Joe Cocker – Cocker (Album Review)

By the mid-80s, Joe Cocker had cemented his reputation as one of the most soulful and raw vocalists within the pop-rock genre. With a gravelly vocal that could tear the roof off one moment and break your heart the next, he entered 1986 with Cocker, his tenth studio album; a polished and radio-friendly release that continued his 80s-era reinvention while also being an ideal follow-up to the thoroughly enjoyable Civilized Man.

Though not as gritty as his earlier material, Cocker embraces slicker 80s production values without compromising his signature emotional intensity. The rich blend of ballads and mid-tempo rockers will appeal to just about all music lovers, and while the album artwork isn’t anything to fawn over, it’s ideal for Cocker in that it’s what one would have expected from a solo artist during that era.

Naturally, an 80s album has that well-acknowledged sheen to the production, and despite the Lossless Apple Music stream being sonically appealing, the album is somewhat of an enigma, as it has, certainly to my knowledge, never been remastered. Hence, one would assume that the Apple Music stream would offer the CD-equivalent counterpart, but the album is delivered at 24-bit rather than the CD’s 16-bit. Hence, it isn’t a direct 1:1 parallel.

While it pleases me to note that the album hasn’t been remastered to questionable modern standards, it’s both a blessing and a curse, as a reissue campaign would be much appreciated for those of us who have come to appreciate Joe Cocker’s extraordinary catalogue in recent years. Still, the streamed edition is thoroughly enjoyable, and I wouldn’t be surprised if it weren’t the same mastering, that has been used on previous CD releases, just the studio-quality version before it was truncated from 24 to 16 bits. Yes, the 80s recording, mix, and mastering sheen remains present, which may deter some, but it’s otherwise thoroughly enjoyable and dialling back the treble range slightly can bring forth a little more warmth in the album’s reproduction should that be your intent. Even if it’s not, join me as I take a look at the songs that make up this often underrated release.

Shelter Me is a great opener, with synthetic elements that, admittedly, connect it to the mid-80s, but Shelter Me has a timeless quality that ensures this classic tune can be appreciated indefinitely.

A To Z has a playful groove that will see you moving your body involuntarily to the rhythm. The arrangement is sleek, complete with funk-laden bass lines and synth embellishments, while Cocker’s performance is spirited, giving this track a sense of fun and ease that lightens the overall mood of the album. While it may not be amongst Cocker’s most well-known songs, this deep cut is one of his greatest recordings.

Don't You Love Me Anymore is a standout and is amongst the most heart-wrenching power ballads the Englishman ever recorded. Cocker’s vocal is raw, cracked in all the right places, giving the lyrics a level of authenticity that is seldom heard.

Living Without Your Love continues the emotional thread, with another touching ballad, this time with a more subdued, introspective tone. The arrangement is understated, allowing Cocker’s vocal space to breathe. While songs like this were never intended to be chart-topping hits, it’s album tunes such as Living Without Your Love that are a core component as to why Cocker is such an incredible album.

Don't Drink The Water is a solid mid-tempo blues rocker that is perfectly positioned within the album’s structure as it bridges the gaps between the previous ballads and the rockier You Can Leave Your Hat On.

You Can Leave Your Hat On was originally recorded by Randy Newman and released on his 1972 album, Sail Away, and while it’s a solid recording, Cocker takes it to another level with his gravelly vocals and a more funky vibe. As such, You Can Leave Your Hat On is not only a standout from Cocker, but it became a defining moment in his career; one that was already illustrious.

Heart Of The Matter is a little less bombastic than You Can Leave Your Hat On, but the subtleness not only appeals to the song but also allows the listener to appreciate the previous song before Heart Of The Matter opens up throughout the chorus. Again, it’s songs such as this that ensure the album experience is upheld.

Inner City Blues is a Marvin Gaye original that was released on his renowned 1971 record, What’s Going On, and it was a bold move on Cocker’s part to record it, but he pulls it off with his own smoky, rock-tinged approach. Despite not necessarily reinventing this classic tune, Cocker pays homage to the original with sincerity and strength.

Love Is On A Fade is a melodic toe-tapper that rewards those of us who listen to Cocker repeatedly, for a song need not be a hit for it to be thoroughly enjoyable.

Heaven closes the album with a serene, uplifting, soulful ballad. It’s an ideal closer that permits a reflection of the music that’s just been heard, as well as simultaneously encouraging you to play the record again, as Cocker’s vocal is exceptionally moving, and you’ll want to hear more of his gravelly tones.

While it’s easy to consider Cocker as an album with only one major hit and, therefore, dismiss it, to do so would be short-sighted. Cocker may be firmly rooted in the mid-80s production qualities, complete with synthesisers and slick arrangements, but Joe Cocker’s vocal and overall style remain timeless, ensuring that it’s a standout from his celebrated career and is amongst the greatest records released in the 80s, particularly in 1986.

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Lionel Richie – Dancing On The Ceiling (Album Review)

By the time Lionel Richie released Dancing On The Ceiling in 1986, the '80s pop machine was in full swing, as was Richie’s solo career. Hot on the heels of the blockbuster Can’t Slow Down, this third solo outing didn’t quite replicate the chart-topping dominance of its predecessor. Still, it delivered a polished, versatile, and emotionally rich collection of songs that showcases Richie’s genre-blending skill, vocal charisma, and his uncanny ability to write songs that transcend time.

Crafted with care and delivered from the heart, Richie takes listeners on a musical journey with Dancing On The Ceiling. From the dancefloor to reflective ballads, to a touch of reggae and a dollop of R&B, there’s never a dull moment as Dancing On The Ceiling is one of the very best albums from the era. The only distracting element appears with the inclusion of Night Train (Smooth Alligator) on most releases. Initially, this atrocious bonus track was only available via the CD release; however, it has also been included on vinyl reissues in recent years. The problem is that it takes you out of the album experience and is completely foreign to the rest of the music found on the album. This is, therefore, one of the core reasons why I am smitten with digital/streaming options, as I can easily omit this bonus track, permanently, from my Apple Music/iTunes Music library.

Speaking of Apple Music and the Lossless Apple Digital Master, it’s absolutely stunning. The sound is warm, full-bodied, yet detailed. It has the vibe of the 80s, and whoever undertook the Apple Digital Master process to get this sonic presentation out of the record should be commended, for I doubt you’d find a better mastering of the album. Yes, dear reader, it really is that good. But don’t take my word for it, hit play and let’s take a look at the songs that make up this landmark release.

Dancing On The Ceiling is a pure joy to listen to as its synth-driven, uptempo rhythm is impossible to sit still to. Sure, the spoken-word introduction feels a little unnecessary, especially if listening to the song on repeat, but the song’s so irresistibly pleasing that that aspect quickly fades away as the dance floor awaits, and this song gets the party started.

Released as the first single from the album, Dancing On The Ceiling performed well in the charts, reaching the Top 10 in most regions. The music video is delivered in a classic cringeworthy 80s-style, but there’s something strangely compelling about it that makes you want to watch it over and over again.

Se La is steeped in swaying reggae rhythms. The production is light and clean, with layered musical elements and backing vocals that instantly remind me of Bob Marley & The Wailers. While there’s a natural correlation, that is as far as it extends, for Richie has recorded the tune in his style, thereby making it truly his own. Se La may not be the best-known song from the record, but it’s one of the most musically satisfying Richie has ever recorded.

Ballerina Girl is one of Richie’s most stunning songs. Penned by himself, for his adopted daughter Nicole, it’s Richie at his most heartfelt. As a ballad delivered via a delicate piano with tender vocal phrasing and a tad of 80s musical styling, this is one song that will likely pull at the heartstrings of even the most hardened individual. It also happens to be one song that I’d love to see Richie perform in front of a symphony orchestra, for I dare say it would be a stunning performance.

Don’t Stop has a great rhythm, once you get over the shock from the smooth and relaxing Ballerina Girl, of course. Seriously, it’s one of the worst cases of bad tracking I’ve ever come across. Especially considering it’s the last song on Side A of the vinyl release. All I can think is that the next song, Deep River Woman, would have been the perfect closer for the first side and would have flowed far better from Ballerina Girl than Don’t Stop does. Don’t Stop isn’t a bad tune, not by any means; it just doesn’t sit well within the album’s linear structure and, due to its extended length, overstays its welcome slightly. Don’t Stop would have, however, been an ideal B-side to one of the album’s singles, but at the same time, Dancing On The Ceiling wouldn’t be the same without it.

Deep River Woman is a gorgeous tune that strips everything back to its essentials: harmony, melody, and soul, thereby allowing Richie’s extraordinary vocal presentation to become the focal point. Featuring the country group Alabama on backing vocals, the song blends gospel, country, and southern soul, with their inclusion perfectly complementing Richie’s overall style. While the song failed to set the charts on fire, it’s a creative high point on the album. Richie would later re-record the song with Little Big Town on his reimagined country-styled compilation album Tuskegee, but nothing quite touches the magic of the original.

Love Will Conquer All is another gem and is mid-‘80s R&B at its finest. From the layered vocals in the chorus to the mellow yet propulsive beat, it’s an uplifting love song that’s easy to fall into. Marva King’s backing vocals add an extra layer of richness and emotional urgency, enhancing the song’s power and overall message.

Tonight Will Be Alright is the quintessential album-only tune that, despite not hitting the emotional highs of its predecessors, is a lovely song with a pleasant melody and breezy vibe. I could easily imagine someone like Neil Diamond, or Bruce Springsteen, giving it a grittier, more impassioned rock edge. Still, it’s thoroughly enjoyable and is a reason why Dancing On The Ceiling is a fulfilling album experience.

Say You, Say Me is the song. It needs no introduction, and nothing really needs to be said about it other than it’s utterly perfect. The reimagined version, as found on Tuskegee, doesn’t have the vocal or musical prowess of the original, and while it’s good, the original is beyond reproach and ensures that Dancing On The Ceiling closes memorably, thereby encouraging you to play the album again.

Dancing On The Ceiling is, without a doubt, one of the greatest R&B/Soul albums of the 80s. Richie shows he can master the dancefloor, deliver tender lullabies, explore southern and reggae influences, and still deliver massive pop ballads that withstand the test of time. A true gem, in every sense of the word, that sounds just as good today as it did upon release.

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Crowded House – Crowded House (Self-Titled) [Album Review]

As far as debuts go, the self-titled Crowded House is amongst the greatest you’re ever likely to hear.

Released in 1986, Crowded House may be an album of the 80s, with its studio sheen, but its timeless appeal is due to Neil Finn’s heartfelt vocals, strong melodic instincts, and the band’s tight arrangements. Joined by drummer Paul Hester (also formerly of Split Enz) and bassist Nick Seymour, Crowded House is a masterclass in pop craftsmanship and remains one of the most enduring debuts in pop-rock music history.

Visually compelling, as much of Crowded House’s album artwork is, this debut will reward those who pick up a physical copy, particularly on vinyl, as the cover art is worthy of displaying amongst one’s record collection. While the streaming version provides an adequate visual facsimile (depending on screen size, of course), the Hi-Res Lossless Apple Digital Master delivers a stunning audible presentation that must be heard to be believed and is worthy of this classic album’s stature. Derived from the 2014 remaster series, there will be those who vehemently disagree with this assessment, as some will consider the remaster to be mastered too hot. While I appreciate that concern, as I grow older, I’m honestly getting tired of comparing editions and listening for differences. These days, if it sounds good, then that’s all I’m looking for, as the music is the most important element, and this remaster sounds really good.

As it pertains to the track listing of this self-titled release, depending on your region, the linear structure of the album has varied throughout the years. There have even been songs swapped and omitted but, thankfully, common sense prevailed upon the 2014 reissue campaign and it’s that version’s linear tracking that provides the backbone to this review, for it’s about as comprehensive as we’re ever going to get and the more I listen to it, the more this linear structure melds with my soul.

Mean To Me isn’t just an exceptional opening track that sets the tone for the music that’s to come, it was an ideal choice to be the album’s lead single as Finn’s vocals are slightly raw, full of urgency, and are perfectly aligned to the energetically addictive musical bed; aspects that would ultimately form the basis of Crowded House’s sound signature.

World Where You Live slows the tempo slightly, but this mid-tempo melancholic number, complete with jangly guitars and layered textures, is amongst the finest songs in Crowded House’s celebrated catalogue.

Now We're Getting Somewhere takes a slight left turn for the jangly elements remain, with a tight rhythmic pulse, but it’s a more straightforward pop-rock number. It’s a solid album tune, and despite being released as a single, it simply doesn’t engage my interest outside of the album’s linear structure, as I much prefer Crowded House’s more elaborately produced songs.

Don't Dream It's Over is, arguably, Crowded House’s most recognisable tune, and there’s little doubt as to why that is, for the song’s structure makes it a classic in every sense of the word. Add to that the haunting style, a technique that would be further explored throughout the exceptional Temple Of Low Men, and you’ve got an incredibly moving and memorable song that’s amongst the greatest ever recorded.

Love You 'Til The Day I Die is a sharp contrast to the mellow style of Don't Dream It's Over, but this punchy, somewhat chaotic number blends elements of funk and new wave to create a highly compelling tune. The layered musical elements are simply stunning, and you’ll find yourself immersed in a soundstage that is as deep as it is wide. Still, throughout all the complexity, every musical element and vocal lick is perfectly positioned in the mix, making this one of Crowded House’s greatest compositions.

Something So Strong is an uplifting guitar-driven number and another standout from the band’s extensive catalogue. The reason for its success is likely due to the bright melody, instantly engaging and sing-along lyrics, along with the song’s clean production, all of which makes Something So Strong quintessentially Crowded House.

Hole In The River is one of the darker, more moody songs from the album, and I simply adore it. Finn’s vocal control and delivery are masterful, but it’s the whole soundstage and layered presentation that make Hole In The River one of the very best songs Crowded House ever recorded.

Can't Carry On returns the album to a more upbeat rhythm, following a reserved introduction. The driving beat and unique vocal phrasing keeps the album interesting and showcases the diversity of not only Crowded House but also Finn’s songwriting.

I Walk Away, written by Neil Finn while he was a member of Split Enz, was also recorded by the New Zealand band and released on See Ya ‘Round in 1984. As to which I prefer, it would have to be this latter Crowded House recording. Of course, as a fan of Crowded House, and one who has never really been enamoured with Split Enz, my subjective perspective, in this regard, may differ from your own. Still, as a bridge between both bands, I Walk Away is ideal for those who want to hear more of Neil Finn’s brilliance.

Tombstone adds a lovely bluesy touch to the album with its stripped-down arrangement. As a deep cut, it’s thoroughly enjoyable, but few will seek it out on its own, outside of the album’s linear structure. Despite that, all songs need not be hit-worthy to be thoroughly enjoyable, and Tombstone ensures that this debut release is an album experience worthy of all music lovers’ attention.

That's What I Call Love closes the album with a sonically adventurous number, complete with swirling synths and a slightly off-beat styling that works exceedingly well, despite a departure from what has, thus far, been a guitar-driven sound. Again, diversity is key as it pertains to this release, and that’s what makes it so rewarding, as you’ll find yourself revisiting this classic album time and time again, for it can seldom be listened to only once.

Crowded House is a rare debut, filled with confident, eclectic, and timeless tunes. While it was launched into prominence thanks to hits like “Don’t Dream It’s Over” and “Something So Strong,” the album holds up because of its consistency and emotional range. Neil Finn’s incredible songwriting and vocal capabilities are unique in being capable of delivering stadium-filling tunes and deeply personal ballads while Paul Hester’s charismatic drumming style similarly impresses, as does Nick Seymour’s melodic bass work that gives the album its solid foundation. The culmination of all these elements ensures that this self-titled debut is amongst the greatest albums of the 80s, particularly of 1986.

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ICEHOUSE – Measure For Measure (Album Review)

By the time 1986 rolled around, Icehouse had already cemented themselves as one of Australia’s premier new wave/synth-rock acts. Measure For Measure, the band’s fourth studio album, would represent a further shift in refinement for the band, particularly following the rawness of 1984’s Sidewalk, as their sound evolved beyond the post-punk energy of their earlier works into a more lush, cinematic soundscape that would further embrace synthesisers and ambient textures.

Impeccably produced, mixed, and mastered, Measure For Measure is a pleasure for the senses as the music contained within isn’t the only extraordinary aspect, as the album’s artwork is stunningly beautiful and is amongst the greatest that Icehouse ever released. If you haven’t already, consider picking up the CD reissue from 2012. Not only does it sound exceptionally good, but the foldout digisleeve design takes the album’s artwork to another level of immersion and appreciation.

Speaking of immersion, regardless of how you choose to listen to this classic album, you’ll be met with a warm and full-bodied sound and a sonic signature that isn’t often associated with the shrill clarity of the early digital recording era. While I simply can’t recall how previous editions sounded, I can say with certainty that Steve Smart (Studios 301) did a fantastic job in remastering not only Measure For Measure but all of Icehouse’s studio albums for the 2012 reissue series.

The only challenging aspect when listening to Measure For Measure is whether or not you should include the bonus tracks, particularly the core CD-era bonus material, Too Late Now and Into The Wild. Both are exceptional, but to maintain the album’s original linear structure, given these songs weren’t included on the original vinyl and cassette releases, I’ve decided to stick to the original 10-track album structure, from the original Australian release, via the following playlist. However, if you’re after the bonus material, including the additional live tracks, click here for the complete Bonus Track edition.

Paradise opens the album with a pulsating synth element that adds to the overall atmosphere of the song as well as playing into the style of the album as a whole. Sonically expansive and immersive, the greatest aspect of Paradise is Iva Davies’ magnificent vocals, which hover over the entire musical bed. It’s an utterly perfect mix as there isn’t a single element that is overshadowed, and with the hypnotic groove and cinematic styling, Paradise is the perfect combination of art-rock and ambient pop.

No Promises, despite being the first single from the album, had previously been released on the Boxes (Original Motion Picture Soundtrack), from 1985, and was included in an original composition and a reprise, but it is this re-recording that stands out as the gold standard. Driven by a shimmering synth-pop rhythm and an uptempo beat, No Promises is another exceptional tune. More importantly, however, it showcases just how expressive Davies is as a vocalist, for his vocal reach knows few peers, especially regarding the high notes and control he has over his delivery.

Mr. Big shifts the tone of the album, somewhat abruptly, yet the more you listen to the record, the more you’ll appreciate the shift from Paradise and No Promises to this rockier, glam-infused tune. It’s Icehouse amongst their most playful, with a healthy dose of crunchy guitar riffs, a sassy delivery, and brass instrumentation by Simon Lloyd that shines and adds to the overall vibe of this addictively good song.

Angel Street returns the tempo to one that’s a little more contemplative while the near out-of-phase musical styling adds incredibly textured layers to the song. Is it a favourite? Not really, yet something is compelling about Angel Street. While I wouldn’t seek the song out on its own, I thoroughly enjoy it each time it plays within the album’s linear structure.

The Flame is a slow-building epic. The mood and atmosphere captivate and encapsulate the senses via the song’s three-dimensional soundstage, resulting in one of the greatest songs Icehouse ever recorded.

Regular Boys, as with No Promises, was originally part of the Boxes soundtrack, and although the original and reprise are solid, this re-recording is arguably better. However, it does present another significant structural shift in the album’s mood and tempo. While I’m used to it, having listened to this album since the 80s, I fear newcomers may get lost in the mid-tempo, synth-heavy style of Regular Boys, particularly if they only listen once. Interestingly, this shift wouldn’t be so dramatically noticeable should you have the Australian vinyl or cassette editions of Measure For Measure, as Regular Boys was positioned as the opening track on Side 2 of those releases. Hence, in the time it took for you to flip the record, or turn the cassette, the senses had time to readjust.

Cross The Border has always been a personal favourite, but despite the tribal percussion style, intricate melodies, and overall rock edge, what I would have once considered to be the best song on the album now takes a backseat to The Flame, proving that as artists evolve, so do the fans. Still, Cross The Border is a standout tune that suits the album’s structure perfectly.

Spanish Gold is a smooth, upbeat number that works remarkably well within the band’s ambient pop-styled framework. Presented in a hazy, almost dreamlike style, Spanish Gold represents another unique entry in the Icehouse catalogue, one that showcases their willingness to evolve beyond their core roots.

Lucky Me is one of the most abrupt rock-structured tunes Icehouse ever recorded. Still, the rawness shows diversity, and it’s a style that Davies and co would develop further via the more industrial Big Wheel album in 1993. Yes, it can be seen as being somewhat out of place on this release, but as alluded to earlier, once you’ve listened to the album several times, you’ll consider it to be perfectly normal and well-aligned, even with the more delicate songs on the album. Perhaps this is one reason why I appreciate such a diverse range of music, as this is one of the albums that I grew up listening to.

Baby, You're So Strange is utterly brilliant. The swagger, riff-heavy, distorted and crunchy styling, combined with Davies’ gritty, yet smooth, vocal delivery, makes for not only one of Icehouse’s most flamboyant numbers, but is a glam-rock masterpiece that is an ideal counterpart to the works of legendary acts such as T. Rex and David Bowie. It’s also a wonderful song to close the record on, and while CD/Digital releases have additional songs, Baby, You’re So Strange is the perfect album closer, for it will compel you to listen to the album again.

Measure For Measure is a masterful fusion of sophisticated art-rock with a touch of 80s pop accessibility that is, at times, unfortunately overshadowed by the exceptional Man Of Colours release from the following year. Still, some may find this era of the band to be too polished and experimental, especially when contrasting it against the band’s rawer rock-oriented origins. For this fan, however, Measure For Measure is the perfect evolutionary bridge that blends seamlessly with the music that has come before, and that which came after, and is amongst the greatest releases from 1986.

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Russ Ballard – The Fire Still Burns (Album Review)

Released in 1985, The Fire Still Burns showcases Russ Ballard's remarkable ability to blend rock and pop into a cohesive and compelling collection of songs. Known for his knack for writing timeless hits for other artists, Ballard’s own solo recordings have often been overlooked; a shame considering these releases, and this record in particular, deliver a mix of radio-friendly rock anthems, infectious melodies, and introspective ballads. Regardless, whichever way you look at it, The Fire Still Burns is a hidden gem and one of the greatest albums ever recorded.

While the cover art is neither inspiring nor distractive, one thing that’s without question is the production and sonic qualities of this recording. Despite not being presented as an Apple Digital Master, this lossless CD-quality stream will impress. The soundstage is deep and enveloping, with every musical aspect of the recording presented clearly within the mix. While the album sounds exceptional at lower volumes, one thing you’ll notice is that there’s plenty of headroom, allowing you to pump the volume without a hint of distortion (depending on your stereo equipment, of course). So, tap play, turn the volume up, and join me as I take a look at the music that makes up this incredibly underrated release.

Once A Rebel immediately grabs your attention with its atmospheric introduction that melds into a powerful rock anthem. Driven by a punchy guitar riff, and Ballard’s commanding and addictively good vocals, Once A Rebel is one of the greatest pop-rock tunes of the mid-80s; one that most people have likely never heard. Despite this, it sets the tone for the entire record and is a perfect album opener.

The Omen turns things up a notch with its darker, more dramatic, tuning. Interestingly, when I listen to Ballard’s vocal delivery, I can’t help but hear Michael Starr of Steel Panther fame. Given Steel Panther is influenced considerably by mid-80s rock, I wonder if there’s an influence to be noted here. Nevertheless, The Omen is a musical marvel that weaves a cinematic narrative throughout, thereby making it highly compelling for those who appreciate lyrical interpretation as well as those who prefer to focus on the musical performance itself.

Hey Bernadette lightens the mood with its upbeat sing-along vibe that’s pop-rock gold with its catchy chorus that will stick with you long after the song has ended. While not released as a single, Hey Bernadette has a radio-friendly styling that would not only work well on any classic music radio station but would have likely been a hit if it had been released during the mid-80s.

Searching is a slow build but the wait is worth it for this mid-tempo rocker will have you toe-tapping and head-bopping throughout. While the entire album is a hidden gem and one of the greatest and most underrated albums ever recorded, Searching further validates that fact as it’s highly compelling and will make you wonder how Russ Ballard didn’t have greater success as a solo artist.

Time is somewhat of a musical interlude and while short and sweet, it’s a magnificent number that acts as connective tissue and further enhances the record and blends seamlessly into Your Time Is Gonna Come.

Your Time Is Gonna Come is a killer number with a funky groove that reaches into your soul and won’t let go until the song has ended. With a bouncy bassline, incredible rhythmic guitar work, and Ballard’s commanding vocals, the energy and charisma heard on this tune make it one of the best songs from the album and another hidden gem that could have been so much more had it been released as a single.

Dream On continues the upbeat styling and that opening guitar lick is stunning. Ballard’s vocal delivery, again, is impressive, but one thing that is immediately notable is how ideally Dream On is suited to the era. Despite being released as a single, the song remains obscure; a disappointing aspect considering how incredible this song is and that it has stood the test of time, in some cases better than the chart-topping hits of the era.

The Fire Still Burns is a quintessential title track that closes the album with a bang, bringing together all the elements that define Ballard’s sound. As with Dream On, The Fire Still Burns was the only other single to be released from the album, but either Capitol/EMI Records didn’t push it hard enough, or it got lost in the mix, for it’s of the era and is a killer earworm that will encourage you to play the record again.

The Fire Still Burns is an exceptional showcase of Russ Ballard’s talent as a songwriter, musician, and vocalist. The album’s mix of anthemic rockers, introspective ballads, and upbeat tracks, offers something for every listener. While it may not have achieved the commercial success it deserved, its quality and solid craftsmanship have stood the test of time. If you’re remotely interested in 80s rock, The Fire Still Burns is a must-listen and is worthy of every music lover’s collection.

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Ratt – Invasion Of Your Privacy (Album Review)

Released in 1985, Ratt’s second studio release, Invasion Of Your Privacy is a defining record in the glam and heavy metal genre, brimming with the band’s signature mix of sleazy riffs, catchy hooks, and a polished production. Following on from the success of their debut album, Out Of The Cellar, this release further cemented Ratt’s place among the leading acts of the 80s hair metal scene; despite not matching the sales of their debut release. Nevertheless, this music lover finds Invasion Of Your Privacy to be the superior album experience as there isn’t a dull moment to be heard from start to finish.

Visually appealing, there’s little doubt that the album artwork alone would have sold copies for Marianne Gravatte is certainly easy on the eyes. Beyond that aspect, the stylistic design is perfect and more interesting than their debut was while also playing into the hair metal ethos of the era.

For those seeking out a new vinyl release, the good news is that this is one album that has been reissued extensively in recent years with the latest reissue being released in 2024 alongside a CD edition. While I’ve yet to hear them, and the only exposure I have to this classic release has been via the lossless Apple Music stream, it’s certainly on my Wishlist as it’s a top-tier release from 1985 and, in my opinion, a must-own.

Speaking of the Apple Music stream, while it isn’t an Apple Digital Master, that need not matter for the album rocks. Yes, it’s your classic mid-80s hair metal production, but that unique sound is also what makes it so enjoyable. Still, you’ll find yourself looking for the volume knob because Invasion Of Your Privacy should never be listened to at lower volumes; even if it sounds exquisite at those levels. While everyone’s opinion will differ, what I can say with certainty is that the stream offers a lovely reproduction with no glaring issues to report.

You're In Love opens the album with a bang, delivering a high-energy, riff-driven, anthem that sets the tone for what’s to come.

Never Use Love is full of attitude, gritty guitar licks, and a punchy rhythm that’s perfectly suited to Stephen Pearcy’s unique vocal presentation. With a touch of the blues, and a raw and little less polish than the other songs on the album, Never Use Love is one of the most exciting songs from the record.

Lay It Down is one of the most memorable songs from Ratt’s illustrious career. Released as the first single from Invasion Of Your Privacy, the opening riff instantly hooks the listener, while the soaring chorus and dynamic shifts throughout demonstrate the band’s knack for crafting wide-reaching radio-friendly hits.

Give It All has a swaggering groove that blends extraordinarily well with the song’s infectious hooks and sharp riffs. Pearcy, once again, delivers with vocals that exude confidence, but it’s the balance between all elements that ensures Give It All is a quintessential Ratt tune.

Closer To My Heart slows down the tempo and while not as noteworthy as some of the genre’s classic power ballads, Closer To My Heart is a stunning addition to the album, offering a brief respite from the record’s more raucous tracks.

Between The Eyes returns us to the riff-heavy style that Ratt is best known for. With Pearcy’s snarling vocal presentation, and the dual guitar attack of Robbin Crosby and Warren DeMartini driving the song forward, what you’ve got is one of Ratt’s most technically perfect songs with a mix that is simply amazing. Add to that the incredible vibe from Juan Croucier on bass and Bobby Blotzer on the drums and you’ve got a band effort that, despite not being well-known outside of the album’s structure, is one of Ratt’s greatest recordings.

What You Give Is What You Get has a slightly more laid-back strut when compared to much of the album, yet this number still delivers plenty of attitude and has one of Pearcy’s greatest vocal performances; particularly throughout the chorus. That said, one cannot overlook the exceptional musical bed as it demonstrates a band effort and is a standout recording. It’s, subsequently, puzzling as to why it was only released as a single for the Japanese market, for it surely would have done well on the charts throughout the world.

Got Me On The Line is a song that’s pure fun and has a playful energy that’s hard to resist; although that telephone ring at the beginning of the song is nerve-racking. Still, if we look past that aspect, Got Me On The Line is a lively number with a rhythm that will see you toe-tapping and head-bopping along.

You Should Know By Now seamlessly flows from Got Me On The Line and leans heavily into the glam metal formula with its catchy sing-along chorus and flashy guitar work. While it doesn’t break new ground, it’s a solid addition to the album and embodies the sound that made Ratt so popular.

Dangerous But Worth The Risk closes out the album on a high note, combining fast-paced riffs with anthemic vocals. DeMartini’s lead guitar work and Pearcy’s vocal performance are once again the standout elements, but the song’s relentless energy ensures that it will capture the soul of every music lover and will compel them to play the album again, for Invasion Of Your Privacy can seldom be listened to once.

Invasion Of Your Privacy is not only an exceptional followup to Ratt’s impressive debut, but this sophomore release proved, without a shadow of a doubt, that Ratt was more than a one-hit-wonder. Granted, the album doesn’t stray far from the glam metal blueprint they originally laid down, but it does offer refinement with impressive precision and flair. Pairing the higher production values with their incredible musicianship results in a dynamic combination that’s not only radio-friendly but has a raw edge that will appeal to longtime fans and newcomers alike.

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Mötley Crüe – Theatre of Pain (Album Review)

Released in 1985, Theatre of Pain, Mötley Crüe’s third album, is arguably marred by Vince Neil’s preceding arrest for drunk driving and the manslaughter of Hanoi Rocks’ drummer, Nicholas "Razzle" Dingley. While this tragic event almost saw Mötley Crüe come to an abrupt end, Theatre Of Pain was, ultimately, dedicated to Razzle’s memory and is a fitting tribute.

While the reception to Theatre of Pain has been primarily mixed amongst critics and fans, despite achieving higher sales than Mötley Crüe’s previous albums, time has been kind to Theatre of Pain. With a pop meets rock style and a healthy dose of glam influence, the album remains fresh and isn’t dated to the era; despite being representative of the time. Additionally, when you add the raw energy, polished production, and radio-friendly sound throughout, what you’re left with is a pop metal release that’s an essential listen for fans and newcomers alike.

Speaking of the overall sonic quality, while I’ve not been fortunate to hear a physical edition of this classic release, the lossless Apple Music stream is surprisingly well-mastered; particularly considering it’s not an Apple Digital Master. There’s no listening fatigue to be experienced and no standout issues that would limit one’s enjoyment of the record. The soundstage is clearly defined and envelops you in sound; regardless of how loud you’re listening to the record. The result of this well-balanced presentation is that it’s truly indicative of a Mötley Crüe performance and is thoroughly enjoyable from start to finish.   

City Boy Blues opens the album with a hard rock blues number. Mick Mars provides a masterful gritty guitar riff while Vince Neil’s raspy vocal is laid perfectly alongside the solid percussive backing. The result is that City Boy Blues is a solid opener and serves as a fitting introduction to the album.

Smokin’ In The Boys Room is a solid interpretation of Brownsville Station's original song. Depending on your perspective, you may prefer the original to this interpretation, or vice versa. What is certain, however, is that Mötley Crue injected their trademark swagger and glam-metal styling into the song and made it their own.

Louder Than Hell is one of the heaviest songs on Theatre Of Pain and its driving riff, anthemic chorus, and overall style harks back to the band’s earlier sound. The high production quality certainly ensures the song is a standout, but when you consider the intensity of Mars’ searing guitar performance and Tommy Lee’s thunderous drumming, there’s little doubt as to why this is one of the greatest songs Mötley Crüe ever recorded.

Keep Your Eye On The Money flows seamlessly from Louder Than Hell, and while it’s a catchy number it’s lyrically campy. Yes, Mars’ guitar licks, once again, steal the show, as does Lee’s pounding drumming and Nikki Sixx’s rhythmically charged bass notes, but it isn’t a standout.

Home Sweet Home is amongst the greatest power ballads ever recorded and is quintessentially Mötley Crüe. While some may lament their beloved hard rockers showing their softer side, Home Sweet Home would, ultimately, break new ground and further influence other glam-metal acts to also record a power ballad. As a power ballad fan, all I can say is thank you Mötley Crüe.

Tonight (We Need A Lover) is a high-energy rocker with infectious hooks. Capturing the raw, and unapologetic attitude that defines Mötley Crüe, Tonight (We Need A Lover) is not only a great rock and roll tune, but it’s a pure glam-rock masterpiece.

Use It Or Lose It is a fast-paced and aggressive number with a touch of punk. It sees Lee’s relentless drumming and Mars’ incredible guitar licks take centre stage for what can only be considered a killer tune. While Mötley Crüe should always be listened to at ear-bleeding volumes, this is one song where it hits harder the louder you listen to it.

Save Our Souls is a dark and brooding number that’s perfectly suited to Mötley Crüe, but it’s the blues-based rock tuning that makes it truly exceptional and one of the most atmospheric recordings on the album.

Raise Your Hands To Rock is a fun anthem-infused rocker. While the lyrics are a little mundane, the track’s energy and sing-along chorus make it a fantastic addition to the album and is one of those songs that would be ideal in a live setting.

Fight For Your Rights closes the album on a defiant note. The gritty riffs and pounding rhythm create a sense of urgency, while Neil’s impassioned vocals deliver the message with conviction. It is, once again, Mars’ guitar solo that ensures this is a memorable number; one that will keep you coming back to the album time and time again.

Overall, Theatre of Pain is an incredible release in the storied career of Mötley Crüe and deserves a place in everyone’s music library. While it lacks the aggression of Shout At The Devil and the cohesion of what would come with Dr. Feelgood, to ignore this release would be shortsighted for the numerous highs far outweigh any lows.

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