Tracy Chapman – Tracy Chapman (Self-Titled) [Album Review]

While Crossroads (1989) is a compelling follow-up to this 1988 self-titled release, there is little doubt that Tracey Chapman’s debut is her magnum opus and one of the greatest records released in all of recorded music history.

Much of the fanfare surrounding this release is as a result of her social commentary and incredibly unique, and simply gorgeous, vocal performance throughout. Here, at Subjective Sounds, less importance is placed on the lyrical context, instead preferring to simply enjoy music in all its sonic wonder. As such, if you’re after a more theoretical breakdown of the album’s themes, this review may not be for you. It is, however, wonderful when an album comes along that can speak to all music lovers; those who appreciate lyrical meaning and those, such as myself, who prefer to enjoy the human vocal element as another instrument within the mix.

No matter which way you choose to enjoy this remarkable release, your enjoyment will have been shared by more than 20 million people, as the success of this debut set the bar so high that Chapman has never been able to top it. Perhaps it was simply a case of being released at the right time, but I don’t believe that’s the only reason, as this is a timeless release, one that will remain relevant well beyond our own lifetimes.

It was so celebrated that Chapman went on to win three Grammy Awards (1989) while being nominated for four others, only further cementing the brilliance of her music. In a modern music environment where artists often collaborate with multiple people, Chapman is one of the truly talented creative artists because her music is composed by herself, with “Talkin' Bout A Revolution” being written while she was still in high school.

As it pertains to the sonic presentation of the album, the recording, mix, and mastering, as heard via the lossless Apple Music stream, will leave you gobsmacked, for this is one of the most musically impressive releases you’re ever likely to hear. With the entire production being undertaken in the digital domain, it is further proof that, as often as analogue recordings are considered to be the pinnacle of sonic wonder, digital can compete with competent musicians and engineers, ensuring they get the very best from the format.

The stream is so good, in fact, that I question the need for modern audiences to pick up a physical release of the album. Yes, there are valid reasons to do so, but the stream is sonically perfect and so thoroughly pleasing to the senses that to do so on the promise of better sound is a fool’s journey. With that in mind, join me as I take a look at the music that makes up this wonderful release.

Talkin' Bout A Revolution is, without a doubt, one of the very best album-opening songs to have ever graced our ears. It’s a musical wonderland with Chapman’s vocal sitting front and centre. As you listen, you’ll likely notice that you’re toe-tapping along to the catchy rhythm, for “Talkin' Bout A Revolution” may be a socio-political statement, but it’s the musicality of the song that sets the tone for the record henceforth.

Fast Car has a gorgeous guitar tuning and performance, opening the song, along with Chapman’s delicate vocal that slowly builds as the song progresses. It’s simply amazing!

Across The Lines continues the impressive flow with a song that really highlights Chapman’s delicate vocals. The musical backing, in particular, is incredible, for the guitar strumming is interestingly pithy, and the drumming is equally compelling, as are all other instrumental parts. “Across The Lines” is, subsequently, one of those songs that, no matter how many times you listen to it, you’ll connect with a different aspect of the recording upon each subsequent listen.

Behind The Wall delivers a sharp change in direction from the instrumentally rich songs that preceded it, but the pause between songs is ideal as it allows Behind The Wall to stand on its own, as it's one of the most beautiful a cappella tunes I’ve ever heard. Yes, the lyrical context is front and centre, and is a direct (and confronting) contrast to the gentle nature of Chapman’s vocals, but her voice is so beautiful that I could listen to her indefinitely, regardless of context.

Baby Can I Hold You flows perfectly from “Behind The Wall,” further showcasing just how impressive the album’s linear structure is. While released as the album’s third, and final, single, I do wonder how successful this song would have been if it had been chosen as the lead single, for I consider it Chapman’s greatest song. I’d even go as far as suggesting that “Baby Can I Hold You” is Chapman’s career-defining tune, as it encompasses every aspect of her music into a single song.   

Mountains O' Things shifts the tone a little with a slight Caribbean feel. It works well but isn’t necessarily a standout. However, as it applies to the overall structure of the record, this album-only tune is not only perfectly positioned, but is a solid midway point. It also talks to those who focus on material wealth and how such endeavours can often lead to a sense of disillusionment that tears at the very fabric of the free-spirited human soul; an aspect we all need to be reminded of from time to time.

She's Got Her Ticket is, again, sequenced beautifully for the reggae influence complements the Caribbean feel of “Mountain O’ Things” perfectly. There’s also a touch of Dire Straits’ influence to be heard here, and it melds so well that I’d love to see Mark Knopfler release an album with Chapman, as their stylings would complement each other.

Why? returns the album to its head-bopping, toe-tapping vibe with a social commentary pertaining to injustices that will make you sit up and take notice, even if you listen more for the music than the literal or interpretive meanings.

For My Lover is a beautiful song. The touch of country influence isn’t lost here, and it’s surprising that a country music artist hasn’t covered this song, for the various interpretations would be nothing short of impressive, and this is one song that deserves more attention than it often receives as an album-only tune.

If Not Now… is a beautiful song that can be applied to just about any situation we find ourselves in. As a call to action, it’s extremely compelling and should be on every playlist for those of us who want to make sure we don’t leave it too late to say and do the most important things in life.

For You is a delicate closer that allows for contemplation of the music just heard. While it will encourage you to play the record again, there’s a sonic jolt as the album returns to the opening track. As such, I recommend you take a moment to appreciate this debut for it’s an incredibly rich and rewarding listening experience.

From start to finish, Tracy Chapman’s debut is nothing short of a masterpiece; one that showcases not only a social consciousness, but also Chapman’s extraordinary songwriting and multi-instrumental skill, alongside a simply stunning and unique vocal styling. While it’s on the shorter side of a traditional LP length, particularly from the 80s, there’s zero filler to be heard. The result is that you’ll likely play this album again and again, for it’s not only one of the very best albums from the 80s, but it’s amongst the greatest records in all of recorded music history.

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Sparks – Interior Design (Album Review)

Despite what we like to tell ourselves, sometimes an album requires multiple listens to truly resonate with our soul. Spark’s 1988 release, Interior Design, is one such record, one which took several listens for me to fully appreciate and welcome into my music library. Upon the first listen, one or two songs stood out, but the album’s structure initially seemed lacking. Yet, in an interesting dichotomy, I found myself returning to the album time and time again, allowing it to permeate into my conscious and subconscious mind. The result of such an endeavour is that Interior Design is now amongst my most treasured albums, one that I feel every music lover should hear, or revisit, for it’s an extremely underrated late-80s synth-pop release.

As the fifteenth studio album from the band, one would have assumed that success would have been a given, but perhaps the most lasting aspect of Sparks is that they’ve not only shifted their style throughout the years, but simultaneously stayed true to themselves. Whilst never a household name, per se, exceptional music has never been dependent on sales success at the record store. It isn’t that Sparks haven’t been successful, for their single releases have often performed well, but much of their longevity can be attributed to never giving up, as they’ve, to date, released an impressive 27 studio albums. Not all great, mind you, but consistently solid with many of their releases, such as Introducing Sparks (1977) and Pulling Rabbits Out Of A Hat (1984), ending up as honourable mentions for each subsequent year.

Where Interior Design differs, making its way to a top-tier release from 1988, is in its fluid musicality that’s akin to not only a greatest hits release, but a series of earworms that stay with you well after the album has ended. Yes, the very mention of an earworm may send some of you running for the hills, but I can assure you that when “Let’s Make Love” plays in your mind, you’ll be in a relaxed state of bliss.

What is quizzical, however, is the album’s artwork. It looks like the couple is about to go on vacation, rather than redecorating their interior design. It’s far from the worst album artwork of the era, and is certainly not worthy of being included in the list of The Worst (And Most Disturbing) Album Covers Of All Time. However, even more interesting is the fact that there are various album artwork designs available, as shown on Discogs, and none are particularly appealing. But let’s not judge an album by its cover, for this is one that transcends, musically, its mediocre visual presentation.

As for the sonic performance of the album, via Apple Music’s CD-quality lossless stream, it’s thoroughly engaging. So, hit play, and join me as I explore the songs that make up Interior Design (or the equivalent reissue, Just Got Back From Heaven, amongst others).

So Important is a fantastic opener, one that sets the tone for the record but is also true to the album’s overarching 80s synth-pop styling. However, if the rhythm doesn’t get you, you’re listening wrong, as this is one of the songs from the album that you’ll immediately connect with, finding your body moving involuntarily to what can be best described as a sonic masterpiece. The soundstage and multi-layered mix envelops the listener and showcases just how exceptional a stereo mix can be in a world where multi-channel Atmos mixes are becoming increasingly available. Despite that, So Important is Sparks at their very best, with a radio-friendly style, that ultimately, in my mind anyway, defines the band.

Just Got Back From Heaven is a little more subdued, but don’t let that deter you, for this is one of the most melodically smooth numbers you’ll ever experience. No, this particular song wasn’t going to set the dance floor on fire, but all songs need not be aimed at a club-based audience to be highly compelling. I tell you what “Just Got Back From Heaven” is ideal for: driving! Seriously, give it a try; the entire album, and particularly this song, as Interior Design is a quintessential driving album.

Lots Of Reasons picks up the tempo and will see you head-bopping and toe-tapping along. It isn’t necessarily the strongest song from the record, but there’s a little punk rock influence to be heard, with the associated attitude to boot, that really makes Lots Of Reasons a memorable album-only tune.

You Got A Hold Of My Heart is another somewhat mellow tune, but the romantic, ballad-style, with its polished production and floating vocal performance, makes this one of the best songs from the album.

Love-O-Rama has an offbeat opening, but once the song gets started, you wonder how you’ve ever lived without it. The rhythm is playful and, with a remix or re-interpretation, would be perfect for any club as the mid-tempo production delivers an idealistic musical bed. It’s a surprise that this tune hasn’t been sampled by one of the many hip-hop artists, for while I’m far from being musically talented enough to do anything with the song, I can hear the potential for a chart-topping hit a mile away.

The Toughest Girl In Town is a magical 80s tune. The mix is astonishingly good with a level of production and songwriting that’s nothing short of world-class. It offers a mature sound, but one that reminds me fondly of the high-production value of ABBA’s “Eagle,” from ABBA: The Album. It isn’t that the songs are similar; it’s the fact that both deviate enough from the other songs, on their respective records, that they stand out, becoming songs that will be remembered on their own as much as part of an album’s linear structure.

Let’s Make Love is a lovely 80s synth-pop tune that flows exceedingly well within the album’s structure, and while it isn’t necessarily the most intriguing song from the record, its earworm qualities ensure you’ll appreciate this song long after the album has concluded, as the rhythm and vocal styling quickly meld with the subconscious mind.

Stop Me If You've Heard This Before is less smooth and a little more jarring on the senses, particularly following Let’s Make Love, but the diversity is one of the reasons I not only feel Interior Design is a hidden gem, but is akin to a greatest hits release, as there’s a little bit of everything to appreciate from this record, thereby showcasing the musical prowess of the sibling duo.

A Walk Down Memory Lane is a killer tune with a musical bed that is perfectly designed for Russell Mael’s incredible vocal. Yes, it’s a little instrumentally darker than some of their other songs, but it’s got that 80s vibe that ensures those of us seeking a little nostalgia are musically fulfilled with a song that is equally timeless and of its time.

Madonna is one of the greatest closing tracks ever recorded. Not only is it highly compelling, but it incorporates elements of the songs that have come before it and is, therefore, my favourite tune from the record, as it always leaves me wanting more whilst allowing me to appreciate the music that I’ve just heard.

If “So Important” got the party started, by the time you finish listening to “Madonna” (not the artist, of course), you’ll feel compelled to keep the celebration going by playing the album again. It blends with your soul, becomes the soundtrack to your life, but most importantly, Sparks’ Interior Design is one of the most wonderful hidden gems of the 80s, and is deserving of being included in every music lover’s collection.

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Pet Shop Boys – Introspective (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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John Farnham – Age Of Reason (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Crowded House – Temple Of Low Men (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Black 'N Blue – In Heat (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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