to this edition, I don’t feel that I’m missing out on anything, sonically, and therefore seeking out an SACD or Vinyl release seems quizzical, outside of the ownership and tactile aspects, of course. That isn’t to say that there aren’t sonic benefits, or differences, but it’s nice to know that the stock-standard CD-quality stream is exquisite. If nothing else, it ensures that all music lovers, regardless of how they wish to appreciate their music, can hear an exceptional version of this classic album.

The Verdict opens the album with flair and a dramatic brass section that sets the tone for the orchestral ambitions of Body And Soul. Jackson’s vocal is stunning, especially as it's positioned atop the piano backing before the lushness of the crescendo enters the mix. Subsequently, the verdict on The Verdict is that it’s a magnificent tune and an ideal opener for this legendary album.

Cha Cha Loco has a playful Latin element that is both lively and energetic. While different in style to The Verdict, the transition is seamless and the interplay between the musical bed and vocalists makes for a buoyant, danceable track.

Not Here, Not Now slows the tempo slightly with a ballad that is both reflective and melancholic in tone. The arrangement is subtle yet effective, with a soft piano, muted instrumentation, and a world-class brass solo that accompanies Jackson’s vocal delivery and can be best described as heavenly. Music doesn’t get much better than this and Not Here, Not Now is, without a doubt, one of Jackson’s greatest recordings.

You Can't Get What You Want (Till You Know What You Want) picks up the tempo with a jazz-funk vibe. The groove is infectious, driven by a punchy bass line and vibrant brass riffs, as well as some incredible vocal techniques that culminate in an irresistible song. Again, as is the case throughout the album, the sonic shift shouldn’t work but the album’s linear structure has been considered so thoroughly that this post-disco number is the perfect counterpart to the more sombre Not Here, Not Now.

Go For It continues the exploration of jazz with an upbeat frenetic energy, yet it’s the Motown-styled cues that are just as notable as the driving percussion and energetic brass. Add to this the urgency in Jackson’s lyrical delivery and you’ve got a song that is lively and a perfect album-only number that drives the record forward.

Loisaida stands out for its atmospheric qualities, with a moody, almost noir-like arrangement that is highly compelling. Yet, the absence of lyrics doesn't detract from Loisaida as the instrumental bed evokes imagery and emotions as only the greatest instrumental songs are capable of.

Happy Ending (feat. Elaine Caswell) offers a lighter, more pop-oriented sound with catchy hooks and upbeat rhythms. When you listen, in conjunction with the other songs on the record, Happy Ending feels like a departure from the album’s overall style, yet it’s the perfect tune at this point in the album’s sequencing. The bottom line is that it’s just a fun little duet with a killer chorus.

Be My Number Two is one of the greatest ballads that has ever been recorded. The stripped-back arrangement helps in this regard, allowing Jackson’s vocals to take centre stage for his voice is tender, heartfelt, and resonant throughout. While the entire album is flawless, when you have songs that are as beautiful as Be My Number Two, you know that you’re listening to something that can only be described as a masterpiece; an overused statement, granted, but one that most certainly applies to this magnificent tune.

Heart Of Ice starts delicately and slowly builds into a powerful orchestral arrangement that’s a perfect album closer; one that will either compel you to play the album again or contemplate the music you’ve just listened to. While much of the song is sans lyrics, once Jackson enters the mix, as almost an afterthought, it culminates in what, upon reflection, can only be described as pure perfection.

Overall, Body And Soul marks a high point in Joe Jackson’s career. The intricate arrangements, varied influences, and strong songwriting make it a standout release from the 80s. Jackson’s mastery in blending jazz, pop, and Latin styles results in an album that feels timeless, making it a compelling and rewarding listen. Not only is Body And Soul one of Joe Jackson’s most revered but it’s amongst the greatest records in all of recorded music history.

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Joe Cocker – Civilized Man (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Iron Maiden – Powerslave (Album Review)

Released in 1984, Powerslave is Iron Maiden’s fifth studio release and vocalist Bruce Dickinson’s third outing with the band. While opinions will differ, Powerslave is arguably the strongest, early-80s, release for Maiden as The Number Of The Beast and Piece Of Mind both have exceptional songs but aren’t quite the cohesive album experience that Powerslave is. If nothing else, Powerslave is the embodiment of the heavy metal genre featuring intricate compositions and powerful performances that marked a high point in the band’s career, both in terms of their musical evolution and global popularity.

As is always the case with Iron Maiden, the album artwork is exquisite. Of course, with a keen interest in Ancient Egypt, I may be a little biased, but Powerslave doesn’t disappoint in that regard for it is as bold as the music contained within. However, when you get down to the sonic elements of Maiden’s records, while the production and overall mix are generally superb, the mastering of their albums, particularly the remastered releases, has been a point of contention amongst fans. Some prefer the original releases, others the 1998 remasters. Add to that the 2015 remasters and you’ve got three quite different interpretations of the same music.

While I haven’t been fortunate enough to hear the original release, of Powerslave, those familiar with the 1998 remaster will likely agree that it’s thin, shrill, and fatiguing to listen to; particularly at higher volumes. In contrast, the 2015 remaster offers a smoother presentation with a boost to the mid and low-end while simultaneously dialling back the treble range slightly. It’s certainly an improvement, from my subjective perspective, and the good news is that this most current remaster is available not only via streaming but it has also been released on CD and Vinyl, meaning that there is consistency across the board.

Aces High opens the album superbly with an opening riff that’s not only iconic but sets the tone for the entire record. The relentless assault on the senses captures the intensity of fighter pilots during the Second World War (the subject matter of the song) and is, subsequently, musical storytelling at its very best. Add to that Bruce Dickinson’s soaring vocals and you’ve got an incredible song from start to finish.

2 Minutes To Midnight is an anti-war song that utilises the idea of the Doomsday Clock to formulate a message against hostility. While I rarely focus on literal intent and song meanings, instead preferring to appreciate the human vocal as an instrument within the mix, 2 Minutes To Midnight makes you sit up and pay attention. It also happens to be one of Maiden’s most enduring classics, one that balances melodic hooks with a heavy, ominous atmosphere. Most notable, however, is the instantly recognisable riff and duelling guitars between Adrian Smith and Dave Murray; pure genius.

Losfer Words (Big ‘Orra) may be the only instrumental track on the album, but as much as I love Dickinson’s vocal prowess, Losfer Words (Big ‘Orra) showcases Iron Maiden’s musical chops without the need for lyrics. There’s part of me that appreciates it so much that I’d love to see Maiden release a series of albums, or songs, sans lyrics for they truly offer a different perspective. As you listen to the song, you’ll no doubt appreciate the complex arrangement for each member’s contribution shines through the mix with the interplay between guitars, and Steve Harris' bass, creating a layered and intricate sound that is both powerful and melodic. It, truly, is one of Maiden’s greatest tunes.

Flash Of The Blade features a sharp, stabbing riff, with an almost frenzied tempo that is Maiden 101. While it was never going to be a highlight from the album, Flash Of The Blade is an example of a quintessential album-only tune; one that drives the album forward and ensures that it’s a memorable experience.

The Duellists, similarly to Flash Of The Blade, enhances the album but was never destined to be a standout. That said, there are some magical musical aspects to be heard throughout as the band is on fire. The Duellists, in my opinion, would have been another ideal instrumental tune as Dickinson’s vocal ultimately detracts from the performance of the band.

Back In The Village is frenetic and is one of the more aggressive songs on the album, but it isn’t great. Dickinson’s vocal performance on this number is unsuited to the song and while I can look the other way, when it comes to listening to the album in its linear structure, Back In The Village is one of the poorest songs Iron Maiden has ever recorded. That said, the duelling guitars and overall musical bed, particularly mid-song, are incredible.

Powerslave, as the title track, was always going to be the centrepiece of the album and it delivers. The instrumental section is a masterclass in Iron Maiden’s ability to build tension and atmosphere, culminating in a powerful crescendo, but it’s the guitar riff and interplay that is, again, a standout element.

Rime Of The Ancient Mariner is the album’s epic closer. Musically, it’s a journey in itself, shifting through various tempos and moods, from the eerie quiet of the middle section to the thunderous conclusion. Without a doubt, it is one of Maiden’s most ambitious compositions, but it’s a testament to their skill and creativity that they were able to pull it off. Yes, at over 13 minutes, it was never going to be released as a single, but it is single-worthy and deserving of more recognition than it often receives.

Overall, Powerslave is an incredible album that showcases Iron Maiden at the peak of their creative powers. Each track contributes to the record’s overarching sense of grandeur and adventure, making it a cohesive and immersive experience. For fans of heavy metal, Powerslave is an essential listen and it’s not only one of Maiden’s greatest releases, but it’s amongst the very best albums released in 1984.

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INXS – The Swing (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Bruce Cockburn – Stealing Fire (Album Review)

There are singer/songwriters and then there is Bruce Cockburn; an artist that, in my opinion, has never truly received the recognition he deserved. Yes, he has been incredibly successful throughout his career, but as you listen to Stealing Fire I’ve no doubt you’ll be left speechless for not only is it one of the best albums from 1984, but it’s a hidden gem of the era.

Part of the album’s appeal is most certainly linked to the inclusion of musical influences from around the world as these elements merge perfectly with Cockburn’s overall style. Yes, Cockburn’s folk stylings remain, as do the classic rock and pop elements, but it’s in the intertwining of these elements where the album comes into its own for there isn’t a dull song to be heard. It’s also expertly suited to the era with plenty of 80s influences; none of which, however, detract from the album's eclectic style.

As part of the world influence, Stealing Fire’s lyrics are primarily related to a world in turmoil, reflecting on political unrest, human rights, and the transformative power of love and hope. This poignant lyricism will undoubtedly appeal to those who dissect music for its literal meaning, but the music, itself, is so strong that many of us will simply sit back, relax, and appreciate Cockburn’s vocal for its tonal qualities and sensational delivery.

The unconventional album artwork is compelling, so much so that I look forward to attaining a physical release, particularly on vinyl. Thankfully, Red Eye Records has the most recent LP reissues available to order. However, what’s limiting my interest in picking up a copy is in relation to just how well recorded, mixed, and mastered the Lossless Apple Music stream is. Yes, it is the CD counterpart to the Deluxe Edition from 2003, but Peter Moore did such an incredible remastering job that I feel no need to seek out a physical release, particularly on vinyl, as the digital stream is immersive, spacious, and tonally warm. It truly is a pleasure to listen to.

As it pertains to the bonus tracks that were issued on the Deluxe Edition; they’re lovely. However, here at Subjective Sounds, we try to focus on the album’s original sequencing, hence you’ll note a shared playlist below containing the album’s original nine tracks. If you’d like to hear Yanqui Go Home and Call It The Sundance, both songs are available, on Apple Music, by clicking here.

Lovers In A Dangerous Time is an ideal opener for this 80s-era release. It also happens to be one of Cockburn’s most memorable tunes and performed well on the charts when released as a single. With its driving beat, jangly guitars, and infectious melody, Lovers In A Dangerous Time will appeal to just about anyone who has a penchant for 80s-styled recordings.

Maybe The Poet continues the wondrous musical exploration with its upbeat tempo. Cockburn’s sharp, almost spoken-word delivery, is highly compelling, but it’s the musical bed as well as the choral backing that appeals most to this music lover.

Sahara Gold is an incredible tune; a true hidden gem. Cockburn’s evocative guitar work shines through, creating a soundscape that is both beautiful and slightly unsettling. It is, however, the haunting melody that amplifies the senses. Cockburn’s vocal styling is nothing short of exceptionally compelling thereby resulting in one of Cockburn’s all-time greatest recordings.

Making Contact picks up the tone to deliver a song that’s a little lighter than Sahara Gold. While it could be suggested that there’s a slight jolt to the senses between the two songs, it isn’t enough to break the flow of the album. Either way, Making Contact, with its laid-back groove and reggae-influenced rhythm is a thoroughly enjoyable tune that will have you toe-tapping and head-bopping throughout.

Peggy's Kitchen Wall is one of the more narrative-driven tracks on the album. It’s musically beautiful with an almost jaunty rhythm that borrows slightly from reggae music, the combination of which results in an interesting contrast to the song’s dark subject matter.

To Raise The Morning Star will have you turning the volume up, for the rhythmic vibe and layered musically will captivate your soul with its ethereal arrangement of chiming guitars and gentle percussion.

Nicaragua is a simply stunning tune. While I don’t always listen to music for literal intent, Nicaragua is one of the songs on the record that’s difficult to ignore for it’s one of the album’s most political. If nothing else, Nicaragua is Cockburn at his most poetic.

If I Had A Rocket Launcher is another highlight from Cockburn’s career, and is one of his most controversial songs. Depending on your perspective, different interpretations can be assigned to the song’s lyrical meaning, but from a musical perspective, If I Had A Rocket Launcher is one of his greatest tunes with a guitar performance to rival that of Mark Knopfler.

Dust And Diesel closes out the album in a more reflective mood. The song’s musical arrangement takes a back seat, thereby allowing Cockburn’s vocals to shine through. If nothing else, as you listen to Dust And Diesel, you’ll feel compelled to play the album again for Stealing Fire is an album that can seldom be listened to once.

From start to finish, Stealing Fire is a remarkable singer/songwriter release that will appeal to just about any music lover. Bruce Cockburn’s ability to combine powerful messages with compelling music makes this album a timeless classic, as relevant today as it was when released in 1984. If you haven’t yet added this masterpiece to your own music library, what are you waiting for? Music doesn’t get much better than this and Cockburn is a true, underrated, musical legend.

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