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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ICEHOUSE – Man Of Colours (Album Review)

When Man Of Colours hit record stores in September 1987, it immediately hit the top of the charts for 11 weeks, went 7x platinum in Australia, and won two ARIA (Australian Recording Industry Association) Awards in 1988. Yes, on the world scale, that may not seem overly impressive for our international readers, but success like that for an Australian band, in their own backyard, is often unheard of. However, it didn’t come out of nowhere and was a slow buildup for the band as Icehouse had been an active member of the Australian Music scene since their debut release, Icehouse, under their original band name, Flowers, in 1980, and was a musical force never to be underestimated with Man Of Colours being their crowning achievement.

This era would, ultimately, be Icehouse’s most successful, with worldwide sales of Man Of Colours exceeding 795,000 units worldwide. To say they were also at their creative peak would be an apt assessment, but that statement also negates the masterstrokes of creativity throughout the band’s entire career. Still, it’s difficult to deny the album’s high production qualities, for Man Of Colours saw the band deviate slightly from the rawer new wave stylings of their earlier releases to a much more radio-friendly sound across the entire record. This sleek, synth-pop-focused rock style merged with a melodic overture that leaned strongly into the zeitgeist, ensuring that it was primed for success. In many respects, Man Of Colours was the right record at the right time, and while that doesn’t take away from the high-quality production and songwriting of this release, it does help with understanding why this album alone was such a standout success.

While the music itself is the most important aspect of any album release, the iconic artwork for Man Of Colours has ensured that this record has remained memorable throughout the years. Thankfully, Icehouse has always had exceptional cover art, and while variant releases go in and out of style, Man Of Colours would also feature inverted cover art, but you’ll need to seek it out as it remains out of print, much like the original tri-coloured vinyl release that fetches crazy money on the secondhand market. While the 2017 reissue attempted to appease those of us interested in a tri-colour record, it simply wasn’t the same. First world problems, I know, but music lovers and record collectors will attest to just how important these aspects are when adding to our collections. At least the solid colour reissues were done exceedingly well, even if they didn’t match the original releases with their transparent colour styling.

From a sonic perspective, while I’ve been fortunate to have listened to all mastering variants, from the original Australian cassette, to the 2002 remaster, to the latest 2012 remastered edition, I have to say that I am smitten with the latest release as Steve Smart, from Studios 301, remastered the latest releases so well that I now consider them to be the standard for Icehouse’s impressive back catalog and I do hope that they’re never remastered again as, to my ears, they sound perfect.

Speaking of perfection, the original album’s track listing, sans the bonus tracks, is the best way to appreciate this classic release. As such, below you’ll find a shared playlist with that intent. However, one can’t deny just how good the bonus material is, particularly Touch The Fire, and while I’d love to see Icehouse reissue the 1989 compilation Great Southern Land, which featured this incredible song and another new tune, Jimmy Dean, at least these songs can be heard on the fully featured reissue of Man Of Colours. Additionally, if you’ve only got the CD reissue, you may notice that it omits Track 18, Last Cut, a Simon Lloyd composition. It’s interesting that this has been included, particularly as Icehouse is primarily a vehicle for Iva Davies’ creativity, but it’s still an interesting inclusion on streaming and digital download versions of the record.

Crazy is the epitome of 80s rock in that the opening lick and sonic quality of the recording not only set the tone for the record, but are perfectly aligned with the era’s overarching style. Driven by synths and a melodic chorus that hooks you instantly, Crazy is amongst Icehouse’s most radio-friendly tunes and is a song that will see you coming back for more, for you’ve gotta be crazy if you don’t listen to this song, and the album, more than once.

Electric Blue is the perfect follow-up to Crazy and is Icehouse’s crowning achievement from Man Of Colours. Co-written with Davies and John Oates, Electric Blue is a pure masterpiece and is one of the most polished pop tunes in all of recorded music history. Oates, coincidentally, also performs backing vocals on this track, but it is Lloyd’s saxophone performance that takes the song to another level entirely, as this lush and melodic performance is pure perfection.

Nothing Too Serious is a short, punchy, tongue-in-cheek number that is a throwback to Icehouse’s new wave roots, while also melding a little funk and punk into the mix. The result is an energetic tune that will see you toe-tapping and head-bopping throughout.

Man Of Colours is a stunningly beautiful title track that will initially take you off guard as the atmospheric production, while extraordinary in its own right, is considerably different to the opening tunes on the record. Still, its contemplative nature is beautifully tracked and showcases some of Davies’ more classical arrangement skills as well as his talent on the oboe.

Heartbreak Kid transitions smoothly as it builds towards a slow-tempo rocker. The punchy synths and delicate edginess help keep the listener focused, but upon repeat listens, you’ll likely appreciate the various sonic layers that make up this unassuming tune, for Heartbreak Kid is stunning from the first note to the last.

The Kingdom continues the masterful production and songwriting, and while Icehouse’s 1990 follow-up, Code Blue, is my favourite album from the band, I have to admit that it doesn’t have the songwriting or production qualities that Man Of Colours has.

My Obsession is 80s pop/rock gold with addictively good hooks, an incredible vocal performance, and an arrangement that is highly compelling. It’s little wonder then that My Obsession was chosen as the album’s third single, for this song is another of Icehouse’s most radio-friendly numbers.

Girl In The Moon is unique in its styling for the production qualities, synth elements, and Davies’ vocal presentation, along with the mix, is something that has to be heard to be fully appreciated. Interestingly, Girl In The Moon would have been an ideal song for Crowded House, particularly during the Temple Of Low Men era, as there’s an undeniable synergy between styles.

Anybody's War picks up the pace significantly, yet despite its driving rhythms, Anybody’s War is perfectly positioned within the linear structure of the album, ensuring that you’re set up for the expansive experience that is the closing track.

Sunrise is a beautiful closer that allows for not only appreciation of the song, but contemplation of the entire record. Its complex, yet layered production, rewards repeat listens, and Davies’ vocal is arguably at his finest on this recording. The result is that Sunrise is a hidden gem contained within an extraordinary record that will compel you to play the album again.

Man Of Colours is undoubtedly a masterpiece, and while it would represent Icehouse’s most commercial release, the creativity of this 80s synth-pop/rock record knows few peers, for despite being released within a year of incredible heavy hitters from around the world, it not only stands out but is amongst the greatest albums of the era. While the hits will most certainly resonate with those of us who lived through the 80s, it really is the album-only numbers that ensure Man Of Colours is an exceptional album experience.

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Guns N' Roses – Appetite For Destruction (Album Review)

Debuts, such as Appetite For Destruction, are the exception, for upon its release in 1987, it would not only go on to take the world by storm, by selling more than 30 million units, but it would rejuvenate the hard rock music scene and become the soundtrack for a new generation of hard rockers. I was one of those rebellious teenagers who adored the raw spirit and aggression of the album, an aspect that has not only stood the test of time but is just as menacing today as it was upon release.

While the grunge movement was only a few years away, Guns N’ Roses proved that music can be redefined, for the 80s saw some incredible rock and roll being produced, but much of it fell within the glam metal sub-genre. Guns N’ Roses were different as they weren’t glam per se, but incorporated elements while also tapping into the blues foundations of rock and roll to deliver some of the greatest hard rock music ever recorded.

Of course, the excesses were there. Sex, drugs, and rock and roll were merely a part of the 80s hard rock scene, and Guns N’ Roses were no strangers to controversy. From the legendary stories to the unpredictable personalities of Axl Rose, Slash, Izzy Stradlin, Duff McKagan, and Steven Adler, the Los Angeles rockers exploded onto the scene somewhat larger than life with a record filled with timeless era-defining tracks such as Welcome To The Jungle, Paradise City, and Sweet Child O’ Mine. It wasn’t only the core members, however, that would drive the band to success, for producer Mike Clink was able to capture this raw intensity and, in many ways, was the sixth member of Guns N’ Roses, for he would go on to produce all of the band’s pre-Chinese Democracy releases.

In fact, every person in the recording studio deserves kudos for Appetite For Destruction is a landmark release that knows few peers and will, most certainly, live on well after we’re all gone. From the stunning album artwork to the controversial original cover art, to the tightness of the songs, and the mastering, it’s easy to declare Appetite For Destruction a perfectly flawless album. So, it was with intrigue that in 2018 a remastered edition (with all the bells and whistles associated with anniversary reissues) made its way to music lovers’ ears. It can be somewhat of a daunting task to accept a remaster, particularly when it’s such a beloved release, but despite still thoroughly appreciating Barry Diament’s original CD mastering, the remaster, engineered by Ted Jensen, is extraordinarily good.

While I wouldn’t necessarily call the original shrill, there were elements in the high-end of the audible spectrum where it could get a little too treble-focused and jarring on certain systems. This remaster, by comparison, dials that aspect back and boosts the low to mid-end range while leaving most other elements intact. It’s a very subtle difference, and unless you’ve been listening to the album for decades, you’ll feel right at home with the remaster. The remaster also delivers a bonus level of clarity in that Rose’s pronunciation is clearer, and the separation between musical elements seems to be better as well, with percussive instruments, that were previously concealed, showing up clearly, especially on the more complex mixes throughout the album. Perhaps most notable when listening to the remaster is that the emphasis of the album is maintained at lower volume levels and is simultaneously crankable. Yes, it’s mastered a little louder than the original, but, in this case, that isn’t detrimental.

So, with that in mind, dear reader, join me as we take a look at the songs that make up this legendary release.

Welcome To The Jungle is one of the greatest opening tracks of all time with a simply unforgettable introduction, killer riff, and an overall explosive performance that will hook you from the very first note to the last.

It's So Easy has a killer groove, an addictive chorus, and is ideally suited to the album. It’s interesting, however, how well-received and fundamental It’s So Easy has been to the band’s live performances over the years. Don’t get me wrong, I love the song, but it’s an unlikely standout.

Nightrain has always been one of my favourite songs from the album. While the cowbell was overused in the 80s, this is one case where it amplifies the song, and while it would have been a solid rock and roller sans that instrument, it adds a different dimension that I thoroughly appreciate. Still, it’s the high energy, the duelling twin guitars, and the track’s infectious riff and vocal delivery that ensure Nightrain is a timeless masterpiece.

Out Ta Get Me is a killer blues-based rock and roller that will get you toe-tapping and head-bopping, but Out Ta Get Me’s strength can be best heard in Rose’s remarkable vocal delivery.

Mr. Brownstone is another favourite and has been since I first heard the album as a teenager. However, at the time, I didn’t realise the song was describing the band’s struggles with heroin addiction. I simply rocked out, and it’s moments like this that I’m glad that I usually listen to lyrics akin to an instrument in the mix, rather than a storytelling device. Still, the funkiness and that swaggering groove make it incredibly addictive; pun intended.

Paradise City had stadium anthem written all over it. From the first time that introduction played, to the sing-along lyrics, there was little doubt that Paradise City was going to be anything other than a monstrous hit.

My Michelle has a deceptively soft and haunting melodic introduction prior to erupting into a full-blown hard rock number. Inspired by a real-life friend of the band, My Michelle is as beautiful as it is tragic, but the groove, killer licks, and Rose’s vocal performance throughout are thoroughly pleasing.

Think About You often flies under the radar as one of the more obscure songs from this debut, but this high-paced number is perfectly suited to the record.

Sweet Child O' Mine is one of Guns N’ Roses’ most recognisable tunes, and for good reason; that “warm-up” riff of Slash’s is a guitar player’s dream come true. As the song builds, with perfect pacing and an unforgettable bridge, Rose’s wails complement the instrumentation perfectly, resulting in yet another landmark tune from this incredible record.

You're Crazy has a little punk aggression with a touch of thrash. It’s a solid interpretation of the song, but I tend to prefer the slower, blues-based styling of the version heard on GN’R Lies.

Anything Goes is a great tune. The talkbox aspect enhances the song, rather than being a distractive element, but it’s the groove and overall melody that are simply irresistible. While Anything Goes isn’t one of the better-known tracks from the record, it’s songs like this that make Appetite For Destruction such a remarkable album experience.

Rocket Queen is an idealistic closer that will encourage you to play the record again, for Appetite For Destruction can seldom be listened to once. Rose’s vocal delivery, atop a killer blues-based musical bed, makes for a highly compelling musical experience; one that is even more complex with the infamously recorded sexual moans. Despite that, as the song shifts style throughout, Rocket Queen becomes a genius of the hard rock genre.

No matter which way you look at it, Appetite For Destruction is a masterpiece that not only helped to define and redefine an era and genre, but it’s also one of the greatest albums ever released.

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Deep Purple – The House Of Blue Light (Album Review)

When you think of Deep Purple, their legendary 70s output is generally the first thing that comes to mind. However, their 1987 release, The House Of Blue Light, is a hidden gem that shouldn’t be overlooked, for this 12th studio album by the English rockers is amongst the greatest they’ve ever released. Yes, some may lament the 80s production style that, arguably, made Deep Purple more accessible than ever before, but to ignore The House Of Blue Light, for that aspect alone, is incredibly short-sighted.

Starting with the welcoming, yet mysterious, album artwork, which was bound to garner attention at record stores upon release, it’s amongst the most stunning from Deep Purple’s illustrious back catalogue. Of course, an album’s artwork would be for naught if it failed to live up to a solid musical presentation, and in this regard, the Lossless Apple Music stream is thoroughly enjoyable. Could it be a little more bombastic? Yes. However, a remaster would surely destroy the album’s dynamic range, and that’s one aspect I’d prefer to see avoided.

Derived from what appears to be the 1999 CD release, this particular streamed edition matches the original vinyl edition’s runtime. Yes, that results in some songs being truncated from those heard on the original CD releases, but this particular edition flows so perfectly that I prefer to think of the original CD releases as being a collection of extended mixes rather than the primary version of the album.

This aspect isn’t uncommon amongst albums from the era, as the Compact Disc’s extended runtime allowed for further artistic experimentation. Still, just because the format could support a longer runtime, that doesn’t mean the experience is more fulfilling and in many cases, it’s detrimental to the fan base as it encourages multiple purchases of the same album; a record industry practice that continues to this day with a plethora of different versions for each major launch. It’s a disappointing practice, but regardless of which edition you prefer, or if you’ve overlooked The House Of Blue Light, join me as I take a look at the highly compelling music that the Mark II line-up of Deep Purple (consisting of Ian Gillan, Ritchie Blackmore, Roger Glover, Jon Lord, and Ian Paice) delivered on their final 80s release.

Bad Attitude opens the album with a menacing organ element that plays into the mystique of the record’s cover art before launching into a thoroughly satisfying riff-driven number that will find you toe-tapping and head-bopping along. It’s pure rhythmic gold and is the perfect opening tune.

The Unwritten Law is utterly brilliant with a multi-layered presentation that unravels itself further the more you listen to it. Blackmore’s riff and Gillan’s vocal delivery are particularly noteworthy, but the entire band is on fire with one of the most memorable tracks on the record.

Call Of The Wild harkens back to the 70s with a sound that old school Deep Purple fans will likely appreciate. The more stripped-down, rock-driven melody will impress, as does Lord’s performance on the organ/synthesisers. It is, however, the chorus and Gillan’s vocals throughout that make Call Of The Wild so compelling. Yes, it’s an 80s rock and roller, but, at its core, it could also have been recorded at the height of Deep Purple’s success and would likely have been one of their greatest hits. Unfortunately, despite being chosen as the album’s lead single, it failed to chart well and has been all but forgotten; a shame considering this is one song that deserves far more attention than it often receives.

Mad Dog launches with another incredible Blackmore riff, one that is highly energetic and reminiscent of their earlier recordings. It isn’t a standout, but it does grow on you, and all songs need not be stadium-worthy to contribute to a pleasing album experience.

Black & White isn’t a great song, certainly as it pertains to the quality of songwriting we normally expect from Deep Purple, but Gillan’s performance ensures the listener’s interest is retained in an otherwise forgettable tune.

Hard Lovin' Woman leans into the 80s high-production style and is a little too pop-rock for Deep Purple. Still, it isn’t a bad track and does add to the overall album experience.

The Spanish Archer is a little left-of-the-centre and is the type of song you’d expect to hear from Genesis. It likely won’t appeal upon first listen, and there’s no doubt that The Spanish Archer is the weakest song from the record, but if you give it a chance, it does grow on you.

Strangeways is a killer tune with a catchy rhythm that will appeal to just about any music lover. It would have also been a stunning live performance, but it’s sadly been overlooked; a shame considering it’s amongst their greatest recordings, from any era.

Mitzi Dupree dips into the blues for this laid-back number. It’s a great tune, but there’s no doubt that Mitzi Dupree won’t appeal to Deep Purple’s hardcore fans.

Dead Or Alive is a solid, high-tempo closer. It may not be a standout, but it will leave you feeling compelled to play the album again.

Overall, The House Of Blue Light is one of the most unexpected and pleasurable releases from Deep Purple. The commanding riffs, textured musical bed, and Gillan’s distinctive vocal presentation culminate in what can best be described as an exceptional album experience. No, it isn’t reminiscent of their 70s output, but make no mistake about it, The House Of Blue Light is 100% Deep Purple and is worthy of any fan’s music collection, especially if you give it a chance.

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