Ringo Starr – Old Wave (Album Review)

It’s fair to say that Ringo Starr never quite received the recognition that his fellow bandmates, from The Beatles, did when embarking upon a solo career. Whilst he may have flown under the radar, the glorious thing about our modern music streaming world is that any music lover can easily experience classic albums, such as Old Wave, and decide if they’re worthy of adding to their collection. For me, it most certainly is. Showcasing a mix of musical styles and collaborations, Old Wave captures the essence of the 80s while incorporating elements of Starr's signature sound. It also just happens to be one of the very best albums Starr ever recorded and one of the greatest albums released in 1983.

Old Wave is Starr’s ninth solo studio release and is notable, in part, as Joe Walsh co-produced the record with Russ Ballard whilst also writing and co-writing many of the songs. Walsh also performed on the album and you’ll hear his signature licks throughout. Old Wave very well could have been called Ringo Starr meets Joe Walsh, but while purists may detest that proposal, Old Wave maintains a classic rock sound that, due to the combination of these incredible musicians, ensures that it is one of Starr’s most rocking releases.

While Starr’s previous album, Stop And Smell The Roses (1981) already has a place in The Worst (And Most Disturbing) Album Covers Of All Time, Old Wave almost qualifies for inclusion. Only a mugshot would have been more intriguing and while the art direction is relevant to the album’s title, and the throwback photo further adds weight to a counterposition of the new wave movement that was sweeping the social consciousness at the time, it’s just not a piece of visual art that you’d display proudly.

The music is, of course, another thing entirely and thankfully it’s exceptional. As it pertains to sonic quality, the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is simply exquisite. It’s so good that as I listen to the album my mind is not drifting and wondering whether or not the album would sound better via a vinyl or CD release. Yes, dear reader, sometimes the stream can be that good.

In My Car opens the album with a catchy melody that will see you toe-tapping and head-bopping along. With a synth-driven upbeat style, In My Car is perfectly suited to the era and quickly becomes an earworm that you’ll be listening to long after the album has stopped spinning. Joe Walsh went on to record the tune in 1987, but I truly believe Starr’s is the superior version as Walsh’s is a little too overproduced, and pop-driven, for my liking. Whereas, the rock-edge on Ringo’s edition is sensational.   

Hopeless has a killer country-inspired twang to it and its quirkiness is perfectly suited to Starr’s persona. Again, you’ll find yourself involuntarily moving to the rhythm, but that’s part of the appeal for Hopeless is anything but.

Alibi is a fantastic song but, as much as I thoroughly enjoy it, this is one song that would have been perfect had Starr collaborated with Paul McCartney, for it has his manner written all over it. Nevertheless, Walsh provides a more than adequate accompaniment and that’s, really, quite an understatement for Alibi may not be a standout tune, but when you have songs as compelling as this one, you’ve got an exceptional album experience.

Be My Baby has an offbeat rock edge to it that is simply superb. Your senses may struggle to connect with a particular aspect of the song initially, but once you sync with a specific element, Be My Baby comes into its own and is one of the best songs that Walsh has ever written.

She's About A Mover is a fun little cover. If it sounds familiar, you’ve probably heard the original performed by the Sir Douglas Quintet. Regardless of which rendition you appreciate more, She's About A Mover is a timeless tune.

I Keep Forgettin’ is another cover and as much as I love the Chuck Jackson original, there’s a broodiness in Starr’s presentation that makes this my preferred edition as it has a little more attitude in its presentation. The mix, as is the case throughout the entire album, is also exquisite and is a textbook example of how to correctly mix for stereo. Incredible!

Picture Show Life is a fun album-only tune that is suited perfectly to the album.

As Far As We Can Go is a beautiful ballad-styled tune. Don’t get me wrong, it isn’t Starr’s greatest vocal achievement and you’re unlikely to seek it out on its own, but it’s a value-added proposition for those of us who appreciate fluid album structures.

Everybody's In A Hurry But Me shifts the styling considerably, but that's hardly surprising when you’ve got Eric Clapton and John Entwistle performing on the song as well as being co-writers. There’s plenty of Clapton’s Slowhand to be heard here as well as the jamming elements you’d often associate with The Who. In truth, Everybody's In A Hurry But Me is more akin to a demo than a fully-fledged tune, but none of the musicians featured here had anything to prove and have earned the right to be self-indulgent.

Going Down is a perfect closing tune that will encourage contemplation as well as compelling you to play the album again. With Walsh’s screaming signature guitar sound, this is one thoroughly enjoyable rocker.

Old Wave is best described as a hidden gem within Starr’s extensive discography; offering listeners a diverse and engaging musical experience. It may not have been commercially successful, but that metric has rarely been an accurate indication of creative quality. What Old Wave does offer fans, and music lovers alike, is a window into Starr’s enduring talent and musical evolution as it delivers some of the most enjoyable music from the early 80s.

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Quiet Riot – Metal Health (Album Review)

Released in 1983, Quiet Riot’s Metal Health is a landmark release within the metal music scene. Delivering a relentless barrage of heavy riffs, thunderous drumming, and explosive vocals, this legendary album not only catapulted the band to mainstream success but also played a pivotal role in bringing heavy metal, and hard rock, to the forefront of the music scene during the early 80s.

While music lovers will contend that it’s all about the music, there is no doubt that the iconic cover art played a crucial role in the album’s success as it perfectly encapsulates the rebellious and energetic spirit of the music within. Plus, music in the early 80s, was still primarily distributed on vinyl, meaning that engaging artwork such as that seen on Metal Health would have stood out from the crowd at any local record store.

Of course, album artwork alone couldn’t secure the multi-million-selling sales success that Quiet Riot experienced with this release, so the music does play a pivotal role. From start to finish you’ll be met with the spectacular guitar riffs of Carlos Cavazo, providing a solid backbone for the album's raw and aggressive sound. The rhythm section, comprised of bassist Rudy Sarzo and drummer Frankie Banali, lays down a foundation of power and precision, driving the music forward with unwavering force. However, perhaps most notable is Kevin DuBrow's vocals for they showcase both power and range. His ability to seamlessly transition from gritty, aggressive delivery to melodic harmonies is stunning and his charismatic presence adds the final layer of intensity that makes Metal Health such a dynamic listening experience. It’s also fair to say that Metal Health is the famed album it is because of each member and musical element for when working in conjunction, they know few peers.

Metal Health may be rooted in heavy metal, but the diversity of musical styles, throughout, also leans towards hard rock and glam metal. The result is that the music offers enough variety that it can be enjoyed by a broad range of music lovers whilst, simultaneously, staying true to its roots.

Turning our attention to the lossless Apple Digital Master, available via Apple Music, it's dynamically charged thereby ensuring that you’ll be rocking out to every song as the soundstage is well-developed and every music element is carefully presented in the mix. 80s metal releases can often be hit and miss, regarding their mastering, Metal Health sounds fantastic via Apple Music. While it may not be the final word in sound quality, as I feel there is a little more of the recording that can be attained from the original master tapes, it certainly is not lacking in bass, treble reach, or dynamics.

Interestingly enough, and this may only apply to music lovers who like to seek out the very best possible releases of their favourite albums, Qobuz has a Hi-Res 24-bit/192 kHz edition of the album. That is in contrast to the lossless 24-bit/44.1 kHz version on Apple Music. As to whether or not you can hear a difference, or if there is indeed a difference to be heard, is highly subjective, but what is frustrating is that there isn’t a single master for music fans to rely upon. For instance, the Apple Music stream lists the album as Remastered, yet the publication date remains as 1983 rather than 2001 (when the last CD remaster was issued). Is the Apple Digital Master a specific remaster? Or is it just derived from the previous remaster?

Qobuz, on the other hand, doesn’t reference their release as remastered and maintains the publishing date as 1983. This is an ongoing issue with streaming and its relationship to the provenance of the recording for the higher-quality edition, on paper, is no guarantee that the album is a much more pleasurable listen. I really don’t understand, and perhaps this is my naivety showing, why there isn’t a singular master that is used for every edition. I understand mastering for vinyl is different to CD etc, but in the case of Apple Music vs Qobuz, you would think that it would be best for both companies to stream the same edition. These variances only manage to frustrate fans who don’t wish to listen to a substandard version of an album they hold dear and near.

Naturally, you can trust your ears and listen to both if you wish, but I’m already experiencing subscription fatigue to the extent that I have no interest in testing alternatives. If I had more disposable income I’d be better off seeking out a physical release that I could add to my permanent collection to ensure a lifetime of enjoyment. That, however, brings up another contentious issue and that’s a case that should I choose to go with a CD reissue, all editions include bonus tracks that impact the flow of the album. Plus, to be completely frank, vinyl in Australia is priced so badly at the moment that most music lovers, myself included, simply can’t afford the ~AUD$60 price tag to attain even our favourite records, with the original sequencing; especially when the CD release is close to a third of the price.

Yes, dear reader, all the above are first-world problems, but music-loving collectors will undoubtedly understand that it’s the little elements that make our collections unique; elements that can be frustrating when the music industry, as a whole, does not share the idealistic perspective that reissues should mimic the original release so that an entirely new audience can experience Metal Health as if it were 1983 all over again.

Metal Health (Bang Your Head) kicks the album off with its anthemic title track. Featuring heavy guitar riffs, pounding drums, and DuBrow's powerful vocals, the song's energetic and rebellious spirit became a defining anthem for the era and headbangers everywhere.

Cum On Feel The Noize is the only cover song on Metal Health and as solid as Slade’s original is, Quiet Riot mastered it and made it their own.  The song's catchy chorus and heavier edge propelled the song to mainstream success and has become a quintessential part of 80s hard rock.

Don't Wanna Let You Go slows down the tempo somewhat and showcases Quiet Riot’s ability to balance heavy hitters with melodic numbers. Don't Wanna Let You Go is, most certainly, an album-only tune and is a little weak, particularly when contrasted against the other songs from the album. However, after all these years, I couldn’t imagine listening to Metal Health sans Don't Wanna Let You Go.

Slick Black Cadillac with its driving rhythm, gritty vocals, and overall raw intensity, returns the album to its high-octane, hard-hitting, style that will appeal to headbangers the world over.

Love's A Bitch flows seamlessly from Slick Black Cadillac and is an absolute masterpiece. Love's A Bitch really should have been released as a single for it’s one of the very best songs on Metal Health and one of the greatest hard rock songs of not only the 80s, but of all time. With a blend of heavy guitar riffs, a brooding atmosphere, and DuBrow’s impressive vocal range, you’ll find yourself turning up the volume, if you haven’t already, while rocking along to that addictively good chorus with your air guitar in hand.

Breathless is a killer tune with a relentless energetic pace and pulsating rhythm section, along with some incredible vocals.

Run For Cover maintains the high-energy aggressive momentum. It’s a solid track, nothing to write home about, but every song on an album need not be a hit for the album to be exceptional.

Battle Axe is a purely instrumental number that presents us with a masterful guitar solo, thereby adding variety to the album while maintaining the record’s overall energy.

Let's Get Crazy flows perfectly from Battle Axe with its high-energy riff-driven approach that makes this tune one of the very best songs from the record and an ideal B-side that could have been a chart-topper under the right circumstances.

Thunderbird is a beautiful way to close the album, paying tribute to the late Randy Rhoads (Quiet Riot’s original guitarist). As a ballad, it showcases a different side of the band, highlighting their ability to deliver emotionally charged and heartfelt compositions. However, more importantly, it allows for contemplation while simultaneously encouraging repeat plays of the album.

Quiet Riot's Metal Health not only helped to define a genre but also left an indelible mark on the history of heavy metal, hard rock, and glam metal. Its raw energy, memorable hooks, and rebellious spirit make it a timeless classic that continues to resonate with metal fans across generations. Whether you're a seasoned metalhead or a newcomer to the genre, Metal Health is an essential listen.

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Petra – Not Of This World (Album Review)

Petra's Not Of This World, released in 1983, stands as a landmark rock album that seamlessly blends powerful messages with some exceptional music.

While Petra is billed under both Christian and Inspirational rock genres, you’ll note that I referenced Not Of This World as a rock album and for good reason; I don’t listen to music for its lyrical interpretation. I, instead, prefer to enjoy the human vocal as another instrument within the mix. The benefit of that, in this case, is that I’m not influencing my love of the music based on the interpreted meaning of the lyrics. Granted, not everyone appreciates music in that manner, but I only mention it because if you’re opposed to Christian-based music, you’re going to miss out on some of the very best rock music from not only the 80s, but from all of recorded music history.

Visually, the album’s artwork is stunning and perfectly suited to the era and the vinyl format; the leading distribution medium for music during the early 80s. Thankfully, modern music lovers can still access this classic release as it was reissued beautifully on CD in 2021 and vinyl in 2022. That said, both releases are nearly impossible to pick up in Australia, with both commanding high prices when available. So, until I can track down one of the two physical releases, streaming will have to suffice.

Speaking of the stream, the Apple Music version is a direct CD-quality counterpart to the CD release from 1988 and is dynamically pleasing. Turn the volume up and you’ll be met with a rocking album that has an ample soundstage, clarity and definition between all music elements, and enough mid to low-end bass to please even the most ardent stadium rockers.

Whether or not you find yourself interested in Inspirational music, one thing is for certain; Not Of This World is nothing short of an incredible rock and roll album. Therefore, dear reader, join me as I take a look at the songs that make up this landmark release; from my own unique music-focused non-lyrical perspective.

Visions (Doxology) opens the album admirably as the instrumental journey builds throughout this piece. If you’re into science fiction, you’ll likely appreciate and instantly connect with the audible vibe of Visions (Doxology), but it would be also fair to say that this instrumental opener is somewhat superfluous. It does, however, make for a worthwhile bookend to the final track Visions (Reprise).

Not Of This World sets the tone for the entire album with a highlight on Petra’s harmonies; some of which challenge the greats, such as the Eagles, for supremacy. That aside, this title track is one of the most beautiful songs to come out of the 80s.

Bema Seat picks up the tempo and while it may initially be a jolt to the senses, it quickly comes into its own, particularly when the song enters the chorus. While it may not be a standout tune, it’s a quintessential album-only song that drives the record forward; one that, in this case, is perfectly aligned with the era.

Grave Robber is simply magnificent. That acoustic introduction is superb and while that alone could be considered the reason as to why Grave Robber is such a memorable tune, the slow build to the chorus is masterful. The chorus itself is addictively good and as much as I don’t listen to the lyrics for literal interpretation, I do find myself singing along to the anthemic chorus. Grave Robber is, undoubtedly, one of the greatest songs from the album and one of the best songs ever recorded, by anyone. Exceptional!

Blinded Eyes was always going to be a challenge, following on from Grave Robber, but that need not be a concern for Blinded Eyes continues the musical brilliance with some incredible guitar licks, magical interplay between musical elements, and a perfect vocal presentation with a small amount of processing that adds to the overall style of the song without going too far that it detracts from the hard rock edge of the recording.

Not By Sight flows perfectly from Blinded Eyes and is a testament to not only the musical prowess of the entire band, but also the chosen sequencing for Not By Sight continues the rocking edge laid down by the previous songs.

Lift Him Up shifts the atmosphere back to that of melodic soft rock. Yes, the song may be a little campy and while I tend to appreciate the human vocal as another instrument in the mix, when it comes to Lift Him Up, you really get the Christian values presented front and centre. That isn’t a criticism, mind you, it’s just an observation and may be a deterrent for some music lovers.

Pied Piper kicks things up a notch as it returns us to a harder rock edge. It’s another album-only tune that is perfectly positioned and suited to the era, but it’s also fair to say that you likely wouldn’t seek Pied Piper out, outside of the album’s structure. That said, I couldn’t imagine the album sans this track as it simply wouldn’t flow as well as it does.

Occupy is an interesting song as the musical bed, and individual elements, are somewhat more reserved. While I like it, a lot, it would be interesting to hear a remix of Occupy with a slightly bigger soundstage, greater musical separation, and a more bombastic rock presentation that I feel would have made it an even stronger song than it already is.

Godpleaser is a fantastic song that particularly stands out when the bridge and chorus enter the mix. It’s addictively good and while the campiness of the Christian values may be a distractive element to some, I find that it’s just a great little rocker.

Visions (Reprise) is a minor annoyance in so far as Godpleaser would have been a perfect closing track. Yes, I acknowledge the bookending style that Petra was aiming for, but more than ever I feel Visions could have been omitted from the album and it wouldn’t have been missed. It isn’t a bad track, far from it, but it would be fair to say that it doesn’t fit perfectly with the other songs from the album.

While Petra's Not Of This World showcases a blending of rock styles, thoughtful lyrics, and a commitment to exploring Christian themes, at its core it’s a rock and roll album that rock and rollers everywhere will thoroughly enjoy. If you’re not enamoured with the topical approach of the record, listen for the music and try to ignore the lyrical meaning for doing so will only enrich a well-curated rock music library.

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Night Ranger – Midnight Madness (Album Review)

Released in 1983, Night Ranger's Midnight Madness stands as the quintessential rock album that captures the essence of the era with its dynamic sound, memorable melodies, and impressive musicianship. Add to that a remarkable selection of songs, with a polished production that allows the band’s collective talent to shine through, and you’ve got one of the very best hard rock albums of the 80s.

While most people would know Night Ranger from their highly successful song Sister Christian, it’s fair to say that this accompanying album has flown under the radar, thereby making it a hidden gem within the annals of hard rock music history. If, however, you give Midnight Madness a chance, you’ll find a perfectly sequenced record without a hint of a B-side to be found.

As strong as the album is, and while I applaud the production, there is one aspect that I find to be a little lacklustre. The mastering of Midnight Madness has clarity, and enough detail, but it borderlines on being a little lifeless. Granted, the current streaming editions are the CD-counterpart releases, but if you’re looking for a bombastic rock and roll concert, in your home, you’ll likely be a little disappointed as the lossless Apple Music stream is lovely, especially when pumping the volume, but it simply doesn’t have the mid to low-end oomph that I believe this album deserves.

It isn’t only the stream that sounds a little too clinical and cold for my tastes as the MCA Records CD (MCAD-31160) release, that I was fortunate to have owned, also suffered from the same mastering technique. While there is a new 2023 remaster, from Rock Candy Records (on CD only), I’ve yet to hear that edition so I can’t comment on how it may compare. Nevertheless, it’s great to see that this classic album is getting reissued and if only we could have a mainstream vinyl reissue, I’d be thoroughly pleased because I feel the warmth (distortion) that is inherent in the vinyl format would help to smooth out some of the focus on the treble range that exists within the current streaming edition. Yes, I’m aware of the 2021 French vinyl reissue (limited to 1,000 copies) and despite having not heard it, I haven’t heard any reports, good or bad, regarding the sonic quality of that release either.

No doubt there are those of you who are thinking why not just adjust the tone controls or EQ settings and that most certainly can, and has, been done. The bigger concern is that more and more modern setups are lacking in this basic ability for the music lover to easily tweak the sonic signature to their subjective tastes. Hence, a flat transfer from an original master isn’t always the best approach as first impressions last and if an album isn’t presented in a manner that a modern music listener would be expecting, they may very well decide to skip what is otherwise an exceptional album. For us old timers, the currently available stream is reminiscent of early CD mastering efforts, in the 80s, and if you weren’t a fan of that sound then, you’re likely not going to be pleased with this particular version. However, as I mentioned earlier, if you pump the volume you’ll be met with pleasant results, that aren’t fatiguing, but still need work nonetheless. That all said, Midnight Madness really is all about the music, so let’s take a look at the songs that make up this classic release.

(You Can Still) Rock In America is a classic 80s anthemic powerhouse that kicks off the album with a bang. With its energetic riffs (including a killer guitar solo), infectious chorus, and driving rhythm section, (You Can Still) Rock in America is one of the many hidden gems from Night Ranger.

Rumours In The Air takes us sonically on a slight detour and that atmospheric opening would have been perfect had Rumours In The Air been chosen as the opening track. Nevertheless, as I mentioned earlier, I thoroughly appreciate the chosen sequencing and Rumours In The Air keeps the energy flowing with a fantastically addictive chorus and masterful bridge between chorus and verse. And, yes, there’s another soaring guitar solo to thoroughly enjoy.

Why Does Love Have To Change further demonstrates Night Ranger’s versatility for it may be rock and roll but it’s the variances within the genre that showcase just how exceptional these San Francisco rockers are. You’ll immediately connect with the driving rhythm and will be emotionally moved if not through the music, then via the lyrical depth. Plus, there’s even a little Brian May (of Queen) influence to be heard throughout, particularly in the solo, thereby making this tune nothing short of sensational.

Sister Christian needs no introduction. It is a masterpiece, in every sense of the word, and is one song that should be on every 80s playlist; I could, and have been known to, listen to it on repeat for hours at a time. Yes, it’s a ballad and I know some of you detest them, I just don’t share that viewpoint as I love them and Sister Christian is subsequently one of the greatest ever recorded. The gradual build-up, combined with a memorable keyboard melody, culminates in a timeless power ballad that is a true testament to Kelly Keagy’s musical prowess as he not only played the drums magnificently but wrote the song and took on lead vocal duties.

Touch Of Madness has a quirky introduction that works, yet I believe the song would have been just as impressive without it. Despite that, Touch Of Madness, with its upbeat tempo, catchy hooks, and core rock energy is an incredible album-only tune that’s easy to rock out to.

Passion Play takes a more subdued approach, particularly with regard to the introduction, with a mid-tempo groove that results in another exceptional album-only tune. Add to that the carefully crafted arrangements, with a meticulously textured sound, and you’ve got a song that aligns perfectly with the flow of the record.

When You Close Your Eyes is radio-friendly melodic rock at its very best. Yes, it’s a little campy, particularly in the chorus, but it’s such a good song that I look past that aspect and enjoy it for what it is.

Chippin’ Away returns the album to a more rocking vibe that features dynamic guitar work and a driving rhythm section. Yes, it’s 80s-driven rock, but it’s some of the very best ever recorded so don’t let these album-only tunes elude you, for they’re something special and in many cases match, or exceed, the singles that were released. Songs such as Chippin’ Away are what make the album experience so enjoyable for the hits are great, but it’s the quality of the album-only songs that make or break an album experience.

Let Him Run is a semi-acoustic marvel. As a closing track Let Him Run really shouldn’t work, but it does. I say it shouldn’t work because throughout the entire song you’re waiting for the non-acoustic element to kick in, a big rock opera if you will, yet it never does. It subsequently makes you feel as though something is missing and therefore permits reflective contemplation whilst also encouraging you to spin the record again.

Midnight Madness is a seminal work in the realm of 80s rock, delivering a balanced blend of anthemic rockers and heartfelt ballads. Its timeless appeal makes it a must-listen for fans of classic rock and whether you're a seasoned rock enthusiast or a newcomer to the genre, Midnight Madness remains a captivating journey that will have you hooked from the very first note to the last.

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Lionel Richie – Can't Slow Down (Album Review)

A timeless and beloved masterpiece would likely be an appropriate description for Lionel Richie’s 1983 studio album, his second solo release, Can’t Slow Down. Blending soulful melodies, heartfelt lyrics, and an exquisite production, this record stands as a timeless classic over four decades later and is a significant milestone in not only Richie’s career but also within the annals of pop and R&B music history.

As incredible as the album is, however, one thing has always struck me as bizarre and that’s the album artwork. There’s nothing wrong with it, per se, it just isn’t overly appealing. It seems somewhat irrelevant to the music; not that the visual accompaniment needs to always match the audible intent. It’s just that many albums, particularly the successful ones, do have linkages between the music and the artwork design. It’s even stranger when contrasted against the dominating elements of the era as the primary music format in 1983 was the larger vinyl record. The visuals, at that time, were essential to an album’s success and perhaps I’m missing an element, but it’s a little sparse and cold. In a strange dichotomy, however, I’ve grown accustomed to it. That is to say that I can’t imagine a different album cover for the selection of songs, yet I still don’t consider it to be an exceptional piece of cover art. Thankfully, I have the complete opposite opinion of the music contained within.

As it pertains to the sonic quality of the album, there’s no doubt just how well this record was recorded and mixed, yet different masterings yield varied results and depending on your subjective preferences some editions may appeal to you more than others. For instance, I had been fortunate to have owned the High Fidelity Pure Audio (HFPA) Blu-Ray release but I always found it to be a little too clinical and fatiguing to listen to. However, if you’re interested in extracting every musical element from the recording, that particular edition will likely impress. I, on the other hand, tend to lean towards a more musical presentation. I want to groove and dance to the music, I want to feel it in my soul, and I don’t require every minutia of the recording to thoroughly enjoy this release.

Subsequently, I have found the Hi-Res Lossless Apple Music stream, an Apple Digital Master, to be exquisite. It has detail, but more importantly, for me at least, it has oomph. The roundness of the sonic signature, as featured on the stream, results in what I consider to be a far more pleasant presentation than any other I have heard thus far. It’s so good that I don’t feel the need to seek out a physical copy or return to the HFPA Blu-ray release.

The bottom line is that with the stream, I feel compelled to play the album on repeat, whereas that hadn’t always been the case in the past. I’d usually play the Blu-ray release once and then file it away as the fatigue began to set in by the time I got to the end of the album. Of course, your perspective may, and likely will, differ from mine. Let’s just say that when you have an album as incredible as Can’t Slow Down, there’s no wrong way to listen to it. With that in mind let’s explore the songs that make up this classic release.

Can't Slow Down launches the album with a mid to upbeat rhythmic tempo that sets the tone for the music that’s to follow. While there isn’t a bad song to be heard on the album, Can't Slow Down is one of those songs that I have a love/hate relationship with. Perhaps it’s just me, but I feel Richie’s vocal is too recessed in the mix. Granted, it’s a stylistic choice, but I can’t help but disagree with the mixing decision. That said, I couldn’t imagine any other song from the album that would have been a more fitting opener.

All Night Long (All Night) has an incredible Caribbean-inspired rhythm that immediately captures your soul. Add Richie’s smooth vocal style to the mix and you have a compelling and upbeat celebratory atmosphere that could be played on repeat all night long (pun most certainly intended). The bottom line is that the song's catchy chorus and vibrant instrumentation make this not only one of the most exciting songs from the album, but one of the very best Richie ever wrote and recorded.

Penny Lover shifts the tonality of the album with this beautiful romantic ballad. Richie's soulful vocals and the smooth melody are nothing short of exceptional and ensure that this is one song that truly defines the term timeless.

Stuck On You continues the ballad-styled approach that is, arguably, a signature cue for Richie, but it’s the musicality that makes Stuck On You so impressive. With a touch of country, Richie shows just how skilled and diverse he is as a vocalist and musician.

Love Will Find A Way picks up the tempo with a groove that will see you toe-tapping and head-bopping along to this stunning album-only tune. While Richie is exceptional throughout the entire song, it is the moment when the backing vocals enter the mix that cements it as a hidden gem that will touch your soul as only the best music in recorded music history can.

The Only One maintains the soulful and romantic atmosphere of Love Will Find A Way. Featuring a masterful blend of R&B and pop elements, The Only One, while never released as a single, is one of the standouts from the album and I dare say that had it been released as a single, it too would have topped the charts as the other five releases from Can’t Slow Down had.

Running With The Night is one of the greatest songs from the 80s. Yes, it has the 80s vibe to it, as does the entire album, yet it doesn’t sound dated. I’d argue that it remains sonically fresh after all these years and perhaps that is due to its rock-inspired atmosphere as you get the sense of the song continually building to Steve Lukather’s magnificent guitar solo that graces the song from the midway point. Richie may not be a rock and roller, but as with Stuck On You, his vocal prowess knows few bounds.

Hello is, arguably, Richie’s most iconic song and for good reason; it’s an exceptionally powerful ballad with exquisite music layering and a vocal performance that is amongst the greatest Richie has ever recorded. It is, for lack of a better term, timeless!

While Can’t Slow Down was a monumental success, its true triumph was not in the awards, critical acclaim, or sales it achieved, but in the album’s timeless quality, perfect sequencing, and song selection, as well as its emotive storytelling. Each song stands out on its own, but the culmination of chosen songs knows few peers. It truly is one of the greatest albums ever released and is one that will continue to captivate audiences and inspire artists for generations to come.

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Kenny Rogers – Eyes That See In The Dark (Album Review)

Some albums are timeless, others are products of the era in which they were released, and others are simply remarkable. Kenny Rogers’ 1983 studio album, Eyes That See In The Dark, is all of the above and then some.

Showcasing a perfect blend of country and pop influences, Rogers worked with the legendary Barry Gibb, Albhy Galuten, and Karl Richardson to produce an album that is as close to Kenny Rogers meets the Bee Gees as one can get. Rogers may not have had a falsetto vocal range, but when you merge the songwriting trio of Barry, Robin & Maurice Gibb, writing the majority of songs, magic was bound to happen. The result is that Eyes That See In The Dark is one of the greatest, and one of the most underrated, albums of the 80s.

One core disappointment for the modern-day music lover, however, is that Dolly Parton’s duet with Rogers, on the song Islands In The Stream, has been omitted from every streaming and digital storefront. As the album is largely unavailable, outside of the secondhand marketplace, it’s a frustration that is largely unavoidable. From what I can ascertain, this classic tune has been excluded due to a licensing issue. The legalities of the music industry once again disrupt the ability for fans to simply enjoy the music. However, if there is a will there is a way and thankfully the song remains available via some of Dolly Parton’s career retrospective releases. As such, just for you dear reader (and myself, of course), I’ve put together a playlist to accompany this review that includes this landmark tune. Yes, it’s not the same and the purist in me will need to seek out an original unaltered copy, but if we look at the perspective of the glass being half full, then we’re incredibly fortunate to still have access to these songs.

As it pertains to the sonic quality of the available version, the lossless Apple Music stream is more than adequate. It is most likely derived from the long out-of-print CD release, but there aren’t any glaring issues to mention. It sounds like the 80s and is most certainly a Kenny Rogers album in tonality, but it’s also got the Bee Gees’ signature tunes all over it. What I’m getting at is that this album was recorded, mixed, and mastered well in the first place and the sonic presentation is perfectly suited to the music. With that in mind, join me as I take a look at the individual songs that make up this incredible release.

This Woman kicks the album off in an energetic and catchy manner. The lively tone and upbeat tempo are perfectly suited to Rogers’ smooth vocal delivery, but it’s the chorus that will captivate your music-loving soul. A simply fantastic song and a great opener!

You And I is a beautiful song and, interestingly, Barry Gibb’s vocal harmony opens the tune. It works incredibly well, but it does make you wonder if you’re listening to a Bee Gees tune or a Kenny Rogers one. That said, once Rogers gets going on the verse, his gentle melodic and emotional vocal presentation is masterful and the backing vocals throughout the chorus give listeners access to the very best of both worlds.

Buried Treasure has a country twang to it and is a perfect toe-tapper. Not only is Rogers incredible on vocals, but those backing vocals, again, are what musical dreams are made of for they don’t detract, but enhance the song; one that’s a hidden gem, or dare I say a buried treasure within Rogers’ extensive back catalogue.

Islands In The Stream (Duet With Dolly Parton) is, without doubt, the most well-known tune from the album and there’s little doubt that it’s incredible. The combination of Rogers and Parton was always pure gold and along with a touch of the Bee Gees, you’ve got not only a hit but one of the greatest songs ever recorded in all of music history. Yes, the Bee Gees’ performance from their One Night Only live album is pure perfection, but this original is perfectly suited to the album, the era, and the artistic intent, thereby making it a standout.

Living With You is a magnificent mid-tempo number and another hidden gem that not only would have been a hit had it been released as a single but is one of the best songs the Bee Gees ever wrote. A true masterpiece!

Evening Star has a gentler country-styled musical arrangement and while the opening elements may make you wonder if it isn’t just filler, this album-only tune becomes a beloved song as every time I listen to the album, I find myself thoroughly engrossed in this song without even realising it; it’s that good!

Hold Me is a lovely ballad that slowly builds and, again, it’s the combination of backing vocals, with Rogers’ incredibly delicate vocal, that enhances the song.

Midsummer Nights picks up the tempo, but as much as you’d think it would be a jolt to the senses, it isn’t as the sequencing of the entire record was masterfully done. The mix of country and soft rock elements are superb, but it’s also fair to say that Midsummer Nights is the most Bee Gees-like song on the album and if it wasn’t for the catchy melody, I’d question if this song choice was right for Rogers.

I Will Always Love You is a poignant ballad and Rogers’ tender vocal delivery ensures that while this is most certainly an album-only tune, it flows well and is perfectly suited to the record.

Eyes That See In The Dark is an incredible song to close the album on as it will encourage reflection whilst simultaneously encouraging you to play the record again. Yes, the verses may be a little pedestrian, but that chorus, as has been the case throughout much of the album, makes the song the powerhouse that it is.

In some ways, Eyes That See In The Dark could be considered a pinnacle release in Rogers’ career as it marked a very successful genre crossover into country-pop territory. Yes, Rogers had an incredible breadth of music, and sales success, pre-dating this release but it’s also fair to say that this album cemented his relevance beyond the country music scene he was most commonly associated with. That aside, Eyes That See In The Dark has a timeless quality, stellar production, and an incredible selection of songs meaning that there isn’t a bad song to be heard and it’s subsequently a release that not only highlights Rogers’ incredible vocal prowess, but is a must listen for all music lovers.

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Blue Öyster Cult – The Revolution By Night (Album Review)

By the time The Revolution By Night was released in 1983, Blue Öyster Cult was already highly successful, but in order to stay relevant to the times the band took their music in a new direction with this release. Gone, somewhat, is the multi-layered and high production value of their 70s output and while this album may not be as stylish as those that have come before, Blue Öyster Cult actively carved out a new direction for their music, experimenting with various styles, adopting contemporary trends, while simultaneously retaining some of their signature sound. It’s fair to say that Blue Öyster Cult had never quite sounded as mainstream as they do on this album, but if we weren’t to compare this release to their storied output, I’ve no doubt you’ll find yourself captivated by an incredible hard rock album that’s difficult to ignore.

While The Revolution By Night failed to be successful, by any metric, it doesn’t change the fact that the album is not only an exceptional Blue Öyster Cult release, but it’s also one of the best albums from 1983. Granted, there isn’t a standout hit to be found but as someone who appreciates the linear album structure, the lack of hit songs isn’t a primary motivator as there’s an undeniable cohesion, within the album’s sequencing, that I thoroughly appreciate. As to why the album failed to achieve even modest success, that’s anybody’s guess, but one can point to the somewhat mundane album artwork. Yes, MTV was all the rage in 1983, but just as mainstream networks still shun rock and roll, for the most part, Blue Öyster Cult would have received minimal to no coverage on that network. As a result, album covers still influenced music buyers, when they visited record stores, and let’s just say that The Revolution By Night isn’t memorable and certainly wouldn’t have stood out.

Turning our attention to the sonic quality of the album and the lossless Apple Music stream, an Apple Digital Master, is quite enjoyable to listen to. It isn’t, however, the final word in sonic quality for this album. Some moments are lovely and spacious while at other times you’ll experience crunching cymbals, a shallower soundstage, and a lack of instrumental separation. That all said, it’s still an entertaining listen and it’s moments like this that we have to acknowledge that we’re lucky to have such a solid release considering how poorly the album performed commercially. It’s, subsequently, highly unlikely that we’ll see a proper remaster of The Revolution By Night. Never say never, of course, but unless a career-spanning albums box set were to be released, it is highly improbable. Even then, all that we may receive is a reissuing of the existing mastering and end up with no sonic improvements. At any rate, the stream is more than satisfactory and as we all know, it is all about the music so let’s explore the songs that make up this highly underrated release.

Take Me Away launches the album with a burst of energy and does an excellent job of setting the tone for the entire record. The driving guitar riffs and rhythmic backbone ensure that you’ll not only be captivated but you’ll be drawn to the catchy chorus that is highly reminiscent of the radio-friendly production trends of the early 80s.

Eyes On Fire is simply magnificent and while the focus is still on a solid rock performance, Eyes On Fire harks back to the 70s era Blue Öyster Cult. It’s subsequently fresh and perfectly suited to the era. Yes, purists may suggest that Eyes On Fire is too pedestrian, and perhaps that is true when comparing this song against their back catalogue, but I’ll be damned if this isn’t one of the best songs Blue Öyster Cult ever recorded.

Shooting Shark shifts the tone of the album to a synthesizer-heavy focus with pop-rock elements; a style that was perfectly suited to the era. While it was never going to be a standout, it’s a sensational album-only track, with some killer guitar licks, that explores the band’s willingness to experiment.

Veins returns the styling to that of a more traditional hard rock sound, featuring driving rhythms and dynamic guitar work with a vocal presentation that creates a sense of urgency. Veins, while not a standout, is a thoroughly enjoyable album-only tune with, again, some killer guitar licks.

Shadow Of California is an incredible rock track with evocative lyrics and a dynamic musical arrangement. As to why it wasn’t released as a single is anybody’s guess, but this is a driving rocker that would have rocketed to the top of the charts had it been released.

Feel The Thunder borders on the psychedelic, particularly during the introduction, but it quickly shifts to being a more straightforward rock song; a shame for those who were hoping that Feel The Thunder would hark back to Blue Öyster Cult’s 70s-era output. Nevertheless, it’s a solid tune that works well within the album’s linear structure.

Let Go introduces a bluesy and groove-oriented vibe to the album and while it’s a solid song, it’s a little too teeny-bopper to be considered a true Blue Öyster Cult tune; especially given their illustrious 70s era recordings.

Dragon Lady features energetic guitar riffs and a driving tempo that returns us to the band’s hard rock styling whilst still ensuring they remained relevant to the era in which this album was released.

Light Years Of Love features a dreamy atmosphere and is a magnificent synth-driven ballad that is most certainly a highlight from the record. It’s a fantastic closer that allows for contemplation and encourages me to play the album again.

The Revolution By Night stands as a testament to Blue Öyster Cult's resilience and adaptability in the ever-changing rock music landscape. While it may not be considered a classic, on par with some of their earlier albums, it remains one of their best and is severely underrated. From hard rock anthems to atmospheric ballads, The Revolution By Night is 100% Blue Öyster Cult for despite their experimentation, their core identity is maintained, thereby making it a compelling and dynamic addition to their extensive discography.

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Billy Idol – Rebel Yell (Album Review)

Released in 1983, Rebel Yell is the second solo studio album from Billy Idol and not only bests his solo debut release but further solidifies his status as a prominent figure in the 1980s rock and new wave scene. With its dynamic blend of punk energy, new wave aesthetics, and anthemic hard and pop rock, Rebel Yell remains a classic in Idol's discography and is one of the greatest albums of not only the 80s, but of all time.

One of the key aspects that makes Rebel Yell so compelling is the top-notch production. Keith Forsey did a wonderful job in producing Idol by ensuring he skillfully brought out even more raw intensity and focus from not only Idol himself, but the entire band. Add to that Idol’s signature snarl, Steve Stevens’ electrifying guitar riffs, and a selection of killer songs and there’s little doubt as to why Rebel Yell is amongst Idol’s greatest musical achievements.

As you listen to the album, you’ll be pleasantly surprised for it features a series of well-crafted upbeat rockers with the occasional introspective mellower tune that ensures the album is anything but dull. Without a B-side to be found, unlike Idol’s 1982 self-titled release, Rebel Yell is akin to a single performance that is best heard via Apple’s Digital Master for the previous CD releases simply didn’t have the same presence as the lossless streaming counterpart. There’s a tonal warmth and fullness present on the stream that is lacking from the somewhat more clinical Expanded Edition CD release. Yes, the dynamic range was technically greater on the 1999 CD reissue and the album has since been compressed a little more for the latest streaming releases, but they simply sound right. It’s as if the music needed to be a little more dynamically compressed in order to get an additional oomph out of the recording. As to whether or not that style of mastering appeals to you, I find from my subjective perspective that I much prefer the bolder sound signature of the stream and I don’t feel that we lose any of the detail, spacial separation between musical elements, or soundstage as a result.

The stream is so impressive that I’d argue that it’s a fool’s errand to seek out any other copy. No, we can’t rely on streaming being there indefinitely, or that particular master never changing again to something a little less compelling. Hence, with that in mind, I’d be seeking out any physical release post-2017 as they should all have this new mastering. Of course, you can always purchase this particular release on iTunes or Qobuz if you prefer digital ownership. Just a quick note regarding the digital edition available via Qobuz – Flesh For Fantasy is listed as being the 1999 remaster. Perhaps it’s a typo, I’m not sure, but purists will likely find that information relevant. For everyone else, let’s take a look at the songs that make up this classic release.

Rebel Yell kicks the album off with a killer and distinctive guitar riff that sets the tone for the entire record. Idol's snarling vocals convey a rebellious attitude and the chorus is infectious but it's the song's anthemic quality and energetic rhythm that make this song a timeless classic.

Daytime Drama has a mid-tempo driving rhythm that merges well with Idol’s characteristic vocal swagger, resulting in a thoroughly enjoyable song that showcases Idol's confident, charismatic, and diverse vocal style.

Eyes Without A Face slows down the pace of the album magnificently. Yes, Idol is known for his rock numbers, but just like Alice Cooper, he’s got a softer side and a vocal presentation that, when delivering ballads, is nothing short of world-class. The haunting dreamy nature of the musical backdrop is similarly exquisite, but that guitar riff mid-song, and Idol’s intertwining rap, really showcase his versatility.

Blue Highway returns the album to a more upbeat tempo, featuring a driving rhythm and catchy hooks. Stevens’ guitar work, once again, shines and I dare say he’s one of the most underrated guitarists in music history for his licks are second to none.

Flesh For Fantasy is one of the album’s highlights, but there are so many that that could be said about any of the nine tracks featured on this landmark release. Nevertheless, the song's sensual and seductive undertones, along with Idol’s magnificent vocal performance, are amplified by Stevens' sultry guitar riffs, thereby making it one of Idol’s most memorable tunes.

Catch My Fall is a mid-tempo song with a compelling combination of musical elements. That said, if there was a low point on the album, Catch My Fall would likely be it as there are times when I feel that Mars Williams’ performance on the saxophone isn’t suited to the song and that the chorus is a little run-of-the-mill. Perhaps it’s just a simple case that the other songs are so incredible, but Catch My Fall hasn’t aged well. That said, there are times when I thoroughly appreciate this tune so I have a classic love/hate relationship with this song.

Crank Call sounds as if it were taken from, or written for, a television show from the era; particularly the introduction. Nevertheless, once my mind gets past that aspect, I can’t help but rock out to this killer tune.

(Do Not) Stand In The Shadows has an upbeat and energetic sound with an infectious rhythm and catchy chorus. Yes, this is most certainly a song of the era, but it hasn’t aged and is just as exciting as when it was first released.

The Dead Next Door has a beautiful opening that in some respects reminds me a little of U2. Each time it comes on it signifies the end of an exceptional album and is the type of song that permits reflection as well as compelling me to spin the record again.

Capturing the spirit of the 80s with its bold and rebellious attitude, Rebel Yell is a timeless classic that blends various musical elements, from punk and new wave to rock and ballads thereby creating a cohesive and memorable listening experience. Idol's charismatic persona, coupled with the album's exceptional production and Steve Stevens’ magnificent guitar riffs, ensure Rebel Yell is a must-listen for fans of 80s rock and remains a testament to Idol's enduring influence within the music industry.

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AC/DC – Flick Of The Switch (Album Review)

Flick Of The Switch is an interesting release for it was most certainly overshadowed by the mammoth success of Back In Black and to a lesser extent, For Those About To Rock (We Salute You) but despite leaning into the band’s signature blend of hard-hitting riffs, catchy melodies, and tongue-in-cheek lyrics, what we have is a thoroughly enjoyable selection of songs but not a perfect album experience. 

In some respects, Flick Of The Switch could almost be seen as a collection of songs that were cut from the aforementioned releases. It isn’t, after all, uncommon for a band to write more than they require for a given release, only to work on those songs at a later date and release them on a future album. That is, after all, how Rock Or Bust and POWER UP were conceived. To my knowledge, however, that wasn’t the case here. What is acknowledgeable is the stylistic shift towards rawer production values, similar to those heard on the Bon Scott era AC/DC albums. 

It well could be the more straightforward, no-frills sound that limits the overall flow of the album experience; particularly if listening to their discography in chronological order. That said, Flick Of The Switch features numerous killer tunes and while I have ranked it as 12th in AC/DC’s discography, it remains one of the best releases from 1983 and is only ranked so low because AC/DC’s greater discography is impressive, to say the least. I do, however, stand by my statement, in the ranked list, that the album doesn’t have a memorable quality. If you were to quiz me on specific songs, from this release, I’m not sure I’d be able to answer correctly, despite thoroughly enjoying the songs when I play the album. I don’t want to suggest that this record is best listened to in the background, but there’s nothing offensive regarding the song selection, there just isn’t a chart-topping hit to speak of.

Rather than working again with Robert John “Mutt” Lange, AC/DC decided to self-produce this release and that significantly contributed to the overall style of the record for Lange’s production focus was bold and dynamic with a focus on chart-topping stadium-filling hits. While we can ponder what Flick Of The Switch may have been with Lange in the production chair, it wasn’t to be and if we’re to endorse artistic intent, then fans have to be content to acknowledge that while Flick Of The Switch may lack focus, and the bold production values of Lange-produced albums, it is ultimately what the Young brothers were aiming to achieve. 

None of that, however, limits us from rocking out to this release, although the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is a little underwhelming in places. Perhaps it’s the way the album was recorded and mixed, but there’s a sense of the music being concealed slightly as well as some annoying cymbal crunching. As the album was remastered in 2003, and the stream is the direct counterpart, it very well could have been a result of the 2003 remastering process that significantly reduced the dynamic range of the recording. 

Other than that, the stream sounds good and you’ll find it easy to appreciate Angus Young's blistering guitar solos and Malcolm Young's rhythm guitar providing the backbone of the album, driving each song with relentless intensity. Brian Johnson's raspy vocals soar above the instrumentation, delivering gritty and impassioned performances throughout, while Cliff Williams' solid bass lines and Phil Rudd's powerhouse drumming anchor the rhythm section, adding depth and groove to the entire album.

Rising Power kicks the album off with a magnificent guitar riff that, when combined with the rhythm, creates an energetic track with some thunderous drumming from Phil Rudd and driving basslines from Cliff Williams. Brian Johnson's gritty vocals complement the lively instrumentation, but the bridge and chorus, with the backing vocals, are a distractive element in an otherwise perfect tune. 

This House Is On Fire maintains the album's high energy with a relentless rhythm and infectious guitar hooks. The lyrics convey a sense of urgency that matches the intensity of the music and in many respects, This House Is On Fire is so close to an anthemic sing-along tune that it, with a little more spit and polish, could have been a standout track. 

Flick Of The Switch is a fierce and unapologetic anthem that captures the essence of AC/DC's raw, no-frills sound. It’s, subsequently, the perfect title track. Again, it is only let down by the rawer production. 

Nervous Shakedown introduces a mid-tempo groove with a killer guitar riff that would have been perfectly suited to Stiff Upper Lip. Johnson's vocals take on a smoother more melodic tone, adding a dynamic contrast to the album, but it’s the catchy chorus and addictively good hooks that make Nervous Breakdown, arguably, one of the best songs from the record.

Landslide opens with some lovely noodling on the guitar that builds momentum with its driving rhythm, and Johnson’s raw vocal delivery. Landslide is a solid album-only tune, but it is unlikely to be anyone’s favourite song and is largely unforgettable. That said, every time it comes on when I play the album, I thoroughly enjoy it. 

Guns For Hire, much like Nervous Shakedown, is one of the standout tracks on the album. It's a high-octane rocker with a relentless groove that, when coupled with Angus Young's electrifying guitar solos and Johnson’s soaring vocal performance, creates an impressive listening experience.

Deep In The Hole is another of AC/DC’s incredible bluesy numbers that showcase not only their versatility but penchant for songs with a swaggering vibe.

Bedlam In Belgium with its upbeat tempo and catchy rhythm is an engaging listen but it’s unlikely that you’ll seek this song out, outside of the album’s linear structure as it simply isn’t a standout. 

Badlands maintains the album's momentum with a driving beat, catchy guitar riffs, and a dose of the blues. The track's straightforward structure and memorable hooks contribute to its overall appeal but Johnson’s vocals sound a little strained. Nevertheless, Badlands is a killer tune that reminds me fondly of ZZ Top as it would have been perfectly suited to the trio. 

Brain Shake is grossly underproduced and the cymbal crunching drives me insane each time I hear it. It’s a shame because it’s an adequate closing track otherwise. Yes, I believe Badlands would have been a stronger closer, one that would ultimately encourage the spinning of the album again, but that wasn’t to be.

Flick Of The Switch may not have achieved the same commercial success as its predecessors, but it remains a solid entry in AC/DC's discography. Its raw sound, and infectious energy, capture the essence of the band, even if the production on this release is a let-down. Nevertheless, Flick Of The Switch continues to resonate with audiences decades after its release and is one of the best albums released in 1983 and would likely have ranked higher within AC/DC’s discography had they not had so many other exceptional albums both prior and after this album’s release. 

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Icehouse – Primitive Man (Album Review)

Released in 1982, Primitive Man became a landmark album for the Australian band that had been formerly billed as Flowers. While the name change may confuse newcomers, this second release under the name Icehouse, led by frontman Iva Davies, is not only an evolution but includes Australia’s unofficial national anthem; Great Southern Land. 

Adding more sophistication and production qualities, when compared directly to their debut album, Primitive Man offers music lovers a sensory experience that explores a variety of musical styles. The pristine production enhances the clarity of each instrument and allows the atmospheric and electronic elements to shine. Perhaps most importantly, Primitive Man, as with all of Icehouse’s recordings, sounds exceptional via both legacy and modern formats. Although, I will say that the 2017 vinyl reissue, pressed from the 2012 digital remasters, has a slight edge over the digital counterpart. It’s simply the analogue warmth (distortion) of the format that is the differential aspect here as it just smooths the overall presentation of the album. 

Visually, Primitive Man is striking and as solid as the stream or CD releases can be, none are quite as impactful as when this album is released on the larger vinyl canvas. While I’ve yet to compile a list of the best album covers of all time, Primitive Man would certainly be at the top of the list for Icehouse’s artwork has always been exceptional, but Primitive Man certainly plays into the overall thematic elements of the album and is a perfect visual counterpart to the audible journey. 

Further reflecting on the music itself, while not entirely void of new wave rock influences, that were a focal point of their debut, Primitive Man certainly focused more on the synth-pop elements that would further catapult the band to mainstream success. While newcomers to the band would be advised to check out White Heat: 30 Hits; make sure you check out the music that makes up not only this album but Icehouse’s entire back catalogue as the album-only songs as as pivotal to the band’s success as the hits. Hence, join me as we take a look at the songs that make up this landmark Australian release. 

Great Southern Land is Icehouse’s magnum opus. While it wasn’t the only standout hit from Primitive Man, it has remained in the social consciousness since its release, for there likely isn’t an Australian who hasn’t heard this incredible tune. Perhaps they don’t know the artist or never purchased the album or the single, but one thing is for certain, every Australian knows the song when they hear it. Few songs are so influential in this way that when a tune such as Great Southern Land comes along, you need to sit up and take notice. Characterised by a haunting melody, atmospheric instrumental backing, and sweeping arrangements, Great Southern Land captures the soul from the very first note to the last. While some may lament the use of synthesised elements, to do so would be at their peril for this classic tune is representative of some of the very best synthesised music in all of recorded music history. 

Uniform appears after a longer fadeout than one would normally expect, but the slow build ensures that it isn’t a jolt to the senses following the melodic Great Southern Land as Uniform has a rhythmic dance vibe that is quite different to the album’s opening tune. Nevertheless, Uniform is a fantastic song from the era and while it likely isn’t a standout for many people, Primitive Man wouldn’t be the same without it. 

Hey, Little Girl again shifts the tone for it’s a more relaxed and introspective inclusion. At this stage, I’ve been enjoying Primitive Man for well over three decades and I truly have a love/hate relationship with Hey, Little Girl. In some ways, it reminds me of Love In Motion; another song that I have mixed feelings about. It isn’t that these tunes are bad, anything but, I’m just not a fan of ballad-styled tunes when Icehouse records them as I feel Davies’ vocals become a little too campy throughout. It’s not the synth-pop element either as I simply adore the musical bed and the short instrumental passage about three-quarters of the way through the song. Nevertheless, Hey, Little Girl is one of Icehouse’s most popular tunes and yes, dear reader, I do enjoy it as part of the album’s structure; I’m just unlikely to play it outside of the album’s intended sequencing. 

Street Cafe is one of my all-time favourite Icehouse songs for its soft rock at its very best as Davies knocks his vocals out of the park on this track. Add to that the chosen guitar licks, and shifting rhythm between the verse and chorus, and you’ve got what can only be described as the perfect track. 

Glam is a thoroughly enjoyable dynamic tune infused with energy and a danceable rhythm. Featuring a combination of electronic and rock elements, Glam quickly becomes an earworm (an enjoyable one) that you’ll find yourself humming along to all day.  

Trojan Blue opens with atmospheric synth textures and a slower tempo that perfectly suits the second half of the album. It’s a beautiful song and while never destined to be a hit, it’s most certainly a hidden gem.

One By One is a mid-tempo track with a pulsating rhythm that is addictively good. Yes, it’s another album-only tune, but it’s songs such as this that ensure Primitive Man is a memorable album experience. 

Break These Chains is a killer rock song. If you’re not head-bopping and toe-tapping, or up on your feet bouncing around; you’re listening wrong. While Icehouse has an incredible legacy, Break These Chains is yet another hidden gem that has to be heard firsthand; it’s extraordinary! 

Mysterious Thing flows beautifully in the intended sequencing and adds to the album’s overall atmospheric quality. Album-only tracks are seldom this enjoyable, but if you listen past their well-known hits, you’ll find that Icehouse has much to offer for the music that never hit the radio waves is just as enjoyable, sometimes more so, as some of their better-known tunes.

Goodnight Mr Matthews (USA Re-record) closes the album beautifully. Featuring some of the most magical guitar work I’ve ever been fortunate to hear, Goodnight Mr Matthews will leave you in a reflective mood while also encouraging you to play the album again for it is a rarity when I listen to Primitive Man only once.

Overall, Primitive Man stands as a pivotal album in Icehouse’s discography, showcasing artistic growth and experimentation with a more polished and sophisticated sound. The combination of memorable melodies, introspective lyrics, and innovative production makes this record a timeless classic that continues to resonate with fans; particularly those of us who are nostalgic for the music of the 80s. Synth-pop has never sounded so good!

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