Pet Shop Boys – Introspective (Album Review)

If you weren’t alive in the 80s and you’ve only just heard the Pet Shop Boys’ Introspective, you’d be forgiven for thinking that this is a much more modern recording, for whilst it has 80s production elements, it hasn’t aged a day. Few records from the era can attest to this quality, but there is no doubt that the Pet Shop Boys were well ahead of the curve when they compiled this release. Yes, nostalgia is all the rage at the moment, and mainstream modern artists, such as The Weeknd, have leant strongly into the era, but Introspective is different. It truly is, timeless!

Released in 1988, Introspective is the third studio album from the English synth-pop duo, and while Please (1986) and Actually (1987) are thoroughly enjoyable, neither compares to the cohesiveness of Introspective, an album that very well could be considered akin to a greatest hits compilation. That cohesive nature, however, wasn’t necessarily planned as Electronic music often focused on individual songs/singles rather than an album-length body of work. Introspective, however, offers both with a collection of incredible tunes that seamlessly blend together.

Beyond the music, the album’s artwork, which is amongst the duo’s greatest, is highly compelling despite its minimal design. While I’ve yet to attain a vinyl edition of the album, one can only appreciate how stunning this piece of visual art would be amongst one’s collection. Merely looking at it ensures the mind recalls the incredible music contained within.

Sonically, the 2018 Remaster of the album, which is available via Apple Music, as well as physical formats, sounds amazing. There’s plenty of mid-to-low-end emphasis, but the crispness of the recording is never concealed as the remaster’s soundstage is well-developed and dynamic, meaning that you’ll find yourself not only immersed in a sonic wonderland, but you’ll feel encouraged to turn the volume up. Remasters can be hit and miss, but in this case, it’s a home run. Given that Introspective has been remastered multiple times, I do hope that this will be the final remaster, as I consider it to be flawless.

While I’ve yet to pick up a copy on Vinyl or CD, the CD-quality Apple Lossless stream sounds so good that I question the need to attain a physical release. Naturally, should another remaster be released, then the sonic qualities I adore could be altered, as renting music lacks the same level of permanency. Some artists (their record label, in particular), however, maintain multiple remasters of albums via streaming services, but the Pet Shop Boys isn’t one of them, given the Deluxe Edition (from 2001) was also remastered in 2018.

While it may be worthwhile picking up a physical release, until then, the Apple Music stream will provide not only the flexibility of being able to listen everywhere, but it has the sonic chops that ensure I don’t feel as if I’m missing out on anything, for Introspective has never sounded better.

Left To My Own Devices is a sonic masterpiece with a sprawling soundstage that will envelop you throughout. While unique in its own right, this is one song that makes me think of ABBA, for there are cues to be heard throughout. Interestingly, and it doesn’t become immediately apparent until you listen intently, but the additional orchestral recording and arrangement really adds another level of immersion without detracting from the overall direction of the track. As the song builds, you’ll find yourself compelled to get on your feet as Left To My Own Devices is danceable, or at the very least is a tune that you’ll feel yourself bopping along to. It’s incredibly compelling and a perfect album opener, one that, ultimately, sets the tone for the entire record.

I Want A Dog continues with the upbeat tempo, flowing perfectly from the opening track, but I Want A Dog settles into a semi-relaxed rhythmic wonderland. The contrast between the lively musical bed, Tennant’s spectacular vocal delivery, and the jazz-inspired piano element is highly compelling, thereby giving I Want A Dog a unique style that will continue to unpack itself upon repeat listens.

Domino Dancing has a Latin flair, but it’s not a distracting element; unless you dislike Latin music, that is. Still, it was an interesting choice for the album’s lead single as it, arguably, isn’t the strongest song from the record. It’s good, great even, but it would have been perfect as the third single released from the album. Nevertheless, Domino Dancing showcases the Pet Shop Boys’ willingness to experiment with their sound, heading into uncharted territory, and, therefore, never feeling tired or worn.

I'm Not Scared, despite being penned by Neil Tennant and Chris Lowe (the duo behind the Pet Shop Boys), was originally recorded and released by Eighth Wonder. While the single for that band saw modest success, I’m thoroughly grateful to the Pet Shop Boys for releasing their own version, as Eighth Wonder’s recording may be aligned with their musical styling, but it’s more akin to a demo than a fully-fledged recording. Of course, when you add in the focused synth/dance-pop style of the Pet Shop Boys, you end up with a song that’s a perfect fit for the duo.

Always On My Mind / In My House is astonishingly good with an incredible opening rhythmic backbeat that builds progressively as the song plays. The song, Always On My Mind, has such a revered legacy, but the Pet Shop Boys have not only offered a unique interpretation but ensured the essence of the original song, and its many excellent interpretations, have been upheld. It is, essentially, two musicians honouring the music that came before, and when done well, as it is via this recording, it’s a lovely homage that can be appreciated in a completely different manner, one that was destined to set any nightclub’s dance floor alight.

It's Alright is a cover of the Sterling Void original, from 1987, but the Pet Shop Boys’ interpretation takes the song to another level entirely as they meld it with their own musical flair. It’s Alright, ultimately, becomes a trademark tune for the duo and is a perfect closing track, one that will keep the party going should you choose to place the album on repeat, or it can be considered the quintessential closing track that will stay with you long after the album has ended.

No matter which way you look at it, Introspective is a landmark release that is not only one of the greatest synth-pop discoesque records ever released, but it’s an electronic masterpiece that reached music lovers of all genres and became one of the most memorable releases from the 80s, particularly 1988. Overall, Introspective is an album experience, one that you’ll enjoy listening to in the album’s linear structure, for as incredible as the individual songs are, it’s the overall flow of the album that is most rewarding.

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John Farnham – Age Of Reason (Album Review)

Following the remarkable comeback success of Whispering Jack (1986) was never going to be an easy task, but Farnsy, as he’s affectionately known, not only came back with a comparable follow-up, he, in many ways, blew it away with an album that proved, in this maturer rendition of himself, that he was a lasting power within the Australian Music scene.

Naturally, many people consider Age Of Reason as John Farnham’s second album, but just as the world isn’t merely 2026 years old, Farnham’s career well and truly predated his most successful era (1986 through to the mid-90s) with an impressive twelve studio albums being released before Age Of Reason in 1988. Of course, most fans know the corny old-time hits, which most certainly include Sadie (The Cleaning Lady), but the majority of his earlier releases have been out of print for decades and unavailable on streaming services, hence the confusion.

For those looking for a little more Farnsy in their life, particularly before he was a household name and one of Australia’s greatest musicians, you might also wish to take a listen to The Little River Band’s 1983 release, The Net,1985’s Playing To Win, and No Reins (from 1986), as he was the lead singer during that era of the band. Yet, and perhaps even more intriguing, his releases with the Little River Band are not part of those core 12 studio albums I mentioned earlier. Hence, what Age Of Reason represents is the middle point of, arguably, the most successful rise in popularity that the Australian Music scene has ever witnessed.

Upon its release, Age Of Reason rose to the top of the charts and became not only the most successful Australian release of 1988, but would remain in the number one position for eight weeks with sales, as of 2026, reaching in excess of 845,000 units. Yes, these numbers are considerably less than Whispering Jack, but as longtime readers and music lovers will note, sales at the cash register are rarely a true indicator of musical brilliance. However, in this case, the album’s success is most certainly representative, as Age Of Reason would also go on to win three ARIA Awards in 1988.

As one of the very first albums I owned, on cassette, Age Of Reason is notably infused with my soul and has stood the test of time, despite wearing out that initial tape. When searching for a replacement copy, in the 90s, I was surprised to find that the CD release featured two bonus tracks. While Farnham’s covers of When The War Is Over (from Cold Chisel’s Circus Animals) and It’s A Long Way To The Top (If You Wanna Rock ’N’ Roll) [from AC/DC’s High Voltage] are splendid, neither fundamentally enhance Age Of Reason and it can, therefore, be suggested that the core 10-track linear structure is the ideal way to appreciate this classic album.

For modern-day music collectors, all CD releases still include these bonus songs, but I was over the moon when Sony Music Australia decided to repress a vinyl release in 2017, sans the bonus material. Of course, the album’s tracking is but one aspect, for if the repressed record failed to set the turntable on fire, its release would be a disappointment for many fans. So, how does it sound? Well, it sounds like digital pressed to vinyl. Granted, there’s no way to tell which master was used or how this reissue was created, but it’s clean with a decent dose of clarity. It could be a touch warmer, particularly in the mid to low-end of the audible spectrum, as it lacks a little of the smoothness and warmth I’d ideally expect to hear.

Compared to the CD-quality Lossless Apple Music stream, the repress doesn’t quite live up to the hype. It isn’t that it’s bad, per se, but the streaming counterpart is noticeably more dynamic and permits the raising of the volume with no listening fatigue or sonic degradation. The vinyl record, however, sounds lovely at modest volume levels but quickly becomes fatiguing and sonically compromised as the volume is turned up.

Yes, dear reader, you read that correctly, I prefer the digital counterpart as it not only sounds right, but is detailed, warm and full-bodied, and is capable of playing consistently well at all volume levels. It isn’t often that that happens, for vinyl is usually a format with a full-bodied presentation, but that is not the case for this particular release.

What the vinyl reissue gets right, however, is the beautifully reproduced album artwork. Yes, the cover art is a little soft, but from memory, it always was, and the album’s liner notes are presented with full lyrics on the printed inner sleeve with production details on the rear of the record. About the only criticism the packaging deserves, and it really isn’t that big of a deal, is that the reissue isn’t presented in a gatefold presentation. Truth be told, it doesn’t need to be, but it would have been nice to have an exact replica of the album’s original vinyl release.

Age Of Reason is a quintessential title track, one that is instantly recognisable from the very first clock tick and note to the last. While it’s no You’re The Voice, Age Of Reason has a similar resilience in both lyrical intent and overall styling. Musically, it’s expansive, expressive, and the soundstage is so well-developed that you’ll find yourself drawn in and captivated by what can only be described as a textbook-perfect recording; one that, if you had the chance to witness, was a highlight of Farnham’s live performances.

Blow By Blow kicks things up a little with a rock-fuelled edge that, despite being sonically different to the album’s opener and title track, flows seamlessly and is another of Farnham’s stadium-filling pop-rock numbers. Of particular note is Bill Harrower’s killer saxophone, for despite only being used sparingly, it becomes a trademark element of the song, one that I look forward to hearing upon each play.

Listen To The Wind shifts the tempo downwards for a more elegant performance that showcases Farnham’s remarkable vocal prowess. His vocals are vulnerable, and while there may be a tad of production trickery going on here, this presentation is amongst his most unique as it sits atop the magnificent musical bed. David Hirschfelder is incredible on keyboards, but one thing you’ll notice when listening to the album is that each song amplifies one of the musicians, and it just so happens that I feel this is Hirschfelder’s most memorable contribution to the album.

Two Strong Hearts continues the slower tempo, but with a more upbeat styling. It’s a great song, it truly is, but it’s also one that, after hearing it so often, you can tire of. It’s the chorus that, as catchy as it is, becomes a notorious earworm that is inescapable. Even so, Two Strong Hearts is thoroughly enjoyable, especially if you haven’t listened to the song recently.

Burn Down The Night returns the album to its pop-rock edge, but this time it’s edgier than the other songs on the album. That isn’t a bad thing, however, as the grit and overall intensity of the tune ensure the album avoids becoming a monotony of ballad-styled numbers. Plus, Farnham was just as good a rocker as he was an adult-contemporary pop icon, and in some cases, his rock numbers trump his most delicate and considered compositions.

Beyond The Call is an underrated masterpiece. As the opening tune for the second half of the record, it’s the perfect counterpart to the album's opener. Perhaps most perplexing is the fact that when this song was released as a single, it failed to enter the Top 40. Truthfully, I’ve never understood the music-buying public, and while many would have purchased the album, and therefore not bothered with the single, it’s such a powerful tune, with an incredible musical presentation, that this is one song that I would have assumed would have risen to the top of the charts. As with several other songs from Age Of Reason, Beyond The Call was another that was spectacular when performed live.

We're No Angels is a beautiful tune with a thoroughly pleasing contemplative element that brings awareness to humanity’s flaws. Add to that a magnificent composition, one which perfectly highlights Farnham’s diverse vocal styling, and you’ve got what can best be described as one of Farnham’s greatest recordings.

Don't Tell Me It Can't Be Done is another of Farnham’s pop-rock masterpieces, which has a killer guitar riff and semi-solo that will have air guitarists in seventh heaven, for Brett Garsed is amongst the greatest, and most underrated, guitarists of all time. His style is complementary to the song, rather than being a standout, but don’t let that diminish his contributions, for much of the album’s rock edge can be attributed to his guitar licks. If nothing else, Don’t Tell Me It Can’t Be Done can be seen as a motivational anthem and sometimes we all need a little motivation in our lives.

The Fire is a solid number, one that flows well within the album’s linear structure, but it’s not a standout. Of course, for an album to resonate, it isn’t merely up to a few hit songs, but the entire body of work, and in this instance, The Fire works exceedingly well as an album-only number, one that will see you toe-tapping and head-bopping throughout.

Some Do, Some Don’t is far from the strongest tune on the album and in some ways could be considered a misstep, but despite the campy styling, it gets me playing the record again, every time I hear it. That said, I could also see The Fire as the closing tune and, in many ways, would have allowed for greater contemplation of the album, particularly if you decided not to listen to the album again.

From the emotional balladry to romantic pop to the anthemic rock numbers, Age Of Reason showcases Farnham’s vocal versatility, skill, and general appeal, as his broad styling and highly compelling music will appeal to just about anyone. While Age Of Reason may be of its era, the 80s production cues haven't dated the record, meaning that old and new fans alike will find something to enjoy upon listening to this classic release.

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Crowded House – Temple Of Low Men (Album Review)

Released in 1988, Crowded House’s second studio album, Temple Of Low Men, became an astounding success in both Australia and New Zealand, hitting #1 and 2 respectively, while also charting well worldwide. While this may be hotly debated, Temple Of Low Men, despite its more sombre musical tone, is Crowded House’s greatest release with ten incredible songs that flow so seamlessly together that you’d think you were listening to a greatest hits album. From the songwriting, to the emotive storytelling, to the musical extravaganza, Temple Of Low Men set the bar so high that it has become a timeless classic.

While Crowded House was most certainly a band billed with three members, it’s important to note the influence of Mitchell Froom in the production chair, for he not only produced their greatest releases but played keyboards throughout. In many respects, he could be considered the fourth member of the band and along with a masterful mix by Bob Clearmountain and a beautiful original mastering by Bob Ludwig, the band and entire production team produced a sonic masterpiece that sounds just as good today as when it was first released…that is, if you have a copy of the original CD release, or a repress, with the original mastering.

Yes, dear reader, as much as I laud streaming, particularly Apple Music, the CD, despite being a tad on the bright side, offers a far better representation of the album than the Lossless Apple Music stream. Unlike their self-titled debut, this landmark release isn’t delivered as an Apple Digital Master, which further complicates matters because it’s unclear which mastering Apple is delivering. The publishing date is listed as 1988, rather than 2016, when the latest remastering/reissue of the album was released in a Deluxe offering. Interestingly, that Deluxe Edition is available on Apple Music, but that too has the original release date as the published date, which is, naturally, erroneous for that particular reissue. That particular edition, however, does seem to have a nicer tonality and is a little closer to the CD’s sonic presentation, but not by much.

Adding to the frustration, for modern streaming and digital download audiences, is the fact that Qobuz has access to a Hi-Res Audio 24-bit/96 kHz version, but the publishing date is 2021 and, to my knowledge, the album wasn’t remastered again in that year. As many music lovers with an interest in attaining the highest quality recordings will testify, Hi-Res is not always better, as it comes down more to the mastering, or remastering, and how that was undertaken. Hence, my go-to remains the European repressed CD, with the original mastering, for it simply sounds right and doesn’t cause additional frustration in determining which version I’m currently listening to.

Where the CD particularly excels is in soundstage and overall sonic detail. There isn’t a single concealed musical element, unlike the lossless streaming counterpart that sounds less lively and dull by comparison. Yes, the treble is reigned in via the stream, but reducing the treble range by a single point on your stereo system will achieve a much better result overall, as it removes a little of the digital glare in the top end but doesn’t dull the rest of the sonic presentation, as is the case with the lossless Apple Music stream.

So, can the Lossless Apple Music stream still be thoroughly enjoyed? Yes, particularly if you haven’t heard an original edition. However, if you’re after a sonic representation that best suits the album, the era, and the overall recording, then I’d suggest you track down a legacy release.

I Feel Possessed is a stunning album opener that sets the overall tone of the record from its very first moments. As you listen, you’ll be captivated by the mix, for the layers of musical elements are thoroughly satisfying and immediately meld with your soul in this otherworldly-styled tune.

Kill Eye shifts the tone considerably to a more aggressive and forward presentation that takes a few moments for the senses to adjust to. As with the album’s opener, and so much of Crowded House’s music, Kill Eye is a musical wonderland where each repeat listen is rewarding as different elements are heard within the mix while never detracting from the song itself. It is, however, the dullness via Apple Music that conceals much of this wonder, and it’s a shame because Kill Eye is a sweeping grind-driven masterpiece.   

Into Temptation slows the tempo and returns the album to a more melodic styling, only this time the shift isn’t as noticeable as Into Temptation is the perfect follow-up to Kill Eye. The highlight here, besides the highly compelling musical styling, is Neil Finn’s incomparable vocal extension and control, as every ounce of emotion is not only clearly heard but also felt. Into Temptation is an astonishingly good song and one of the very best Crowded House has ever recorded.

Mansion In The Slums is an all-time favourite. The vibe, the lyrical context, and the earworm-worthy styling ensure that Mansion In The Slums is not only highly compelling but is one of the deeper cuts that make Temple Of Low Men such an extraordinary release.

When You Come is one of the better-known songs from the album, as it was released as a single. Despite not hitting the top of the charts, When You Come is the ideal counterpart to the album’s most well-known tune, and closer, Better Be Home Soon. As such, the melody will encapsulate you and is an ideal midpoint for the record. For those who have the cassette or vinyl releases, When You Come also signifies the closing of side one, and while you’re likely to play the second half of the album, I couldn’t think of a better song to close out the first half of the record.

Never Be The Same is, in the same context as the perfect opener/closer, an exceptional song to launch the second half of Temple Of Low Men with. Compared to the moodiness of the other songs, Never Be The Same is a little more upbeat in its musical styling, but it’s the wistful nature of the lyrics that are both reflective yet progressive. The result is that Never Be The Same is amongst the most intriguing songs Crowded House has ever released.

Love This Life is another of Finn’s remarkably reflective tunes, for he truly is a master songwriter. The uplifting, yet sombre aspect, is a contrast that plays out perfectly well in regards to both lyrical context and musical styling. While not released as a single, Love This Life is a hidden gem and another reason why Temple Of Low Men is as rewarding a musical experience as it is.

Sister Madly is a fun little number in much the same manner as Nothing Too Serious was for Icehouse. The quirkiness works perfectly, for the catchy, energetic styling results in a playful rhythm-driven vibe that adds a lighter tone and balances out the record.

In The Lowlands is another of those highly sought-after hidden gems. The mix and overall soundstage are remarkably engaging, for you’ll find yourself toe-tapping and head-bopping along to what can be considered an upbeat number in every aspect other than lyrical context. Nevertheless, and this is a core strength of Crowded House, even within their more sombre, more thought-provoking tunes, they’re musically engaging, and In The Lowlands is no exception.

Better Be Home Soon is a simply beautiful Crowded House tune, one that has become a trademark for the band. Seriously, nothing more needs to be said other than to take a listen, particularly if you haven’t already, and you’ll quickly see why Better Be Home Soon is Temple Of Low Men’s Don’t Dream It’s Over.

From Nick Seymour’s magnificent album artwork, to the incredible collection of songs contained within the record, to the recording, mix, and mastering quality (particularly of original releases), Temple Of Low Men is a landmark release that is not only one of the greatest albums Crowded House ever released, but it's one of the very best albums from the 80s and in all of Australian recorded music history. It’s reflective, thought-provoking, but most importantly, it’s unforgettable.

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Black 'N Blue – In Heat (Album Review)

There are records that become chart-topping successes, and then there are those lesser-known releases that make you wonder why, seemingly, nobody knows they even exist. In Heat, by Black ’N Blue, is one such album, as this 1988 glam metal release should have been a hit but failed to gain traction in any market. It’s a shame that so few music lovers are aware of this album, or the band, as this fourth studio release is a quintessential melodic metal record that is not only perfectly suited to the era, but is amongst the greatest 80’s hard rock releases featuring strong rhythmic hooks, duelling guitars, and some incredible vocals by Jaime St. James.

Spearheaded by KISS’ Gene Simmons, in the producer’s chair (for the second time with the band, the first being the 1986 release Nasty Nasty), there’s definitely a KISS vibe present, but with a much bolder hard rock styling than KISS was pumping out at the time. Speaking of KISS, and trying not to correlate too much with them, Tommy Thayer is the lead guitarist and co-founder of Black ’N Blue. As it pertains to In Heat, his licks are magnificent and are some of the very best he’s ever recorded. Naturally, casual fans of KISS may not be aware, but Thayer took over as lead guitarist of KISS, from Ace Frehley, in 2002. I mention this only to note just how underrated Thayer is as a guitarist, for he rivals the very best, and I feel many hardened KISS fans have never given him the respect he deserves. Hopefully, if you’re checking out this hidden gem, you’ll change your mind.

Despite being long out-of-print, streaming and digital delivery platforms have prevailed in ensuring music lovers still have access to this cult classic. As such, the CD-quality Lossless Apple Music stream is exquisite. It’s likely derived from the original mastering, as I don’t believe this album has ever been remastered, but it’s dynamic, bold, and gives plenty of headroom that encourages one to turn the volume up without experiencing ear fatigue or brittleness. Let’s just say that Dave Wittman engineered and mixed the album perfectly, and George Marino mastered it impeccably well.

Of course, it helps to have some incredibly well-written songs, for there simply isn’t a B-side to be heard. The album’s linear structure is EPIC, but don’t take my word for it, give it a listen as we take a look at the songs that make up this extremely underrated and often overlooked release.

Rock On is a killer album opener with Thayer’s soaring guitar leading the charge before the rhythm section sets in to what can only be described as a hit song, had it been released as a single. If this had been a KISS tune, it would have been a chart-topper, for the guitar work, rhythmic drive, and attitudinal lyrical styling make Rock On one of the most melodic hard rock numbers of the 80s.

Sight For Sore Eyes flows beautifully from the opening track, and while there’s a slight shift to the musical aspects of the song, it has 80s-era written all over it. With a ZZ Top feel, Sight For Sore Eyes had potential, for one can only imagine an accompanying music video and how that would have appealed to the MTV audiences of the era. Regardless, Sight For Sore Eyes has an earworm quality about it, for it’s a slick, hard rocker that will quickly meld with your soul.

Heat It Up! Burn It Out! gets off to a slow start, but the break between songs is perfectly done as it allows the senses to reset expectations as Heat It Up! Burn It Out! is one of the heavier songs on the record. It’s pure hard rock, with some stellar guitar licks, incredible vocals, and a backbeat that maintains the song’s high energy. It also has a rhythmic musical breather mid-song that is as stunning as any you’re likely to hear from the era. Seriously, how this album was overlooked, at its time, is beyond comprehension, for it’s one of the greatest.

Suspicious brings the funk and does so superbly well. Yes, it leans a little too much to the pop side of things, rather than pure funk-metal, but Suspicious is a song of its time and is simply fun. Sometimes that’s all that’s needed to have a top-tier album experience.

The Snake returns the album to its hard rock styling with a swagger and tempo that can be best described as a straightforward rock and roller. Again, the musical bed and Thayer’s guitar licks are off-the-charts good, and while The Snake won’t necessarily stand out on its own, it’s perfectly suited to the album’s overall style and is thoroughly pleasing each time it comes on when playing the record.

Live It Up is a killer 80s rock number that blends well with the album’s overall flow. As with The Snake, it isn’t necessarily a highlight, but when you’ve got such solid songwriting and performing, it makes for an ideal album experience; one that is akin to a greatest hits release.

Gimme Your Love is rhythmic gold that will see you head-bopping and toe-tapping along. The swagger is extremely compelling, and even if you’re sitting down, I can guarantee that you won’t be able to sit still as Gimme Your Love is another song from Black ’N Blue that could have been a charting success had it been released as a single.

Get Wise To The Rise dials the tempo back slightly before exploding with pent-up momentum into a duelling guitar masterpiece with incredible vocal dexterity. There’s definitely a Mötley Crüe feel to this tune, but it’s no imitation as Get Wise To The Rise stands on its own with an edgy stadium-filling styling that would be incredible to experience in a live setting.

Great Guns Of Fire is a mismatch of styles, but the metal-focused approach works perfectly well for the song, particularly at this stage in the album’s linear structure, as it reignites the album for the impressive closer.

Stranger is a beautiful, ballad-style tune and the perfect closing track that will compel you to play the album again. It isn’t completely void of aggression, as there are enough hard rock elements blended throughout to satisfy any fan of the genre, but its uniqueness is that it isn’t quite a ballad either. Ultimately, it’s one of those songs that is best listened to firsthand, as words can’t always describe the emotive feeling that a song can deliver.

Overall, In Heat is everything a landmark album should have been had it been better received by the music-loving public. Whether it was a lack of support from the record label, poor timing, or limited radio/MTV play, that’s up for debate, but what isn’t is just how incredible this album is. Without a doubt, it’s one of the best hard rock releases from the era as it delivers a compelling set of songs, tight musicianship, and a melodic rock sound, with a harder-edge metal styling, that will appeal to just about any rock and roll fan, particularly those with an interest in 80s-era recordings.

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Whitesnake – Whitesnake (Self-Titled) [Album Review]

There are defining albums in rock history, and then there’s Whitesnake. Released in 1987, this self-titled record arrived at the height of the Hair Metal era and quickly set the standard for what the genre could achieve. Combining the grit of heavy metal with the gloss of glam, Whitesnake remains a masterclass in both musicianship and style, one which is ultimately timeless and cements their place amongst the greatest rock acts of the era.

As the band’s most successful release, with sales exceeding 25 million units worldwide, one would expect them to be a household name, yet there are times when it feels, as a fan, that this album has flown under the radar. Yes, people know the songs when they hear them, but the simple mention of Whitesnake results in blank stares. Perhaps it has just been overshadowed by other landmark releases from the era, such as Guns N’ Roses’ Appetite For Destruction or Michael Jackson’s Bad (both exceptional albums, and multi-million sellers in their own right). Of course, it could just be controversy that drives recognition and the cultural relevance of an artist. Granted, there was controversy between David Coverdale and guitarist and co-writer, John Sykes, but it was far from the drug and alcohol fuelled sideshow that the LA rockers delivered or the constant radical media claims that plagued Michael Jackson.

One aspect of this release that was incredibly frustrating, however, was the varied releases, in different regions, with different linear structures. While not uncommon, it still amazes me that this was a common practice. If you’re based in Australia, as I am, you’ll likely be familiar with the 11-track release that is titled 1987 and starts with Still Of The Night, followed by Bad Boys, Give Me All Your Love, Looking For Love, Crying In The Rain, Is This Love, Straight For The Heart, Don’t Turn Away, Children Of The Night, Here I Go Again 87, and You’re Gonna Break My Heart Again. Of course, many of our international counterparts would lament that linear structure, but this is far from an isolated case and, thankfully, the good folk at Discogs have given a complete breakdown, in the Notes section, for those of you who wish to investigate further. As for myself, despite decades of listening and appreciating the 11-track Australian CD release, I’ve found that I quite appreciate the 2018 11-track remaster that is found on Apple Music et al, for the flow simply sounds right.

While I may be content with the latest edition that mimics that of the USA release, plus the songs Looking For Love and You’re Gonna Break My Heart Again, the mastering is still somewhat lacklustre. Despite being an Apple Digital Master, this Hi-Res Lossless edition still sounds a little muffled in areas with enough cymbal crunching to grind on the senses. That said, it’s probably the most well-rounded mastering of the album that I’ve heard thus far. If nothing else, it’s definitely got a full sonic presentation with a much-needed boost to the low and mid-range ends of the spectrum. Ultimately, this is one album that needs to be placed in the legendary but poorly recorded and mixed category, in much the same way as Meat Loaf’s Bat Out Of Hell is. Still, don’t take my word for it, or be deterred by this aspect; give it a listen for yourself.

Crying In The Rain (1987 Version) is a killer opener with a rhythmic swagger that exudes attitude and sets the tone for the entire album. Coverdale’s vocal is engulfed within the mix, but it works remarkably well as it gives greater prominence to the killer guitar tracking. As a re-recording, from 1982’s Saints & Sinners, the more polished radio-friendly styling of the 1987 version certainly aligns with the era, yet the grungy moodiness of the original shouldn’t be overlooked, as it will appeal to those who want to hear Crying In The Rain with a tad more blues-based rock and roll sans the pop elements.

Bad Boys is the perfect song to follow the opening track as it maintains the tempo, but rather than standing out, acts more as a connective bridge that holds the album together. That shouldn’t be considered a negative aspect, of course, for every song need not be a stadium-filling number for an album to be successful.

Still Of The Night has an undeniable and compelling funk vibe that melds beautifully with the blues-based rock and roll styling. The composition and mid-song shift is a pure masterstroke, for it drives Still Of The Night to become an atmospheric rock opera that knows few peers. Coverdale’s vocal performance, in particular, is also a highlight and is amongst the strongest of his career. The result is that Still Of The Night is a timeless and legendary musical experience that has to be heard to be fully appreciated.

Here I Go Again (1987 Version) is the second re-recorded track. As with Crying In The Rain, this number originally appeared on Saints & Sinners and while the original is excellent in its own right, the added production values on this particular release really elevate the song to a new level of appreciation. Yes, it’s more radio-friendly, but that isn’t necessarily a bad thing as it offers a significant improvement on this particular recording.

Give Me All Your Love is a thoroughly pleasing head-bopping, toe-tapping number with a catchy chorus, some solid guitar licks, and a high-energy rhythmic styling that makes it a highly compelling rock and roller.

Is This Love is a magnificent ballad, and while some may proclaim it to be the best ballad of the 80s, I’d disagree. Yes, Coverdale’s vocal range and presentation is impressive, and the overall musicality of this number is incredible, but there are so many exceptional ballads from the era that, while it would be amongst the Top 10, it doesn’t quite usurp all others for dominance.

Children Of The Night kicks things up a notch with some thrashing guitar licks that remind listeners that Whitesnake is, most certainly, a hard rock band. While I wouldn’t necessarily consider Children Of The Night to be a standout tune, Sykes’ killer guitar performance is extraordinary.

Straight For The Heart is one of those songs that is a little too campy, despite its glam-metal styling. It’s a mix between KISS and Cheap Trick and works as an album-only number, but it’s far from the first song you’ll think of when feeling compelled to spin this album.

Don't Turn Away flows seamlessly from Straight For The Heart, but unlike the previous song, this is a standout as it blends a ballad with a blues-based rocker, and enough guitar elements to make any air guitarist lose their mind. Don't Turn Away is a great song, one of the best from the record, and one that will compel you to return to the album. It really is that good!

Looking For Love is a hidden gem, especially for US audiences, as it wasn’t originally released in their region. It’s a shame for US-based Whitesnake fans as Looking For Love is one of the very best songs recorded during this era of the band. It’s timeless, a hidden gem, and is nothing short of a sonic masterpiece. It’s one of those songs that, as good as this original is, I wish Gary Moore had recorded it, as it would have perfectly suited his musical styling, particularly during his 1990 era that saw the incredible Still Got The Blues studio album and the live Blues Alive from 1993.

You're Gonna Break My Heart Again closes out the remastered reissue with the second bonus track that was omitted from some regions, and while it isn’t necessarily a standout, this mid-tempo rocker will encourage you to play the record again, as Whitesnake can seldom be listened to once.

Overall, Whitesnake stands as a career-defining achievement for David Coverdale and his band. Beyond the commercial success, Coverdale’s vocals are commanding, powerful, and refined, but it’s ultimately the master musicianship, throughout, that perfectly supports the hard rock grit with a polished, arena-ready styling. No, it isn’t the most well-recorded and mixed album, but it captures the essence of 80s rock and is as compelling today as it was upon release.

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Michael Jackson – Bad (Album Review)

Topping Thriller was always going to be an uphill battle. While Bad may not have hit the heights of Thriller’s sales numbers, just like Off The Wall, I’d argue that it’s a stronger album than Jackson’s most iconic release. Of course, with sales exceeding 35 million worldwide, and five number one hits, Bad was an astronomical success in its own right and represents the pinnacle of Michael Jackson and Quincy Jones’ collaboration; a partnership that resulted in some of the greatest music ever recorded.

For anyone who has listened to the album or knows the hits, you’ll likely attest to just how extraordinary the music is. However, along with the new music came a new image, one that was considerably edgier and showed a rather different Michael Jackson. This shift would become particularly prevalent on songs such as Speed Demon, Dirty Diana, and Smooth Criminal, as Jackson’s musicality evolved with a greater focus on rock elements. Still, to call Bad a pop/rock record would be disingenuous because while it most certainly had those elements, it was primarily a pop (synth-pop) record that blended dance (disco and electronic vibes) and R&B, with a touch of rock. Upon further reflection, it’s easy to see Bad as a body of work in and of itself, with minimal influence from his time as frontman of both the Jackson 5 and The Jacksons. That isn’t to dismiss his incredible origins, but Jackson managed to do what few have done successfully: extract themselves from a successful group to launch a solo career that led to success and fandom beyond comprehension.

Naturally, part of this success must be attributed to Quincy Jones, as the three albums he produced with Jackson (including Off The Wall and Thriller) are arguably his greatest. While Jackson would continue to have incredible success with later releases, there’s no doubt that his collaboration with Jones was idealistic for both creatives, as Jones had never seen success of this calibre either. It was nothing short of a perfect match, and the high production values, pinpoint-perfect recording style, and overall mastering of the album have contributed to it being a timeless success.

While the latest 2012 Apple Digital Master is stunning, and simply sounds right via the Hi-Res Lossless presentation on Apple Music, several caveats will likely frustrate purists. This has nothing to do with the mastering or overall sound quality, but it’s the slight variances across editions that result in the latest offerings being different to those originally released. Credit for this additional information needs to be given to the good people over at Discogs, who have shared, in the notes, all the changes when compared to the original 1987 release of the album. The most notable change would be the omission of the spoken introduction for the song I Just Can’t Stop Loving You. Yet, despite playing the original cassette to death, I never noticed this or any of the other changes. Admittedly, it’s been a number of decades since I listened to the original release, as I no longer have that tape, but it perturbs me to know there’s a difference, and I was none the wiser. All that said, Bad is one of those albums that can be enjoyed via any variant, so let’s take a look at the songs that make up this legendary release.

Bad launches the album with a bombastic upbeat styling, yet despite how enjoyable the song is, the introduction has always been a little too sharp for my liking. It doesn’t detract from the album itself, but I usually make sure that the volume is lowered as I hit play. However, once the lyrics enter the mix and the rhythm begins to meld with my soul, Bad and its overall pop/rock attitude becomes an ideal album opener and a stunning title track that showcases Jackson’s shifting musical attitude.

The Way You Make Me Feel continues the energy and would have been a slightly more appealing opener, for that introduction is extraordinary. The sultry styling shows Jackson delving further into an attitudinal adulthood styling with this release, but it’s the rhythm and toe-tapping head-bopping brilliance that sets The Way You Make Me Feel apart from the album’s opener.

Speed Demon is one of the best songs from the record, and if you haven’t had a chance to check it out, take a look at the highly compelling music video. Aside from this aspect, Speed Demon’s strengths are based on the funk meets pop meets rock vibe, thereby making it another standout on an album that, in many ways, is akin to that of a Greatest Hits release.

Liberian Girl shifts the tempo considerably with a more atmospheric and smooth Caribbean styling. It’s the first time on the album that we hear Jackson’s gorgeous vocal in a softer tone, but it’s clear from the outset that for those who loved Jackson’s softer numbers on Thriller, they’ll feel right at home here. While Liberian Girl isn’t necessarily a standout, other than in composition and vocal delivery, it’s perfectly suited to the album and acts as connective tissue. It is interesting, however, that it was chosen to be the final single from Bad, for I believe it would have been best had Leave Me Alone been the final single released, particularly as it wasn’t included on the vinyl or cassette releases. Nevertheless, Liberian Girl is a lovely song.

Just Good Friends has a rough opening, but I’ll be damned if I don’t declare my love for this song. The funk, the synthetic instrumentation, and incredible lyrics and delivery ensure Just Good Friends has a little bit of everything, including a killer performance from Stevie Wonder. Interestingly, Just Good Friends was written by neither Jackson nor Wonder, yet it’s perfectly suited to both performers.

Another Part Of Me flows seamlessly and introduces a bolder funk aspect. There’s no doubt that Quincy Jones’ production cues can be heard throughout, but instead of the King Of Pop, Jackson should have been referred to, in this era, as The King Of Funk, for Bad, despite its harder edge, is a funk-driven musical wonderland with Another Part Of Me being a perfect example of this.

Man In The Mirror is one of Jackson’s most beautiful and powerful songs. As with Just Good Friends, Jackson didn’t pen this masterpiece, but there isn’t any other musician who could have recorded it better. It is a Michael Jackson trademark tune and is also one of the greatest songs ever recorded.

I Just Can't Stop Loving You may no longer have the spoken introduction, as it was edited out of most reissues, but in all honesty, it isn’t missed, and the flow between Man In The Mirror and I Just Can't Stop Loving You is far better sans the spoken word opening. As a pop-ballad, however, I Just Can’t Stop Loving You is a magical number. Siedah Garrett makes the perfect vocal counterpart to Jackson’s, thereby ensuring this is one of those timeless tunes that can appeal to anyone, for it’s a love song for the ages.

Dirty Diana takes things up a notch by delving back into the rock styling with guitar maestro Steve Stevens shredding up the song in a manner that is perfectly complemented by Jackson’s powerful vocal delivery.

Smooth Criminal is, arguably, one of Jackson’s most recognisable tunes. The tribal rhythm, combined with the song’s punchiness, tight basslines, and shimmering musical bed, creates a stunning soundstage, one that allows Jackson’s bullet-styled vocals to be perfectly positioned within the mix. In many respects, Smooth Criminal could be considered a textbook perfect song and, if nothing else, is amongst Jackson’s greatest and a highlight of the 80s.

Leave Me Alone is one of the most interesting songs Jackson ever wrote and recorded, but not because of the subject matter. The intriguing aspect is that it was exclusive to CD releases of the album and didn’t feature on original vinyl or cassette editions of Bad. As such, many of us, myself included, had to purchase the CD as well, for Leave Me Alone is such a compelling track that one couldn’t simply live without it. It makes me wonder, at times, just how many CD players were sold as a result of this exclusive bonus track. Nevertheless, despite Smooth Criminal being a perfect closer, Leave Me Alone takes the album to another level entirely. Additionally, if you decide to pick up one of the vinyl reissues of Bad, it’s important to note that the majority of reissues stay true to the record’s original linear structure, that is, unless you track down a copy of the Music On Vinyl reissue from 2009 that includes this brilliant closer.

While Thriller is given far too much focus within Jackson’s remarkable legacy, Bad is arguably his most defining album for the production, recording, and songwriting are all second-to-none. Most importantly, however, it showcased far more musical versatility than any of Jackson’s prior works; an aspect that was previously hinted at, but never quite achieved. The result is an album that is more than just a collection of chart-topping numbers, for this is a cohesive work that is nothing short of a musical masterpiece.

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INXS – Kick (Album Review)

Few Australian albums are as widely regarded as the sixth studio album from INXS, Kick. While Icehouse garnered much attention with their 1987 release, Man Of Colours, it simply couldn’t reach the international acclaim and sales success that Australia’s other “I-based” rock band would achieve. Selling INXS (pun, most certainly, intended) of 20 million units worldwide, Kick stood out for its high production values that saw a diverse mix of rock and pop with funk-based tribal rhythms that led to what can only be considered a timeless collection of songs. Of course, there’s the ballad-focused Never Tear Us Apart, a highlight of this release, but despite the shifting styles throughout, INXS never deviated from their origins with Kick; they merely took their musical prowess to another level with a record that is akin to a greatest hits release, for there isn’t a lacklustre song to be heard.

Adding to the appeal is the striking album artwork, and while many modern listeners will instantly recognise the standard front-facing version, physical releases also incorporate an expanded artwork design that will appeal to just about any music-loving collector. What may be challenging, however, is figuring out which version best suits your personal tastes. As with many multi-million-selling releases, there’s a plethora of editions that target different audiences because, for some reason, the original mix and mastering is never good enough.

In order to simplify matters, however, I’m going to focus on the 2011 remaster, which is currently the edition that is readily available on streaming and recent mainstream CD and vinyl reissues. Yes, there are the audiophile releases, but they only further deviate from the goal of music first, hardware second, followed by the format; another John Darko idiom that appeals to this music lover. As such, I’ll be taking a look at the Lossless Apple Music stream and accompanying Dolby Atmos mix (both of which are delivered as an Apple Digital Master).

While I’m familiar with the original mastering from the 80s, as well as the 2011 stereo remaster that was released via CD, the Dolby Atmos mix is somewhat of a mixed bag, with most surround sound music lovers on QuadraphonicQuad.com awarding it a 7 out of 10 or higher. Naturally, when listening to these new mixes, one needs to separate oneself as much as possible from the stereo editions; a difficult task, no doubt, when an album is heading towards its fourth decade of being on one’s radar. Nevertheless, I find the Dolby Atmos mix to be an enjoyable listen with a full-bodied, natural sound that doesn’t detract from the original recording. Unlike some Atmos mixes from classic albums, this one doesn’t try to reinvent the wheel. You won’t instantly notice musical aspects flying around within the soundstage, and the stereo mix is so wide that some may even find the surround mix to be a little too boxed in, particularly on a song such as Devil Inside. However, and this is where the Atmost mix shines, it delivers a meatier (a technical term, naturally) sound that will appeal to those looking for concert-level thumping in one’s chest.

On the negative side of things, the bass guitar is a little too recessed in the surround mix, and I find that by the time I’m halfway through the album, I’m looking to turn the volume down slightly as the Atmos mix is a little fatiguing. Granted, I may have turned the volume up too loud to begin with, as this is one album that will give your sub a workout, but if you’re particularly sensitive to listening fatigue, you may wish to stick to the stereo mix; even though that 2011 remaster is a little on the loud side as well.

As to which edition I ultimately prefer, well, for the most part, I find myself drawn to the stereo mix. That said, this is one album where I can appreciate both the surround and stereo mixes, ensuring that it’s an enjoyable experience on both my stereo and surround sound systems.

Guns In The Sky is a killer album opener with a rhythmic drive and lyrical context that is as relevant in today’s modern society as it was upon the song’s release in the 80s.

New Sensation will get any party started with its funky upbeat nature. It’s pure pop/rock gold and a trademark tune for the band.

Devil Inside may introduce a moodier tone, but it’s extremely compelling, from both a sonic and lyrical perspective, as the story of excess and the fear of missing out is a timeless issue that we all have to deal with. It is, however, the killer riff, rhythmic backing, and the chorus that make Devil Inside so memorable, for it has a little bit of everything melded into a single song.

Need You Tonight is a magnificent tune. That rhythmic approach, particularly during the introduction, knows few peers, for the funk meets dance with a touch of rock and elements of pop results in one of the greatest songs from not only the 80s, but in all of recorded music history.

Mediate transitions seamlessly from Need You Tonight, so much so that they could, in some respects, be considered a singular tune with a stylistic shift in the middle of the composition. Nevertheless, Mediate on its own is a sonic pleasure to behold for the spoken-style of the lyrics blends perfectly with the back beat and the atmospheric elements of the mix.

The Loved One has always been divisive for this fan. Whilst I don’t dislike the song, and I consider Kick to be a perfect album experience from start to finish, the shrillness of The Loved One’s introduction can be a little jarring on the senses, particularly on the CD releases of the album. Thankfully, the Apple Digital Master dials the treble range back a little, thereby making it more palatable, but it’s been so jarring over the years that I somewhat cringe when I know the song is about to begin. Thankfully, as the song builds and the chorus is repeated, I’ve fallen in love with the tune and find it thoroughly enjoyable. It is, however, not an original INXS composition but rather a cover of The Loved Ones’ original from their album Magic Box; a solid recording in its own right.

Wildlife is the weakest song on this classic release, but it’s still highly compelling and will likely see you toe-tapping and head-bopping along to the rhythm. It just isn’t a standout, but as an album-only song that acts as connective tissue, it does its job more than adequately.

Never Tear Us Apart is a ballad to end all ballads. Yes, that can be said about so many ballads from the era, but this is one of the most recognisable, and if you’ve heard it once, then you’ll find yourself singing along to, arguably, their greatest recording. That is in part due to an incredible mix that presents Michael Hutchence’s vocal delivery incredibly clear at the forefront of the mix. Yet, it’s the entire arrangement and Kirk Pengilly’s saxophone playing that’s similarly impressive, adding to the overall impact of this timeless classic.

Mystify transitions beautifully, despite the song’s varied styling in contrast to Never Tear Us Apart. As you listen, you may hear a little Crowded House influence, but Mystify could be best described as the most Australian song on the album, for there are also influences from the likes of Icehouse and Cold Chisel, thereby ensuring that Mystify will appeal to just about any Australian music lover.

Kick is a bold and brash title track that keeps the energy of the album rocking forward. Pengilly’s saxophone performance here is compelling, but depending on your setup, it can come across a little too shrill, thereby edging the listener towards listening fatigue. Still, the spirited performance flows well within the album’s linear structure and adds to the overall appeal of the record.

Calling All Nations has some killer guitar licks that meld well with the dance-driven styling of this tune. It really is a case of two dissimilar musical aspects coming together for the greater good of the song. While it’s not necessarily a standout, all songs need not be hit-worthy to ensure the flow and overall album experience is maintained.

Tiny Daggers is a fantastic closer, one that has a little Bruce Springsteen influence, that will compel you to play the album again, as Kick is one of those records that can seldom be listened to once.

No matter which way you look at it, Kick remains fresh, compelling, and one of the greatest albums ever released. It also happens to be the crowning achievement of INXS’ career and proves that a blend of rock, funk, and pop is a killer combination that continues to captivate us as much today as it did upon its release in 1987.

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