Bon Jovi – 7800º Fahrenheit (Album Review)

Bon Jovi – 7800º Fahrenheit (Album Review)

Released in 1985, Bon Jovi’s 7800º Fahrenheit was a pivotal moment in the band’s early career and could be seen as a make-or-break release following their self-titled debut in 1984. 7800º Fahrenheit not only solidified their sound but built upon the band’s raw talent with even higher production and songwriting capabilities that would yield the fan favourite In And Out Of Love and become a precursor to their 1986 release, the highly successful Slippery When Wet. Granted, the songs of 7800º Fahrenheit aren’t nearly as polished as that follow-up, and the band have been rather critical of this release, but if we avoid comparisons and imagine we’re back in 1985, hearing this record for the very first time, what you’ll find is a killer album that offers an essential snapshot of Bon Jovi’s growth.

As with much of their discography, the compelling album artwork would have looked superb on just about any record store shelf. However, an album can’t, and shouldn’t, be judged by its cover, but even if we were to applaud the song selection and sequencing, how does the album stand up sonically?

The good news is that the Hi-Res Lossless Apple Digital Master is exquisite and a marked improvement on the terribly loud and shrilly produced Special Edition CD from 2010. While I always wanted to turn the volume down on the CD, for it was incredibly fatiguing, the Apple Music stream presents a smoother, more rounded tonality, but one that still rocks. I find myself listening at higher volumes and still wish to turn the volume up; most likely to the chagrin of my neighbours. Ultimately, the stream is, by far, the best-sounding digital version (as I’ve yet to hear a vinyl release) of this classic album.

In And Out Of Love is one of the greatest album openers of all time. With Richie Sambora’s sharp guitar riffs and Jon Bon Jovi’s gritty vocals this hard-rocking anthem not only sets the tone for the entire record, but it’s one of the most memorable tunes from the album and is an 80s glam metal classic.

The Price Of Love is a mid-tempo rocker, but it’s Sambora’s licks that are a highlight here, as well as the backing vocals during the chorus. While those aspects are memorable, and Jon Bon Jovi’s vocal delivery is admirable, his performance just isn’t noteworthy. Perhaps it’s the mix, rather than the recording itself, for it sounds as though Jon’s vocal is recessed and all musical elements are front and centre, by comparison. Nevertheless, The Price Of Love is a killer track and a perfect album-only tune.

Only Lonely is a standout and while it may not have received the fanfare, post-release, that In And Out Of Love did, when released as the lead single it performed admirably. Yes, it may have only been a minor hit, but it foreshadowed the depth and sonic prowess of the music that would come on later albums and take the world by storm. Hence, if you’ve overlooked this classic tune, and Sambora’s killer solo, give it another shot for Only Lonely is severely underrated.

King Of The Mountain is an adrenaline-fuelled, energetic number, that embodies the spirit of 1980s arena rock. Unfortunately, most casual fans would have never heard this incredible number, so if you know a Bon Jovi fan who only knows the hits, let them know about King Of The Mountain, for it’s an exceptional tune!

Silent Night foreshadows the band’s knack for crafting timeless ballads, but this, unfortunately, falls short. It’s simply too campy and polished, as if the band and the production team were trying to reach too far.

Tokyo Road has a Japanese-inspired introduction before forging forth with a hard rock swagger. It’s a killer rock and roll number, but the introduction could be seen as either additive or distractive. Part of the problem is the song doesn’t start straight away and while there is nothing fundamentally wrong with the introduction, I don’t feel it adds anything to the song itself.

The Hardest Part Is The Night has quite the multi-layered production, and despite being a solid tune, isn’t exceptional as it gets lost in its own lush production.

Always Run To You is a fast-paced rocker with infectious energy. Sambora’s fiery guitar licks elevate the song, even though Jon’s vocals didn't quite reach the heights he was capable of.

To The Fire is 80s 101 with its stylistic production that, unfortunately, sounds dated to the era. While it may not be entirely indicative of Bon Jovi, the sense of urgency and determination, along with the catchy chorus, results in a tune that’s quite compelling. One, subsequently, can’t help but wonder what To The Fire would have sounded like minus the synthetic elements for there’s a solid rocker hidden behind the extraneous production layers.

Secret Dreams has a killer guitar introduction but it’s the overproduced nature that detracts from the song. It is, however, a solid tune but isn’t necessarily memorable or capable of encouraging the listener to reflect on the album and listen to it again. Its saving grace, however, is the highly addictive chorus and, at times, that is more than enough to close the album on a high note.

From start to finish, 7800º Fahrenheit showcases Bon Jovi in a transitional phase, balancing youthful exuberance with the desire to mature as artists in both production and songwriting capabilities. Clearly centred on what we now consider to be 80s rock clichés, 7800º Fahrenheit delivers moments of brilliance and was a critical stepping stone in their journey to global superstardom. While it may not have been their greatest release, as an album, 7800º Fahrenheit stands as one of the best releases from 1985 and is worth greater attention than it often receives.

Bob Dylan – Empire Burlesque (Album Review)

Bob Dylan – Empire Burlesque (Album Review)

Released in 1985, Bob Dylan’s Empire Burlesque is a fascinating entry in Dylan’s celebrated and extensive discography, yet it, much like Street-Legal and Slow Train Coming has its detractors; especially those who favour Dylan’s early to mid-70s output. While not quite the album that Oh Mercy would become four years later, Empire Burlesque showcases Dylan’s eagerness to experiment with evolving contemporary production styles. Produced by Dylan himself, the album features a polished, modern sound with an unmistakable 80s sheen; one that isn’t, however, dated to the era.

While the music may not be dated, the album artwork most certainly is. Granted, it isn’t as kitch as some of the other albums, from the 80s, but it’s unlikely that you’ll display this album artwork with pride. Of course, if you’re like me, you may not have had the privilege to have attained this classic release on the larger vinyl canvas and while it would be lovely to acquire a copy, the Lossless Apple Music Stream, a CD-quality counterpart, is mastered respectfully; with one notable caveat. Following the album’s opening track, there’s a considerable sonic shift when Seeing The Real You At Last comes into play and this change, subsequently, is less treble-focused and, therefore, more concealed than the album’s opener. It isn’t necessarily detrimental, but it’s an aspect that may irritate some as album experiences are generally more uniform in their production styles.

Tight Connection To My Heart (Has Anyone Seen My Love?) opens the album with a catchy melody and glossy production that is perfectly suited to the era; even if it’s slightly different to Dylan’s traditional trademark style. Nevertheless, the polished arrangement, backing vocals, and overall musicality of the song make it a memorable opener.

Seeing The Real You At Last is a solid rock-driven number but as alluded to before, the sonic shift when listening to the album's sequencing is interesting as one would assume a bold and rocking sound to emanate from one’s speakers. It’s as if the song has been reduced by several decibels, but has also been muddied as it pertains to the mix. It doesn’t diminish the song, a killer rock number in its own right, but the shift may irk those of us who listen to albums in their intended sequencing, rather than random songs or playlists. That all said, Seeing The Real You At Last balances raw energy with the era’s typical propulsion of sharp guitar riffs and a driving rhythm. The result is that Seeing The Real You At Last is one of the best songs from Empire Burlesque.

I'll Remember You is a beautifully tender ballad that showcases Dylan’s ability to convey deep emotion through lyrics. Add to that the gentle arrangement, featuring understated instrumentation, that highlights Dylan’s vocals, and what you’ve got is one of the greatest ballads Dylan ever recorded.

Clean Cut Kid has a killer rhythm with a brisk tempo that’s addictively good. As usual, Dylan’s biting sarcasm and criticism of modern life come through loud and clear for this satirical number contrasts perfectly with the blues rock edge heard throughout.

Never Gonna Be The Same Again is a smooth, mid-tempo number that maintains the album’s polished production with backing vocals that add to the song’s lush texture. Interestingly, when you listen to Never Gonna Be The Same Again, the lyrical delivery from the backing vocalists is somewhat offset to Dylan’s vocal delivery and while that would normally take away from the song itself, it works perfectly and the combination makes it one of the best tunes from the record.

Trust Yourself is a motivating and empowering anthem of self-reliance. The track’s dynamic instrumentation, with its jangly guitars and keyboards, adds depth without overshadowing Dylan’s lyrics thereby making it ideal for both those who appreciate music from a purely musical perspective, as well as those who listen for literal interpretation. Ultimately, Trust Yourself is a standout and is one of Dylan’s greatest recordings.

Emotionally Yours is a masterful tune, for this soulful ballad, with its beautiful arrangement, complements Dylan’s tender and delicate vocal style. It’s so impressive that I’d place it amongst Dylan’s greatest ballads and it would be fair to say that it could very well be the most remarkable ballad he’s ever recorded.

When The Night Comes Falling From The Sky is Dylan meets rock with a touch of dance. Yes, Dylan purists will likely dislike the slick production, and while it’s far from his greatest tune, it works exceedingly well for not only Dylan’s overall style but within the context and the flow of Empire Burlesque.

Something's Burning, Baby is driven by an ominous melody that works well with Dylan’s vocal delivery. The sparse yet atmospheric arrangement enhances the song, but it’s the culmination of all musical elements that set this song apart from the rest of the tunes on the record.

Dark Eyes closes the album on a stark and poetic note. It’s this kind of stripped-down simplicity that truly highlights Dylan’s exceptional vocal skill for his folk origins shine through and allows a level of intimacy that simply isn’t present throughout the rest of the record. Dark Eyes is, subsequently, a quintessential closing track as it allows time for reflection whilst also encouraging the listener to play the record again.

Overall, Empire Burlesque captures Dylan at a crossroads, blending his timeless songwriting with the contemporary production trends of the 1980s. While some fans may be critical of this further shift within Dylan’s legacy, the album offers a compelling mix of heartfelt ballads, biting social commentary, and his trademark poetic musings. Empire Burlesque is, subsequently, a compelling chapter in Dylan’s discography for it offers a unique blend of old and new and is subsequently one of his best albums from the 80s and one of the greatest albums released in 1985.

Black Flag – Loose Nut (Album Review)

Black Flag – Loose Nut (Album Review)

Upon its release in 1985, Black Flag’s Loose Nut showed the band had evolved from their hardcore punk roots into a band that simultaneously experimented with sludge metal and alternative rock. This progression, blending aggressive energy with darker, slower tempos, and more introspective lyrics, proved to be as compelling as anything that came before for Loose Nut is a record that, despite being divisive amongst fans, is a captivating release that shows Black Flag’s willingness to evolve and push their musical boundaries.

Featuring Henry Rollins on vocals, Greg Ginn on guitar, Kira Roessler on bass, and Bill Stevenson on drums, Loose Nut is a polarising record that some will hail as an underrated gem, while others will lament the departure from their earlier sound. For this music lover, I consider Loose Nut the former and a true masterpiece as well as their strongest release.

Part of the appeal is the incredible album artwork. While Punk Rock is often associated with being a little rough around the edges, and their other album covers reflect this, with the slight shift in styling and somewhat higher production values, the Loose Nut artwork is utterly perfect and offers listeners the perfect visual accompaniment.

Sonically, Loose Nut is superb. The band’s rawness is still present and, despite a stylistic muddy approach, the mix is magnificent as every musical element can be heard clearly while ensuring the attitude-focused delivery remains front and centre. While not an Apple Digital Master, the CD-quality Lossless Apple Music stream is warm and enveloping as the mastering has been done so well you’ll feel compelled to turn the volume up for Loose Nut deserves to be heard at ear-bleeding volumes. That said, it remains thoroughly pleasing at lower volume levels as well; an indication of a well-recorded, mixed, and mastered record.

Loose Nut kicks off the album with a heavy riff that straddles punk and metal. Rollins’ snarling delivery exudes frustration while the overall styling of the song sets the brooding tone for the album, encapsulating the shift towards a darker, and more melody-focused, styling than Black Flag had been previously known for.

Bastard In Love is a toe-tapping head-bopper with an incredibly appealing melodic musical styling. However, it is Rollins’ vocal delivery that is a standout and amongst the very best of his career, for his trademark rawness and intensity are maintained throughout.

Annihilate This Week is frenetic and harks back to Black Flag’s origins as it’s the most punk-leaning tune on the album. Yes, the tempo remains slow and methodical, but it’s songs such as Annihilate This Week that make Loose Nut such an exceptional album experience.

Best One Yet is a raw, riff-heavy anthem, that blends punk fury with a metal edge. The relentless energy makes it one of the album’s standout tracks but it’s the rough around the edges production style that makes it truly exceptional.

Modern Man is a sonic masterpiece, especially with its opening and closing bookends. Ginn’s guitar work is exceptional and the atmosphere created will stay with you long after the song has finished as Modern Man is amongst the most memorable songs from the record. Rollins’ vocal delivery is perfect as the slower tempo and minimalist arrangement allow him to belt out the lyrics with brutal honesty that tackles themes of alienation and social expectations.

This Is Good is what bass guitar dreams are made of for its musical styling is dark, brooding, and ultimately dense. The result is that when you add the sludgy guitar riffs, rhythmic backing, and Rollins’ raw and unrelenting vocal performance, you get an emotionally charged song that is one of the best from Loose Nut.

I'm The One stands out for its raw simplicity and punk styling. While not as domineering as some of the other songs, Ginn’s blistering guitar lines keep the momentum high as the rest of the band and Rollins’ deliver a thoroughly enjoyable album-only tune.

Sinking is another sonic masterpiece, not unlike that of Modern Man for it’s slow, methodical, and ultimately atmospheric. Roessler’s basslines are particularly prominent here, as are Ginn’s licks, weaving through the song like an undercurrent of dread. Add to that Rollins’ anguished vocal delivery, and Stevenson’s melodic drumming, and you’ve got a sonically sombre number that is amongst the greatest songs Black Flag ever recorded.

Now She's Black is a perfect closing track for it’s one of the album’s most intense ensuring that you’ll feel just as compelled to listen to the record again as well as sitting in quiet contemplation of the music you’ve just heard. It’s also Stevenson’s greatest performance on the record as his frantic pounding drums create the perfect backdrop for the song.

Overall, Loose Nut stands as a testament to Black Flag’s willingness to push their musical boundaries, even at the risk of alienating some fans. It isn’t, however, so far removed from their earlier releases that it should be detrimental to most modern audiences but it most certainly paved the way for other bands, such as AFI, to follow. Ultimately, Loose Nut is the greatest release of their career and one of the best albums from the mid-80s.

AC/DC – Fly On The Wall (Album Review)

AC/DC – Fly On The Wall (Album Review)

Released in 1985, AC/DC’s Fly On The Wall marked a significant moment in the band’s career as it was the third album to follow their mammoth release, Back In Black (1980), and was released during a period of downturn in interest from fans the world over. Comparisons aside, Fly On The Wall was successful in its own right with sales exceeding one million units. While it’s an album that isn’t always heralded by fans as one of their best, Fly On The Wall is somewhat of a hidden gem that features their landmark hard-rocking sound via this electrifying and gritty release that is amongst the greatest hard rock albums from the 80s.

Part of the hidden appeal, considering there isn’t necessarily a standout tune on the record, is the continued high-production values for this was an era when music, especially rock music, began to shift to a more shrill tonal quality that would plague many of the era’s greatest rock and roll albums. Yet, amongst this industry shift, AC/DC never changed their styling and the result is an album that rocks as hard as any other they released. Additionally, Angus and Malcolm Young did a masterful job in the Producer’s chair, ensuring that their vision for the album came through loud and clear. It also helps that the album artwork is visually appealing with its comical design that looks as fresh today as it would have been upon release.

Sonically, as is the case with the majority of AC/DC releases, it’s a powerhouse and the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is no exception for the bombastic nature remains while every aspect is clearly presented within the chosen mix and overall mastering of the album. Brian Johnson’s vocals are raw and exceptionally detailed within the soundstage; a sonic presentation that will envelop you from the very first note to the last. One of the best examples of this can be heard on Danger; where every musical element can be heard clearly but it isn’t shrill and is so sonically pleasing that you’ll be looking to turn up the volume despite being able to enjoy the record at lower volumes.

While some will always lament the fact that AC/DC has basically played the same song over and over, decade after decade, music lovers and fans alike can be confident that AC/DC never changed their style and adopted the “new” recording styles for if they had, an album such as Fly On The Wall would have been a shrill nightmare that would have seen everyone needing to turn down the treble and boost the bass. Thankfully, that isn’t an issue here, so turn up the volume, sit back, and let’s take a look at the songs that make up this, often, overlooked, masterpiece.

Fly On The Wall kicks the album off, perfectly, with an energetic opener featuring sharp guitar riffs, bold percussive elements, and Johnson’s unmistakable growl.

Shake Your Foundations would also make it to Who Made Who, the soundtrack accompanying Stephen King’s film Maximum Overdrive. That version, however, differs slightly from this one as it was remixed and cut down slightly in runtime. As to which I feel is the stronger version, that would be this original album release for despite the remix presenting Johnson’s vocals more prominently, it pales in comparison to the original as the musical bed is somewhat recessed and the song, subsequently, doesn’t rock as hard as the Fly On The Wall original does. Propelled by a driving beat, bluesy rhythm, and sing-along chorus, it’s a wonder that Shake Your Foundations hasn’t remained more prominent within AC/DC’s back catalogue as it’s an exceptional tune.

First Blood is a mid-tempo blues rocker with duelling guitars that weave together seamlessly. It’s quintessentially AC/DC and sometimes you don’t need to forge a new path to stand out, for I’d take songs like First Blood over a shifting style any day of the week.

Danger has a brooding tempo that shows a different side of AC/DC; one that could offer a more blues-focused appeal than the hard rock styling most commonly associated with the band. However, one can understand why it wasn’t a hit amongst fans, at the time, but I have a feeling that modern audiences would be much more receptive to this mood-driven eerie number.

Sink The Pink is, arguably, the song that would appeal to most of AC/DC’s legacy fans for it combines their renowned playful attitude with an infectious groove and some hard rocking licks.

Playing With Girls is a fast-paced rocker that leans heavily into AC/DC's cheeky, tongue-in-cheek persona. While the core riff is straightforward it, combined with the song’s energy, keeps the momentum going and is a standout on this release.

Stand Up is a magnificent tune and is one of Simon Wright’s greatest drum performances with the band, having taken over that role upon Phil Rudd’s departure. In truth, Wright performed magnificently throughout the album and while his style is slightly different to Rudd’s, his appointment didn’t detract from the music at all. I’d even go as far as saying that his inclusion was an enhancement. Nevertheless, Stand Up is a raw, back-to-basics, tune that will have you coming back for more.

Hell Or High Water is a hard-hitting anthem with a relentless rhythm. AC/DC doesn’t get much better than this as Hell Or High Water will appeal to all fans of the band.

Back In Business is a killer mid-tempo rocker with a powerful riff and a driving rhythm section. Its anthemic quality adds to the album, as well as AC/DC’s incredible back catalogue, in such a way that you’ll experience an earworm as that catchy chorus will remain front and centre in your mind well after the album has concluded.

Send For The Man is an ideal closer with its heavy, blues-infused, sound, featuring a grinding riff and thunderous rhythm that ensures the record ends on a high note; one which will compel you to listen to the album again for Fly On The Wall can seldom be listened to once.

Fly On The Wall may be a polarising release within AC/DC’s discography, but it shouldn’t be as the band’s signature hard rock energy is present throughout as it accompanies the infectious riffs and anthemic choruses they’re best known for. Hence, if you’ve overlooked this release, and have never given it a proper listen, I implore you to give it another shot for you may just fall in love with the album’s raw, unfiltered, and rebellious spirit; I know I have!

Baltimora – Living In The Background (Album Review)

Baltimora – Living In The Background (Album Review)

Released in 1985, Baltimora’s Living In The Background is a hallmark of mid-80s dance-pop, drenched in the bright synthesiser-driven sound that dominated the era. With infectious beats and enigmatic energy, this debut captures a fleeting but impactful moment in music history and is one record that deserves more recognition than it often receives.

What isn’t as impactful as the music, however, is the chosen album artwork. While three different versions have been made available, throughout the years, the most appealing one is the original Italian edition with its superhero artwork. Unfortunately, the Australian streaming edition is perhaps the worst version and it honestly makes me wonder what record company executives were thinking when releasing different album covers for different regions as they’re seldom more appealing than the original artwork.

Thankfully, the music surpasses the dorky album cover. While not presented as an Apple Digital Master, the CD-quality Lossless Apple Music stream is thoroughly pleasing with an enveloping dance-pop soundstage that will see you on the dance floor, boogieing along from the very first note to the last. Even sitting back and listening intently, you get the sense that this record was well recorded, mixed, and mastered for the stream isn’t lacking in any aspect; it simply sounds, and feels, right.

Tarzan Boy is a bona fide 80s anthem. The song’s iconic “ooh-oh-oh-oh-oh-oh” refrain is instantly recognisable and is anchored by a spacious and energetic melody and pulsating beat. Tarzan Boy is, subsequently, one of the greatest songs of the 80s, but a top-tier album isn’t just a result of a single song, for the rest of the tunes, on this release, are equally compelling.

Pull The Wires shifts gears considerably as it blends a somewhat melancholic tune with an ethereal sonic presentation. Despite the sharp contrast from the vibrant energy presented with Tarzan Boy, Pull The Wires not only flows perfectly but it’s a magnificent song that showcases just how complex the pop framework of the era was.

Living In The Background is an ideal title track and is a masterclass in 80s production. The extended intro builds anticipation with layered synths and a funky bassline before the charismatic vocals take centre stage against the song’s danceable groove. While not as bold as some of the other dance-floor numbers, Living In The Background is a multi-layered piece of musical art that gets better the more often you listen to it.

Woody Boogie with its quirky rhythms and cartoonish vocal interjections bring a playful energy to the album. Add to that the track’s infectious tempo and you’ve got a dance-pop masterpiece that would set any dance floor alight.

Chinese Restaurant blends the eclectic with a vivid audio soundscape that results in an abstract musical experience that is both engaging and enigmatic. It’s another of the album's songs that becomes more rewarding the more frequently you listen to the record.

Running For Your Love closes the album on a high note with a spirited track that blends soaring melodies with a driving rhythm. The sense of urgency heard, throughout the song, will leave you energised and eager to revisit the album as once you get the Living In The Background party started, it is hard to switch gears; so enjoy!

Ultimately, Living In The Background is a vibrant snapshot of 1980s pop culture and for those of us who lived through the era, the nostalgia is strong with this release. That said, the album isn’t dated to the era and sounds just as fresh today as when it was initially released. Whether you’re an 80s aficionado or a casual listener, Living In The Background is an album worthy of your time.

A-Ha – Hunting High And Low (Album Review)

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A-Ha – Hunting High And Low (Album Review)

Released in 1985, a-ha’s debut album, Hunting High And Low, marked the arrival of one of the most influential synth-pop new wave bands of the 80s. Featuring a rich tapestry of melodic hooks, passionate lyrics, and a lush production, Hunting High And Low not only captured the zeitgeist but is a remarkably cohesive debut; one that has a timeless appeal.

Part of the album’s success is due to the song selection for Hunting High And Low plays akin to a greatest hits release. Most casual fans would be more than happy to attain this record, along with their compilation Headlines And Deadlines, and call it a day. Some may even call them a one-hit wonder, as it pertains to the album’s release, but a-ha have gone on to release some severely underrated and notable music. However, no post-debut release would resonate with music lovers as much as this legendary debut has.

Also appealing is the visual aspects of the album’s cover art. Yes, it is indicative of the era, particularly regarding clothing and hairstyles, but renowned photographer Just Loomis’ composition ensured it would be a standout in record stores and within one’s music collection for decades to come.

Regarding the sonic prowess of this classic release, the recording, mix, and mastering are exceptional and are amongst the greatest in all of recorded music history; particularly within the new wave and synth-pop genres. As it relates to the 2015 Remastered Hi-Res Lossless Apple Music stream, an Apple Digital Master, it’s exquisite with a full-bodied and detailed sonic presentation that ensures every musical element is clearly presented within the chosen mix. Remastering is at times looked down upon, even here at Subjective Sounds, but you know when an album just sounds right and in this case, the Apple Music stream doesn’t disappoint. It’s so good that I don’t feel compelled to pick up a physical release, for sonically I don’t feel there is any improvement to be achieved.

Take On Me is an ideal album opener and is, arguably, a-ha’s most iconic track; a dazzling combination of pulsating synths, infectious hooks, and some incredible vocal performances. The song’s driving energy perfectly encapsulates the spirit of the mid-80s and, ultimately, sets the tone for the entire album.

Train Of Thought introduces a slightly darker tone to a-ha’s dynamic instrumentation, but the song’s sense of urgency grabs your attention and doesn’t let go until the very last note has been played. Morten Harket’s vocal delivery is particularly noteworthy for its understated, yet emotive, thereby adding perfectly to the song’s overall style.

Hunting High And Low is a quintessential title track for this sweeping ballad is stunning. Harket's vocal range and emotional intensity will touch your soul as the orchestral arrangement builds the song’s dramatic atmosphere; one that will stay with you long after the album has ended.

The Blue Sky returns the album to a-ha’s core synth-pop styling and while this upbeat breezy number is a solid tune, it’s not the standout that the previous songs have been.

Living A Boy’s Adventure Tale is a magnificent tune with a mix of whimsy and melancholy. Every musical aspect, from the unconventional structure and dreamlike quality, to the ethereal synth layers and emotive vocals, is perfectly presented and in many respects, Living A Boy’s Adventure Tale is so good that it could be considered the very best song a-ha ever recorded. It honestly surprises me that it wasn’t considered for a single, it’s that good!

The Sun Always Shines On T.V. is one of my favourite songs on the album and while it’s borderline campy, as some of a-ha’s music is, the lush orchestration and powerful synth elements, that build to the addictively good crescendo, are simply incredible and showcase just how talented a-ha were from the get-go.

And You Tell Me is a brief minimalist interlude. While it serves more as a palate cleanser than a fully-fledged song, it adds a touch of intimacy to the album’s bolder soundscape.

Love Is Reason is a more conventional pop song featuring a bright melody and rhythmic energy that will see you toe-tapping and head-bopping along.

I Dream Myself Alive is a solid energetic number and while its position as an album-only tune isn’t in question, it also isn’t anything to write home about as it lacks a certain level of musical magic that has been heard throughout the rest of this debut.

Here I Stand And Face The Rain closes the album on somewhat of a haunting note, particularly as it pertains to the song’s unique opening. Nevertheless, Here I Stand And Face The Rain is the perfect bookend to the album as it permits reflection of the music you’ve just heard whilst simultaneously compelling you to listen to the album again.

Hunting High And Low is a remarkably cohesive debut release that balances commercial appeal with artistic depth. Its mix of high-energy synth-pop anthems and introspective ballads demonstrates a-ha’s versatility and ambitions; traits that have resulted in not only superstardom and timeless appeal, but characteristics that helped the album, and band, to define the sound of 1980s pop music.

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Skyhooks – Living In The 70’s (Album Review)

Skyhooks – Living In The 70’s (Album Review)

A debut like no other; an Australian masterpiece!

That is, perhaps, the best way to describe Skyhooks’ Living In The 70’s, for they may not have known it at the time, but Living In The 70’s would go on to become one of the greatest albums ever recorded.

Beloved in Australia, Skyhooks never really made inroads into the international music scene. Subsequently, many international readers may be unaware of their music and the influence they’d have over generations of Australian rock bands to come. Thankfully, streaming allows you, dear reader, to listen to Living In The 70’s, wherever you are and there is no time like the present to check out one of the most controversial, yet praised, debut releases ever by an Australian band.

Living In The 70’s was controversial in that the Federation of Australian Commercial Broadcasters decided to ban six of the songs from the album, from national airplay, citing sex and drug references. Of course, the counter-culture teenage population, at the time, wasn’t going to be told what they could and couldn’t listen to and Living In The 70’s quickly rose to #1 on the charts, selling 226,000 copies in its first year; a feat never before seen within the Australian music industry.

Not only was their sardonic view of the zeitgeist in Australia in the 70s a pivotal element for Skyhooks, but they had a hook and they caught us hook, line and sinker, with their catchy blues-based groove rock and combined glam rock style. To say Skyhooks was multifaceted would be a borderline understatement, for their musical style defies adequate explanation. Living In The 70’s is, subsequently, an album that needs to be heard in order to be fully understood and appreciated. Exceptionally written, recorded, mixed, and mastered, you’ll be in pure musical bliss for the entire duration.

The edition of Living In The 70’s that I’m fortunate to own is the remastered CD from 2004 with the additional B-side, Broken Gin Bottle; a perfect addition to an already flawless album. The CD, however, isn’t quite as perfect as I’d like it to be as the booklet has a printing error whereby several pages of the liner notes are missing, replaced by liner notes from a Linda Ronstadt compilation. Now, I have nothing against Ronstadt; a phenomenal musician in her own right, but this is a Skyhooks album and I’m missing all the lyrics except for the title track and Broken Gin Bottle. It’s a frustration, to say the least, but the sound quality is so good that I haven’t bothered with a replacement.

Yes, Living In The 70’s is a remaster and while I’ve been critical of remasters over the years, this one is done nicely, with respect for the source material. It sounds right, unlike the remaster of Cold Chisel’s Circus Animals. The soundstage is wide and enveloping and every instrument can be heard with incredible clarity. The Lossless Apple Music stream, by comparison, is a solid CD facsimile but isn’t quite as live-sounding as the remastered CD. As usual, if you don’t compare the editions, you’re unlikely to notice anything is lacking, but the CD offers a more enjoyable listening experience as the music has a fluidity that is missing from the streaming counterpart despite being derived from the same mastering sessions.

Additionally, a vinyl reissue is on its way, scheduled for an early 2025 release, along with a CD edition that celebrates the 50th Anniversary of the album. One problematic aspect, however, is that it’s said to be a new 2024 remaster. Let’s just hope that it has been handled with respect for the source material for I still declare the 2009 remaster to be perfectly fine. Nevertheless, it seems somewhat fitting that one of the greatest Australian albums of the 70s finds its way back to the format that it was originally presented on; if for no other reason than to display that incredible album artwork.

Living In The 70’s is a killer, rhythmically charged, opener that will have you singing along as you grooving to the music. It has some exceptional guitar and percussion work that showcases the polish and musical skill Skyhooks had right out of the gate, but it’s the song’s references, and sharp critique, to counterculture and societal expectations, that strike a perfect balance between humour and reflection. The result is that Living In The 70’s is one of the greatest debut album openers of all time.

Whatever Happened To The Revolution continues with the upbeat tempo and in many respects, Skyhooks has a similar style to The B-52’s, in that it becomes a fun listen that’s unique when compared to much of the music of the era. Even by modern standards, Whatever Happened To The Revolution sounds fresh with its crunchy guitar riffs and high-energy rhythm.

Balwyn Calling is packed with vivid imagery, a funky bassline, and melodic guitar hooks that give this song its playful edge and ensure that it’s one of the most memorable tunes from the album.

Horror Movie is, without a doubt, my all-time favourite song from Skyhooks. It’s also, arguably, Skyhook’s most iconic tune for its an unforgettable anthem and Graham “Shirley” Strachan’s powerful vocals bring Greg Macainsh’s satirical lyrics to life. However, it’s the overall vibe that takes this song to another level for it is most certainly positioned in the 70s style but has remained timeless and still resonates with rockers the world over.

You Just Like Me ‘Cos I’m Good In Bed says it all, doesn’t it? It’s a fun tune that will bring a smile to anyone's face. While I can understand why the Federation of Australian Commercial Broadcasters banned this tune and five others, I’d call it overkill as we really can take ourselves a little too seriously at times. Nevertheless, it’s a great song; one that flows beautifully within the album’s linear structure and, again, showcases just how proficient Skyhooks were from the get-go.

Carlton (Lygon Street Limbo) incorporates the energy and musicality of Australian music in the 70s, despite the mid-tempo styling. While it isn’t a standout, it’s a quintessential album-only tune that ensures the album is structurally sound and the sum of its parts, rather than being appealing because of one or two songs. 

Toorak Cowboy is a toe-tapping, head-bopping, good time with a country meets glam rock style that is highly appealing.

Smut, true to its name, pushes the lyrical boundaries with its tongue-in-cheek wordplay atop a compelling musical backdrop. It’s a fun song that showcases the band’s irreverence as they challenged societal norms with their bold take on taboo topics.

Hey What’s The Matter is groovy; try sitting still through this one. As with much of the album, it’s impossible to not groove along to the music. The result is that Living In The 70’s can very easily become the ideal soundtrack to an energetic life.

Motorcycle Bitch is gritty riff-driven heaven and Strachan’s vocals on Motorcycle Bitch, in particular, are magnificent. There’s little doubt in my mind that he was one of the greatest vocalists to ever record a tune. Bon Scott is usually held up as the poster child for Australian rock and roll vocals and while this doesn’t take anything away from his vocal prowess, Strachan was on par, if not slightly more capable as a vocalist, particularly concerning pronunciation. I mention this as I don’t feel Strachan has ever received the recognition he deserved.

Broken Gin Bottle was not part of the original tracking of Living In The 70’s, having been released as the B-side to the Living In The 70’s single. However, I couldn’t imagine the album without it as it fits the overall styling so well. Again, and I know that I’m repeating myself, the gritty blues-infused guitar work is extraordinary and will compel you to listen to the album again.

Living in the 70's is a bold, unapologetic, and groundbreaking album. Skyhooks' ability to combine biting social commentary with infectious melodies and a uniquely Australian identity made it a cultural touchstone but this debut isn’t just an album, it’s a cornerstone of Australian music history and one of the greatest albums ever recorded.