Blue Magic – Blue Magic (Self-Titled) [Album Review]

Released in 1974, Blue Magic’s self-titled debut album, Blue Magic, is an essential release in the continued development of 70s soul, showcasing the smooth vocal harmonies, lush orchestration, and romantic themes that would define their style. Blending elements of Philly Soul and classic R&B with tender ballads and infectious grooves, Blue Magic, the album and the band, became adored within the genre. While the album may not have had mainstream success, aside from the chart-topping results of its second single Sideshow, it’s a masterpiece that should be in every music lover’s collection.

The question about which version one should have in their collection therefore naturally arises and while opinions will differ, and I prefer not to seek out pre-owned releases, it has been well over a decade since the album was reissued (on CD) and that Japanese release is difficult to get a hold of, as is the 2009 vinyl reissue. Granted, Blue Magic isn’t the household name that would continuously drive sales, so I can understand the hesitation when considering a reissue. However, it would be lovely to see this classic album re-released, in the near future, thereby allowing new music lovers to discover this timeless classic.

In the absence of readily available physical releases, it is fortunate that we have digital delivery options. As it pertains to the Apple Music stream, the standard lossless edition is sonically lovely. The Remastered Bonus Track Version is also available and has a bolder sonic presentation, thereby bringing it more in line with modern standards, but I find it loses a little of the smoothness from the original recording. Subsequently, as I’m not drawn to bonus tracks, my preferred version of this classic album is the original mastering heard via the standard release that I’ll share with you below.

Sideshow is arguably the crown jewel of Blue Magic and an ideal album opener. The over-the-top ballad styling will appeal to those of us who appreciate such tunes, but as the song’s orchestration builds, so does the wonder of the song and its signature falsetto for its addictively good and it’s no wonder that it ended up being a chart-topping hit when released as a single.

Look Me Up is more upbeat with a funky groove, showing Blue Magic’s versatility that combines their silky harmonies with funk-influenced rhythms. While not a dance song, per se, the beat and catchy chorus will see you toe-tapping and head-bopping along. For those who don’t have two left feet, like yours truly, I’ve no doubt that the dance floor is waiting as Look Me Up is a sensational mid-70s tune.

What's Come Over Me is another standout track, especially with its lush, orchestral arrangement. The adage that they don’t make music like this anymore certainly applies to What’s Come Over Me as the falsetto vocal, backed by elegant harmonies, is hard to resist.

Just Don't Want To Be Lonely is soul meets pop with an incredibly catchy chorus and upbeat tempo. What’s not to like? Just Don't Want To Be Lonely is not only one of the most radio-friendly tracks from the album, but it's a hidden gem from the era and one of the best songs Blue Magic ever recorded.

Stop To Start features smooth, velvety vocals against a backdrop of lush strings and a gentle arrangement. As a ballad, it’s stunning, but it’s also one of the album’s most soulful offerings with a Motown influence that is undeniable.

Welcome To The Club has a playful and energetic vibe, with an infectious groove, that not only contrasts nicely with the ballads on the album but leans into funk and early disco styles. While it’s most certainly an album-only tune, it’s a toe-tapper that adds further variety and showcases Blue Magic’s musical diversity.

Spell is another ethereal ballad full of dreamy orchestrations and the group’s signature harmonies. That said, the chosen mix isn’t the greatest as the vocals are on par with the musical bed and while harmonically beautiful, the lyrics sound somewhat concealed as they’re overshadowed by the instrumentation. The result is that the vocal tracking sounds a little muffled, in comparison, to the rest of the songs on the album. Granted, that could be attributed to a recording style, as it isn’t the first time music has been mixed in this manner, but the problem that exists is that the mind struggles to separate both instrumental and vocal elements, particularly as it sounds as though the vocals are being played via terrestrial radio.

Answer To My Prayer brings fresh energy to the album, following Spell, with its compelling rhythm and impassioned vocals. It’s a lovely song and despite not being a standout is one reason why this debut album is one of the greatest released in 1974, for an exceptional album experience is more than just the hits; it’s the sum of its songs.

Tear It Down closes the album with a lush ballad that is not only the ideal closer but will stay with you long after the album has concluded. Yes, Tear It Down causes the infamous earworm, but it not only permits reflection but also compels the playing of the album again due to its emotional depth and musical sophistication.

Overall, Blue Magic is a quintessential soul album that showcases the smooth harmonies and romantic themes that made the group a force in the 70s soul scene. With the mega-hit Sideshow leading the way, the album offers a beautiful mix of soulful ballads and up-tempo numbers that keep the listener engaged from start to finish. Blue Magic’s ability to blend vulnerability with lush orchestration, all while maintaining tight, polished harmonies, makes this album a timeless classic. Whether you’re a fan of Philly Soul or simply appreciate well-crafted R&B, Blue Magic is an essential listen, particularly for those who love songs delivered with sincerity and class.

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Bee Gees – Mr. Natural (Album Review)

When you think of the Bee Gees, Mr. Natural is likely not an album that instantly comes to mind. Still, the more you listen to this classic release, the more you realise that it’s one of the greatest hidden gems in not only the Bee Gees’ illustrious career but in all of recorded music history.

Released in 1974, Mr. Natural marks a transitional period in the group’s evolution, as they began exploring a more contemporary soulful sound that incorporated elements of rhythm and blues, funk, and rock. Interestingly, it’s not entirely representative of their earlier works nor the disco-driven vibe that would catapult them to superstardom and define an era. Mr. Natural sits precariously in between their old and new styles, yet there is connective tissue to be heard throughout and it’s thoroughly enjoyable and perfectly suited to the trio.

While Mr Natural didn’t achieve commercial success, it remains a pivotal album in the Bee Gees’ discography and demonstrates their willingness to experiment with new directions; an essential aspect should the world of music long to hear sensational disco-driven releases such as Main Course and Spirits Having Flown.   

As we’ll come to see, as we peruse the songs that make up this hidden gem, the music is but one part of the album experience for the album artwork, much like the music, grows on you the more you look at it. Initially, it appears a little drab and uninspiring, but it melds perfectly with the chosen selection of songs and adds to the overall album experience.

Of course, the greatest album artwork would be for nil if the music contained within was lacklustre and while it is anything but, the lossless CD-quality Apple Music stream also sounds exquisite. There are no glaring omissions to concern ourselves with and you’ll find a soundstage that is wide and enveloping, with enough space between each musical element, allowing every aspect of the recording to shine. While mastering is essential, and in this case, it is ideal, when music is recorded and mixed this well, then the only thing left to do is to grab a coffee, sit back, and enjoy.

Charade isn’t an ideal opener, despite being a lovely ballad. The problem is it lacks a hook, one that will draw you into the music and the album itself. It isn’t, however, until you play the album multiple times that you start to appreciate Charade for its gentle yet melancholic melody that evokes some of the Bee Gees’ earlier 60s-styled recordings.

Throw A Penny introduces a more contemporary, soft rock-influenced sound, building momentum with its smooth groove and layered production. I can’t help but wonder if Throw A Penny would not have been a better opening. Nevertheless, it’s an exceptional song and the shift between the slower delicate verses, and the slightly more upbeat chorus that blends elements of R&B and Soul, is simply exquisite.

Down The Road flows seamlessly from Throw A Penny yet smoothly transitions the mood to that consisting of a bluesy, rock-and-roll vibe. Add to that the carefree swaggering groove, with a lively beat, and you’ve got yet another exceptional hidden gem from the Bee Gees.

Voices shifts the tone with its eerie slow-burning arrangement that makes me immediately think of songs such as Massachussetts and New York Mining Disaster 1941. To say that Voices is a masterpiece would be a just statement for it’s a magical song.

Give A Hand Take A Hand is an uplifting soulful ballad and while the Bee Gees’ vocal prowess is not a point of contention, the vocal skill heard here is second-to-none as Barry Gibb has rarely sounded better. Subsequently, this vocal-driven number is a standout from Mr. Natural and another of those hidden gems that really need to be appreciated for the hits are one thing, but Give A Hand Take A Hand is musical gold.

Dogs will captivate you with its fluid melody, particularly throughout the verses and chorus. Additionally, that mid-tempo shift in the bridge is pure genius. Not to sound like a broken record, but given Mr. Natural was all but ignored when released, it’s songs such as Dogs that need to be shared with fellow music lovers for casual fans of the Bee Gees have no idea of the exceptional music they’re missing out on.

Mr. Natural was an interesting choice as the title track as it’s a solid song with an infectious groove and funky bassline, but it’s most certainly an album-only tune, despite being released as the album’s first single. It just doesn’t hold one’s attention as much as many of the other songs on the album do.

Lost In Your Love slows the tempo down again with this delicate ballad, offering a tender moment. The arrangement is sparse, allowing Barry’s magnificent vocals to take the spotlight, thereby ensuring that Lost In Your Love is another memorable experience.

I Can't Let You Go has a killer riff, as the song brings an upbeat rock-oriented style to the record; one that melds perfectly with the Bee Gees’ overall style and harkens back to their origins.

Heavy Breathing continues the upbeat nature with this jazzy groove-focused tune that is perfectly suited to the era. If you’re not toe-tapping and head-bopping to this number, you’re listening wrong for its rhythmic gold with some exceptional musicality, particularly from the brass section to the ripper guitar licks. The bottom line is that Heavy Breathing is one Bee Gees song that should not be overlooked.

Had A Lot Of Love Last Night is, arguably, the greatest closer, from any album, in the history of recorded music. Not only is it uplifting, but it’s reflective, as well as encouraging the listener to play the album again. It also happens to be the most beautiful song that the Bee Gees has ever recorded that almost no one has ever heard. Had A Lot Of Love Last Night is so beautiful that I’d even argue that it’s the best song the band ever recorded; it’s that impressive!

In conclusion, Mr. Natural was a crucial, though often overlooked, album in the Bee Gees’ discography. It marked a period of experimentation and transition, as the group adapted their sound in preparation for their later success in the disco era. The album’s blend of soulful ballads, rock, and subtle R&B influences helped set the stage for what was to come, and it remains a thoroughly pleasing listen for those curious about the Bee Gees’ musical journey, beyond their chart-topping hits.

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ABBA – Waterloo (Album Review)

Released in 1974, Waterloo, ABBA’s second studio album, catapulted the Swedish quartet to international stardom. While the album owes its iconic status largely to its Eurovision-winning title track, Waterloo, the record as a whole offers a diverse mix of catchy melodies, heartfelt ballads, and playful storytelling that showcases ABBA's early range and charisma.

A somewhat confusing aspect, however, is the different linear structure of the album with few international releases retaining the original tracking of the Swedish release, where the Swedish version of Waterloo opens the album and the English rendition is the closer. While it could be argued as to which version is preferred, not to mention the further shifts with bonus material on the Deluxe Edition and Bonus Track Edition, I’ve chosen to share the album via the original tracking of the vinyl release as this has always been my preferred structure and is true to the original intent. It also replicates the 2020 vinyl reissue from The Studio Albums that I’m fortunate to own.

Speaking of the vinyl reissue, it is amongst the best-sounding reproductions that I’ve heard, thus far, of this classic album. Granted, I haven’t heard every release but the reproduction is subjectively perfect with a bold, yet enveloping, soundstage that will capture your attention from the very first note to the last. Of course, the question that must be asked is what my thoughts are regarding the Apple Music stream, a lossless Apple Digital Master. Let’s just say that it is the digital counterpart to the vinyl reissue and that unless you’re dedicated to the needle drop process, for digitising your records, you’ll be utterly thrilled with this digital edition for it offers everything the vinyl reissue does, minus the tactile aspect and the slightly more rounded (think warmer) tonality that is commonly associated with vinyl releases. The result is that no matter which of these two versions you choose to listen to, you’ll find yourself thoroughly captivated. I would, however, keep my distance from the Deluxe Edition; unless you wish to attain the additional songs and updated album artwork it offers, that is. My reasoning for this suggestion is that I find it too shrill and fatiguing to listen to. The chosen mastering doesn’t encourage the music lover to turn the volume up and each time I listen to it I find myself wanting to turn the volume down. Naturally, your experience may differ, but let’s turn our attention to the songs that make up this historic release.

Waterloo (Swedish Version) is an upbeat and infectious pop anthem that blends rock and glam elements with ABBA’s signature harmonies. While presented here in ABBA’s native Swedish language, it’s so compelling that it really doesn’t matter which version you appreciate more for the Swedish Version is the ideal opener to this classic album.

Sitting In The Palmtree has a tropical flair and carefree vibe. Its quirky charm makes it a hidden gem, but it’s also quintessentially ABBA as their lighthearted musical style shines throughout.

King Kong Song continues the playfulness with this irresistible rock number. Blending a mix of hard rock guitar riffs, eccentric vocals, and an overall upbeat styling, King Kong Song isn’t merely a novelty track but one that is ideally positioned in the era while keeping the core of ABBA’s pop sensibilities intact.

Hasta Mañana offers a more mellow moment with Agnetha on lead vocals, delivering a tender ballad that is one of ABBA’s greatest tunes and one that many casual fans have likely never heard.

My Mama Said is another exceptional tune that hasn’t received the recognition it deserves for the funk-driven number, shifting vocal style, and the overall mix gives the song a sense of maturity and introspection showcasing ABBA in a different light to their more lighthearted tunes.

Dance (While The Music Still Goes On) is a strong contender for ABBA’s first true foray into a dancefloor-focused song. Featuring a captivating melody and lush harmonies, Dance (While The Music Still Goes On) is thoroughly enjoyable; even if it isn’t a standout from the album. Of course, for an album to be exceptional, all songs need not be a hit, for it is the combination of all elements that ensures an album is a worthwhile experience.

Honey, Honey is a sweet and flirtatious pop song that blends ABBA’s knack for catchy hooks with lighthearted lyrics. With its infectious rhythm, sparkling melodies, and sing-along chorus, there’s little doubt as to why this track became a fan favourite as it captures the essence of ABBA’s early style.

Watch Out sees ABBA venture into rock territory once again, this time with a hard-edged song featuring Björn on lead vocals. While not known for their rock songs, ABBA has always impressed when edging towards this styling for the aggressive guitar riffs and energetic pace contrasts nicely against the pop sheen of other songs from the album.

What About Livingstone? returns the album to a whimsical style with this upbeat number. Featuring a light, bouncy rhythm, What About Livingstone? gives music lovers more of the styling that would ultimately make ABBA a household name. No matter how many of us appreciated their more polished numbers, there’s something extremely compelling about these playful kinds of tunes as they make you smile each time they’re played.

Gonna Sing You My Love Song is one of the more tender and soulful tracks on Waterloo. While it may be lacking the immediate hook of some of the album’s other songs, it stands apart for its emotional resonance and is another of ABBA’s hidden gems. Of course, when an artist such as ABBA has such an incredible back catalogue of music, some tunes are destined to be overlooked, but Gonna Sing You My Love Song shouldn’t be one of them for it is one of ABBA’s greatest recordings.

Suzy-Hang-Around is another of ABBA’s lighthearted numbers to feature a gentle melody and subtle arrangement. It’s most certainly an album-only tune, but as mentioned earlier, an album experience is the sum of all its parts, not just a couple of hit songs.

Waterloo (English Version) is the ideal bookend closer to the album as it encourages me to play the record again as Waterloo is one album that can be seldom listened to once.

ABBA’s Waterloo was a pivotal album in their career, showcasing the band’s diverse musical abilities and their growing confidence as performers and songwriters. With a mix of jubilant anthems, tender ballads, and experimental rock numbers, the album laid the foundation for ABBA’s future success. Yes, Waterloo will forever be linked to their Eurovision triumph, but the album contains hidden gems that highlight ABBA’s evolution from a regional pop act to international superstars. The bottom line is that Waterloo is a fun, vibrant, and eclectic record that has stood the test of time.

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Van Halen – 1984 (Album Review)

Released in the year that adorns the album’s title, Van Halen’s 1984 (MCMLXXXIV) stands as one of the most iconic and commercially successful records of the 80s with sales exceeding 10 million units.

While there’s no shortage of exceptional Van Halen music, regardless of frontman, 1984 would be the final album from the band’s classic era to feature David Lee Roth on vocals and in one respect 1984 can be seen as an album that captures the band at the height of their success; certainly from the perspective of the Roth years. This sixth studio release also marked a significant shift in their sound with a genre-defining fusion of hard rock, pop, and synth-laden melodies. That shouldn’t deter longtime rockers, however, as the core Van Halen hard rock styling remains present throughout and there are really only three of the nine album tracks that are synthesise-focused. Nevertheless, the shift perfectly captured the imagination of 80s music lovers; some of which likely wouldn’t have given Van Halen a second thought had the band not leant into the sounds of the era.

Speaking of imagination and while not directly related to the music, the album’s cover art is among the greatest ever released and looks magnificent on a vinyl-sized canvas. The Apple Music version has gone one step further by turning the purported candy cigarette into a smoking one via their animated album artwork feature. It’s certainly unique and despite the cover art being controversial, I’m glad to see that it hasn’t been modified by cancel culture because it is true to the era and the original intent. Plus, you can’t help but appreciate the contrast between good and evil whereby the childlike angel has a devilish side; a true representation of us all, wouldn’t you agree?

What is devilishly good, however, is the sonic prowess of the Apple Music stream. Delivered as an Apple Digital Master, this digital edition simply sounds right with no glaring issues to discuss. You’ll be immersed in the stereo soundstage that is both wide and deep as well as leaving you in awe with the power in the mid to low-end range of the audio spectrum. Treble fans need not be concerned, however, as this isn’t a muddy presentation, anything but, but you won’t get an overall sonic glare in the high end; unless you’ve dialled your sound system in to be bright, that is.

As to which master has been used for the Apple Music stream, that is anybody’s guess as there is no information available. Nevertheless, when music sounds this good, via a stream, let’s blast the tunes on the stereo as we take a look at the songs that make up this legendary release.

1984 is an ideal opening track that sets the tone for the album with its synthesiser-drenched atmosphere. While it may be a musical prelude, it creates the perfect build-up to the album’s first full-length song, Jump.

Jump is undoubtedly the band’s most famous song and for good reason as the catchy upbeat synthesiser riff dominates the song. While it could have been suggested that synthesiser-based music would have dated quickly, even upon reflection, four decades later, Jump hasn’t aged a day and sounds as compelling as it would have been when released in 1984. It just goes to show that a good song, with a killer riff, will always be timeless, regardless of the technology used to construct the music. Plus, the synthesised elements weren’t overused and Eddie Van Halen’s guitar solo not only adds to the overall mix but showcases that an anthemic pop-rock hybrid is not only possible but is delectable to the senses.

Panama is a quintessential Van Halen song, blending heavy guitar riffs with David Lee Roth’s larger-than-life vocal delivery. While it may play second fiddle to Jump, sometimes a straightforward hard rock number is all that’s required and in this case, Panama shines with the spirit of classic Van Halen.

Top Jimmy may not be as commercially impactful as the other songs from 1984 but it certainly adds to the overall album experience. Part of its musical appeal is due to the complex bluesy riff that drives the song forward, but Roth’s vocal delivery isn’t the greatest on this tune. While it could be due to the mix, it sounds as if Roth was recording from a studio across the road as he sounds distant, if not uninterested, throughout.

Drop Dead Legs features a killer mid-tempo groove with Eddie Van Halen front and centre. The song’s sleazy, blues-infused rock, very well could have come straight out of ZZ Top’s wheelhouse, but despite being a deep cut it’s thoroughly enjoyable and it is songs such as this that remind us that each song need not be a hit for the album experience to be thoroughly entertaining.

Hot For Teacher is a fast-paced rocker showcasing the band’s virtuosity and sense of humour. The song’s playful lyrics, about a schoolboy’s crush on his teacher, are delivered with Roth’s trademark cheeky charisma. Eddie Van Halen’s guitar work here is particularly stunning with its speedy, yet intricate, styling. However, it’s Alex Van Halen’s explosive drum intro, mimicking the sound of a revving engine, that steals the show as it’s different to what we’d normally expect from a song introduction.   

I'll Wait returns the album to the synth-driven sound that, as much as I can appreciate the hard-rocking tunes, I prefer. It’s a styling that simply works well for Van Halen. Hence, I’ll Wait is one of my favourite songs from the album and while it didn’t quite set the charts on fire, as the second single from the record, it did perform admirably.

Girl Gone Bad is one of the more aggressive tracks on 1984, with Eddie Van Halen’s rapid-fire guitar riffing reaching a frenetic pace, yet blending perfectly into the complex arrangement. With the more intricate nature of the song, Girl Gone Bad is, arguably, Van Halen’s foray into progressive rock while maintaining a balance with the band’s heavier rock roots. One thing Girl Gone Bad is not, however, is dull, for each time you listen to this track you’ll take away yet another element as the multi-layered production is incredibly intricate.

House Of Pain closes out the album with a raw, hard-hitting, riff-heavy, tune that dates back to the band’s early days; ensuring long-time fans that they didn't completely turn their back on their original sound. While it’s a great tune, one thing that has always bothered me is I don’t feel it’s a strong closer. It neither compels me to listen to the album again nor sit and reflect upon the music I’ve just heard. It simply exists.

Overall, 1984 is an album that blends the innovative with the familiar, making it a creative high point for Van Halen. The inclusion of synthesisers may well have alienated some of the band’s hard rock fan base, but it expanded their reach and solidified their position as rock giants of the era. With the diversity heard on 1984, Van Halen crafted a record that appeals to both purists and pop-rock fans alike, ensuring its place as an era-defining album.

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Scorpions – Love At First Sting (Album Review)

Released in 1984, the Scorpions’ Love At First Sting is an album that not only epitomises the energy and musicianship that was prevalent in 1980s hard rock, but it would be the album that would solidify the Scorpions’ position as one of the biggest rock acts of the era. Building on the success of their previous records, and over a decade of well-received (but sometimes controversial) releases, the Scorpions would deliver their ninth studio album; a record that plays akin to a greatest hits release, for Love At First Sting is more than a mere collection of songs.

Where Love At First Sting really shines is in the mix of soaring guitar solos, Klaus Meine's unmistakable vocals, and a balance of power ballads and fast-paced rockers, that were commercially successful. While there’s no shortage of editions of Love At First Sting, with over 200 at the time of writing, the latest remaster and associated reissue (from 2015) is a bit of a double-edged sword. Yes, some will love the bonus material and demo tracks and while I’m not suggesting they should be omitted, I prefer album reissues to retain the original track listing and have any bonus material added as a separate disc. That isn’t the case for Love At First Sting as the demos are tacked onto the back end of not only the streaming editions but the CD re-issues. Yes, there is a two-disc set, replicated on streaming services, that contains a live performance from Madison Square Garden (in 1984), but it’s irritating that the concert remains intact while the core album is inundated with five additional demo songs. I know, first-world problems, but it’s an aspect that drives this music lover mad.

Thankfully, Apple Music et al allow for the omitting of songs that aren’t of interest and in the heyday of the compact disc player, these technological wonders had a program function that allowed the listener to program a set of songs that would be played, omitting those they didn’t wish to hear. Modern, high-end, CD players still offer this functionality, but it is no longer considered the norm across the board. We’ve truly gone backwards, it seems, in our attempt to march to the modern technological beats. What I can say, however, is that the 2015 remaster of Love At First Sting is exceptional. While not presented as an Apple Digital Master, the lossless CD-quality stream is thoroughly enjoyable with an enveloping soundstage that not only rocks but allows for separation between all elements. Some may criticise the heavy-handed compression and volume increase applied to this newest remaster, but I wouldn’t say it’s detrimental to the album for it may be loud, by comparison to the original releases, but it’s sonically pleasing enough that if you don’t already own a copy of this classic album, you’ll likely find this remaster to be more than adequate.

To facilitate a consistent overview of Love At First Sting, I’ll be sharing a playlist of the album’s original linear structure for you to enjoy as we take a look at the songs that make up this legendary release. Additionally, for those of you seeking a physical release, the vinyl reissues maintain the original tracking and when you have Helmut Newton’s photography adorning the cover art, those larger canvas releases undoubtedly look spectacular in any record collection.

Bad Boys Running Wild opens the album with a rock styling and guitar lick that is not only aggressive and full of rebellious energy but draws you into the sheer power of the song. It also has stadium filler written all over it for Bad Boys Running Wild is not only a classic Scorpions rocker but it’s a song that will appeal to the wild spirit of rockers everywhere.

Rock You Like A Hurricane is an iconic rock anthem of the 80s and, arguably, the Scorpions’ most famous song. It has all the elements of a classic: a catchy riff, a larger-than-life chorus, and a blazing guitar solo. Additionally, the song’s tight structure and sing-along hook make it irresistible. Rock You Like A Hurricane is one of those songs that no matter your musical tastes, will connect with your soul from the very first note and won’t let go until the last note has been played. Exceptional!

I'm Leaving You continues the rhythmic rocking nature of the album as it flows seamlessly from Rock You Like A Hurricane with a catchy chorus, thoroughly pleasing guitar work, and a high-energy vibe.

Coming Home slows the album slightly with its calm and melodic introduction. Not only is the musical bed exceptional, but before the song crescendos, Meine’s vocals will impress just about anyone. Yes, his vocals later in the song are equally impressive, but the delicate nature of the song's opening is to be celebrated. As the song progresses, Rudolf Schenker and Matthias Jabs provide some of their best intertwining guitar work, alternating between powerful chords and intricate solos. However, it is the launching into a fast-paced rocker, from calmer beginnings, with a touch of Iron Maiden influence, that truly turns this song into a hidden gem and one of the most incredible sonic journeys in the Scorpions’ extensive back catalogue.

The Same Thrill is a high-octane rocker driven by pounding drums from Herman Rarebell and aggressive guitar riffing. While it may not have the commercial appeal of songs such as Rock You Like A Hurricane, there are undoubtedly fans who would adore this tune for they prefer the Scorpions’ harder-edged sound.

Big City Nights is a classic 80s rock and roll number. The mid-tempo groove, catchy riff, and anthemic chorus make it appealing and it, therefore, isn’t surprising that it was released as the album’s third single and performed respectfully in the US.

As Soon As The Good Times Roll is a bold mid-tempo number and a quintessential album-only tune. While it is unlikely that this song will be anyone’s favourite tune, what is certain is that it’s a solid B-side and one that continues to drive the album forward as it offers a nice contrast to the more adrenaline-fuelled tracks.

Crossfire is one of the more musically complex songs on Love At First Sting, featuring a slower, more deliberate pace. Rarebell’s drumming is particularly noteworthy here, adding a military-like precision to the track, but with a mix where the guitars and vocals are more subdued, until the song launches into its powerful solo, it offers one of the greatest musical experiences on the album and within the Scorpions back catalogue. Crossfire is most certainly a hidden gem, for it’s worthy of greater recognition than it has ever received.

Still Loving You closes the album with one of the Scorpions’ greatest ballads. As someone who adores the power ballad, Still Loving You is amongst the greatest ever recorded with Meine delivering one of his most passionate vocal performances. As the closing song on the album, it not only offers a reflection of the music that has just been heard, but leaves a lasting impression while also encouraging you to play the record again, for classic albums such as this can seldom be listened to only once.

With a mix of hard-hitting rock anthems and emotional ballads showcasing the Scorpions’ versatility and ability to balance commercial appeal with genuine musicianship, Love At First Sting is not only an essential album in the Scorpions’ discography, but it is amongst the very best albums released in 1984. Add to that a plethora of catchy hooks and an accompanying high-energy guitar-driven sound with exceptional rhythm and vocals and what you’ve got is a timeless classic.

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Metallica – Ride The Lightning (Album Review)

While Metallica Killed ‘Em All with their first album, they were determined to Ride The Lightning on the second; a record that has not only stood the test of time but remains one of the greatest thrash metal albums ever recorded.

Marking a pivotal moment in the evolution of thrash metal, Metallica’s second studio album, Ride The Lightning, not only cemented the band’s legacy within the genre but showed that they were capable of a more mature and thematically deep album than was presented on their 1983 debut Kill ‘Em All. Retaining the intensity of their debut, Ride The Lightning, struck a perfect balance between speed, aggression, and intricate musicianship that would not only set them apart but would result in a collection of timeless tunes and one of the very best albums released in 1984.

Visually striking, as many of the albums within Metallica’s discography are, Ride The Lightning looks stunning on the larger vinyl canvas and while I’ve been fortunate to have owned various editions of this classic album throughout the years, all are not created equal and in some cases it comes down to the mastering, whilst others come down to the quality of the vinyl pressing; such as the less-than-impressive Blackened Recordings 2014/5 vinyl reissue (BLCKND004-1). What is pleasing, however, is that the 2016 remaster brings about greater consistency across all formats. As such, it no longer matters how you choose to listen to this classic release, but what I can say is that streamers are in for a treat for the Apple Digital Master rocks; despite it being, technically, more compressed than previous editions.

Of course, give it a listen and see for yourself as we explore the songs of this legendary release.

Fight Fire With Fire opens with a killer acoustic guitar intro that quickly erupts into one of Metallica’s most ferocious thrash metal tunes. Blending melody with aggression sees Fight Fire With Fire set a chaotic and intense tone that continues throughout the record; thereby making it the perfect album opener.

Ride The Lightning flows perfectly from Fight Fire With Fire for the guitar riff continues the non-stop assault on the senses. If you haven’t already, this title tune will encourage you to get your air guitars out for it is impossible to sit still as this legendary song is playing. However, it isn’t just the relentless riffing that’s a highlight here, for the shift between the frantic thrash riffs and the slower, doom-laden sections, demonstrates Metallica’s evolution and ability to blend tempo and mood. Ultimately, Metallica’s music doesn’t get much better than this and words seem somewhat meaningless to explain the impact of this song. Hence, you need to experience it for yourself as that’s the only way to truly appreciate and understand Metallica’s impact on not only thrash and metal, but music in general.   

For Whom The Bell Tolls is EPIC! From the tolling bell, to the slower and more methodic tempo that builds tension and atmosphere, to the musical interplay between the band, For Whom The Bell Tolls is one of the album’s most memorable moments and is, undoubtedly, one of the greatest songs Metallica ever recorded.

Fade To Black is a slight departure from their core thrash roots, but when you combine a slight country twang and a more melodic tempo you end up with a power ballad worthy of Metallica. Of course, the song ebbs and flows between the semi-acoustic and full-on electric, adding to the overall appeal and merging this new style with their thrash origins. Yes, some detest 80s power ballads, but this is no ordinary ballad for its masterful composition sets it apart from its 80s counterparts. And, if nothing else, Kirk Hammett’s closing solo seals the deal on this being one of the greatest power ballads ever recorded.

Trapped Under Ice returns the album to a faster, more chaotic pace with aggressive riffing and frantic drumming that create an overwhelming sense of urgency that perfectly mirrors the song’s theme. Trapped Under Ice may be one of the more straightforward thrash tunes on the record, that would have been perfectly suited to Kill ‘Em All, but it doesn’t let up for the entire duration.

Escape has a killer riff and rhythm with a groove that is widely appealing. That said, Escape can be best described as a quintessential album-only tune and as much as I enjoy it, I’ve always felt it wasn’t the strongest song from a vocal perspective. However, had it been an instrumental tune, it would have been exceptional.

Creeping Death is a monumental tune and a thrash masterpiece due to its relentless energy and perfect balance of storytelling, technical prowess, and visceral intensity.

The Call Of Ktulu is, without a doubt, one of the greatest songs ever recorded in all of music history. If you haven’t checked out the live performance from their legendary S&M concert, you really should because it bests this original. The Call Of Ktulu’s strengths are on full display across the song’s sprawling 8-minute runtime. Building tension with atmospheric guitar work and ominous riffs, along with a thunderous percussive element, The Call Of Ktulu isn’t easily forgotten and will compel you to play the album again because Ride The Lightning can seldom be listened to once.

Ride The Lightning is nothing if not a milestone release for Metallica and the thrash metal genre. Its combination of raw power, thematic depth, and technical brilliance set it apart from its peers and showcased Metallica’s growing ambition. It also expanded the boundaries of what thrash metal could be, incorporating new levels of complexity, emotion, and atmosphere without sacrificing the core aggression. No matter which way you look at it, Ride The Lightning was a monumental achievement in metal, and its influence can still be felt today as it’s one of the greatest thrash records ever released.

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Meat Loaf – Bad Attitude (Album Review)

By the time 1984 rolled around, Meat Loaf was at a crossroads in his career. After the massive success of Bat Out Of Hell (1977), the pressures of maintaining that momentum would naturally take its toll. Conflict with longtime collaborator, Jim Steinman, would further complicate matters; despite two of his songs being included on this release. Nevertheless, Bad Attitude, Meat Loaf’s fourth studio album, showcased that he was still capable of delivering powerful rock anthems; even if it was less cohesive than his 70s masterpiece. However, if we consider Bad Attitude as a unique experience from Bat Out Of Hell, rather than a continuation, it’s a thoroughly enjoyable album featuring a timeless collection of bombastic rockers and dramatic ballads.

As with several high-profile Meat Loaf releases, the album artwork for Bad Attitude is spectacular. Not only is it perfectly suited to the era, but it simultaneously harks back to what quickly became a Meat Loaf trademark; the motorbike. Yes, a beautiful woman adds to the allure but it isn’t just outward appearances that matter for you’ll come to see that the music contained within this release is quite incredible, yet it isn’t without fault.

Let’s be frank, Meat Loaf’s music has never truly been recorded, mixed, and mastered to what could be considered perfection. Bat Out Of Hell II: Back Into Hell was a marked improvement and his best-sounding record has to be Welcome To The Neighbourhood but all others are merely satisfactory. Granted, his music had a unique sound signature, but just as Bat Out Of Hell isn’t a sonic masterpiece, neither is Bad Attitude.

Given the album’s lacklustre sales performance, Bad Attitude is often overlooked and while it was remastered and reissued in 2014, it was only for a CD reissue that I’ve yet to hear. Interestingly, when you search on Apple Music et al, you’ll come across two editions of the album. Due to the way they’re listed, you have no idea what the differences are, other than one has more appealing visual colour tones and contrast compared to the album artwork on the other. However, in this instance, don’t let the bolder album artwork confuse you because whatever master that version is utilising, it’s downright atrocious.

While I acknowledge that not every music lover is focused on attaining the very best-sounding version of an album, I do wish each record would have a singular definitive master. That isn’t the case here, so let’s take a moment to compare the two different masterings of the same song; Surf’s Up. Click here to listen to the first version. Pay particular attention to the piano introduction and overall soundstage as the song progresses. Now, let’s play the same song but from what I think is the original CD mastering. Click here to listen to the second version. Different, aren’t they?

It’s elements such as this that can make or break an album and I’d love to say this is an isolated incident, but it isn’t. While I appreciate that both editions exist, particularly the second one which is my preferred version, relying on the Apple Music stream can be a recipe for disaster as there is always the chance that the superior edition could be removed for the inferior one. It’s a constant concern for music lovers who want their music to sound a certain way and never change. And, yes, dear reader, as you get older, and get more used to the way the music should sound, you’re less flexible with regards to substandard sonic presentations.

As it pertains to the edition I’m sharing below, I feel that it is the better-sounding version available on Apple Music as it may not be a recording that will set your stereo on fire, but it sounds right and a few minor EQ tweaks on the stereo can go a fair way to addressing any shortcomings.

Bad Attitude (feat. Roger Daltrey) certainly has an 80s synth vibe to it, despite the hard-rocking anthemic styling. There’s also a little Queen guitar lick to be heard on the song, but what is perhaps most disappointing is that Daltrey’s inclusion fails to enhance the song as, in some ways, his vocal is too similar to Meat Loaf’s to truly stand apart. Yes, this title song is a solid and thoroughly enjoyable opener, but when you have these two exceptional vocalists, it isn’t unreasonable to have expected more.

Modern Girl was the first single released from the album and while it didn't set the charts on fire, it did perform admirably in some regions. It’s a shame it wasn’t better received for it’s one of Meat Loaf’s greatest songs, offering a balance between the theatrical and that of a pop-rock masterpiece. While the lyrics may feel slightly dated, in the modern era, the song itself is catchy and energetic, thereby ensuring that it can still be enjoyed by those who are not only nostalgic but are driven towards radio-friendly pop-rock tunes with soaring melodies and lush production values.

Nowhere Fast is one of the two Steinman compositions to be included and was previously recorded by Fire Inc. on the 1984 Streets Of Fire soundtrack release. Meat Loaf’s interpretation has a bolder rock edge and is, arguably the stronger of the two, but retains the 80s synth styling. It suits the era perfectly, even if it isn’t ideal for Meat Loaf. Nowhere Fast is, subsequently, a thoroughly enjoyable album-only number with a killer chorus. Interestingly, the lyrics, aside from the chorus, are different between the two editions. As to why, I’ve no idea as information relating to the change is sparse at best. If you know, please reach out to me as I’d love to know a little more about this variant.

Surf's Up feels like a continuation of the cinematic rock sound from Bat Out Of Hell. Let’s just say that Steinman was a master songwriter of the highest calibre and when Meat Loaf would record his songs, for the most part, they were always exceptional. That is certainly the case here for Surf’s Up is one of the album’s most impressive songs and Meat Loaf’s vocal performance shines here, as he navigates the song’s emotional highs and lows. Add to that the exceptional mid-song guitar solo and you’ve got what can best be described as a masterpiece; an overused term, yes, but one that most certainly applies to this song.

Piece Of The Action is a mid-tempo rocker that flows seamlessly from Surf’s Up while also providing a change of pace. As the song slowly builds, you get the sense that something very special is coming and when the song reaches the first chorus crescendo, you’re given that sonic reward that is essential to mid-tempo rock numbers. With an infectious chorus and a straightforward anthemic 80s rock style, Piece Of The Action is a killer tune; one that is perfectly suited to Meat Loaf’s theatrical storytelling.

Jumpin' The Gun has a driving rhythm punctuated by tight guitars and energetic percussion, but the mix and overall recording isn’t great. It sounds as if it’s a demo and the additional atmospheric elements, while relevant to the era, simply don’t work. Nevertheless, Jumpin’ The Gun can most certainly be appreciated as an album-only tune, for each song need not be a hit for an album experience to be thoroughly enjoyable.

Sailor To A Siren plays into Meat Loaf’s ability to turn songs into mini-operas for the arrangement is dramatic, with soaring guitars and powerful drumming that drive the song forward. Sailor To A Siren may be brimming with 80s cues, but it’s also a stroke of musical genius for it is simultaneously timeless. It may never be one of Meat Loaf’s most recognised tunes, but it’s most certainly one of his greatest recordings.

Don't Leave Your Mark On Me has an interesting, yet offbeat, introduction. It works, however, following the Sailor To A Siren as it builds a large enough gap that the songs can be easily differentiated. While the arrangement of Don't Leave Your Mark On Me is straightforward compared to some of the bolder songs from the album, it doesn’t change the fact that this song is extremely compelling; particularly its chorus. I do, however, feel that it ends prematurely.

Cheatin' In Your Dreams is a beautiful closing introspective ballad that showcases Meat Loaf’s emotional intensity. Pairing his spectacular vocal with a delicate piano arrangement and lush strings ensured an orchestral feel prior to the bombastic energy that arose midway through the song. If nothing else, Cheatin' In Your Dreams will do what all good closers do – encourage you to play the record again.

Bad Attitude may not have reached the towering heights of Meat Loaf’s earlier or later works, but if you’re after a straight-up hard rock album filled with power ballads and rock anthems, look no further than this classic 80s release. While the era was dominated by synth-driven pop and new wave, Bad Attitude is a breath of fresh air as it not only rocks but is a reminder that outside of trends, good music is still prevalent and when combined with Meat Loaf’s larger-than-life persona, Bad Attitude is most certainly an album worthy of any music lover’s collection.

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