Air Supply – The One That You Love (Album Review)

Released in 1981, The One That You Love marked another successful chapter in the Australian soft rock duo's career. Building upon their signature sound of melodic ballads and heartfelt lyrics, this album continues to capture the hearts of listeners with its emotive tunes and strong vocal performances. The result is a record that is not only one of the best albums of their illustrious career, but is what I consider to be amongst the greatest albums released in 1981.

While the music may be exceptional, the album artwork is uninspiring. Seriously, the rear photo of the band, featured on the original releases, would have been far better to adorn the album cover for the hot air balloon on the initial releases, and the series of hot air balloons on the Australian reissue, is about as pointless as you can get. I really should add this album to The Worst (And Most Disturbing) Album Covers Of All Time ranked list, but it almost isn’t worthy of inclusion. Yes, dear reader, I’m extremely critical of this album artwork for it is an immediate deterrent and is unlikely to appeal to anyone, other than the most ardent fans. It certainly doesn’t showcase, or represent, just how outstanding the music is.

As for the sonics of the Apple Music stream, the lossless non-Apple Digital Master is derived from the CD counterpart and is sonically pleasing. Could it be better? Absolutely, but I wouldn’t want an overzealous remastering for the current dynamic range of the recording is already quite pleasant. It could do, however, with a slight boost to the mid and low end of the audio spectrum. Naturally, EQ settings can address this issue, but modern digital options can also be a little too aggressive and sometimes the minor adjustments of a skilled mastering engineer yields better results. 

Disappointingly, much of Air Supply’s back catalogue has remained untouched for decades with CD reissues only showing up within the Japanese music industry. Modern listeners who are not interested in picking up secondhand copies are, subsequently, left with few options outside of streaming and digital download stores. Yes, we need to be grateful that the music remains readily available, but the collector within would prefer that all music remains in print, both physically and digitally, for it gives music lovers a choice and further guarantees cultural heritage. 

Don't Turn Me Away gets the album started with a solid soft rock tune. I don’t, however, feel that it was the perfect opening track for it isn’t as strong as many of the other songs on the album and should have been repositioned in the album’s sequencing.

Here I Am is the song that should have been the lead track for it is much more in tune with Air Supply’s renowned and revered style. Here I Am, subsequently, sets the tone for the rest of the album; one that is filled with memorable ballads, melodies, and harmonies that will appeal to longtime fans and newcomers alike. 

Keeping The Love Alive has a beautiful flow for the verses are simply incredible. Yet, in classic Air Supply form, it’s the addictiveness of the sing-along choruses that are the ultimate highlight as the shift from verses to chorus, and back again, makes for a thoroughly engaging listen.

The One That You Love, the album's title track, is a timeless classic that remains one of Air Supply's most iconic songs and again, as the song reaches the chorus, you’ll feel compelled to sing along.  

This Heart Belongs To Me has an incredible rhythm. That piano entry is exquisite and is the backbone of the song as This Heart Belongs To Me turns into a soft rock masterpiece. It’s certainly reminiscent of the era, and some may suggest it sounds a little dated, but I adore it nonetheless.

Sweet Dreams, by comparison to This Heart Belongs To Me, is subdued, but that need not be a contentious issue for as the song slowly builds, the catchy chorus soars in a manner that only Air Supply can achieve for they are masters of the craft and Sweet Dreams quickly becomes one of the greatest songs of the 80s. 

I Want To Give It All slows the tempo considerably, but the vocal recording and intertwining of harmonies are thoroughly pleasing. While I Want To Give It All was never destined to be a standout tune, it’s songs such as this that make The One That You Love such an exceptional album experience. 

I'll Never Get Enough Of You is another standout that captures the sentiment of endless love. The sincerity of the vocals pairs extremely well with the song’s lyrics. As incredible as Air Supply performs this classic tune, I would love to hear Barbra Streisand cover it, for I feel she would take it to another level entirely.

Tonite is simply gorgeous. While not a standout, per se, as an album-only tune, Tonite is yet another reason why The One That You Love is one of the best albums ever released. 

I've Got Your Love is a brilliant closer that encompasses all elements of each song that came before it. The result is that you’ll feel compelled to play the record again for The One That You Love is one album that could be listened to on repeat indefinitely. 

Overall, The One That You Love is an exceptional album that showcases Air Supply's mastery of crafting emotionally charged soft rock ballads. With a combination of emotions through poignant lyrics, harmonious vocals, and well-orchestrated melodies, listeners will be captivated from the very first note to the last. While some songs stand out more than others, the album as a whole remains a testament to the duo's talent for creating music that is not only timeless but resonates deeply with listeners. If you're a fan of heartfelt ballads and timeless melodies, The One That You Love is a must-listen.

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Quarterflash – Quarterflash (Self-Titled Album Review)

Quarterflash's self-titled debut album, released in 1981, stands as a shining example of the vibrant music landscape of the early 80s. With a distinct blend of rock and pop, this album captures the essence of the era while simultaneously showcasing the band's unique style.

While 80s music fans would likely be familiar with Quarterflash, for it’s one of the very best albums released in 1981, you’d be forgiven if you have overlooked it, or never heard it before, as it’s disappointingly been out of print, certainly outside of the Japanese music market, for decades. As a result, we must be content with digital editions via streaming options or digital download stores. While the lossless Apple Music stream isn't an Apple Digital Master, it’s a beautiful master, nonetheless, that’s very dynamic with a lively and spacious soundstage. Yes, a remaster, done respectfully, would be appreciated but at this stage, I would welcome a CD or vinyl re-issue with the original mastering. 

Aside from having the music circulate on a physical format once again, the artwork is exquisite and, in my mind at least, deserves to be seen on the larger vinyl canvas. Universal Music Group should consider releasing a reissue of this classic album as modern collectors would love such a release. Even a small print run, perhaps a Record Store Day exclusive, would be well received.

Harden My Heart is the quintessential 80s power ballad; what a way to open this self-titled debut! With its hauntingly catchy melody and introspective lyrics, Harden My Heart creates an unforgettable atmosphere that sets the tone for the rest of the album.

While it should be celebrated that Harden My Heart received renewed attention following its inclusion on the Rock Of Ages soundtrack in 2012, the Julianne Hough and Mary J. Blige version is an atrocity. It's a shame considering both of these musicians are consummate performers in their own right.

Find Another Fool continues the energetic momentum with an upbeat tempo that makes it a worthy follow-up to the opening track. Rindy Ross' powerful vocal delivery is, as always, evocative of the greatest female vocalists to sing rock music. Plus, it isn’t just her vocal prowess that’s impressive, for she’s an incredible saxophonist. Additionally, the musical style of Find Another Fool reminds me fondly of Kansas’ work on Monolith. 

Critical Times slows the tempo considerably, but it isn’t as much of a jolt to the senses as you may initially think as the emotive vocals and reflective lyrics are stunning. I should note that one of my all-time favourite vocalists, Timothy B. Schmit sings as part of the backing vocal harmony and is simply amazing. Could Critical Times have been recorded by the Eagles? Absolutely, but it wasn't and is, subsequently, one of the core reasons why I adore Quarterflash and consider it such an extraordinary album. 

Valerie picks up the tempo and while it has an infectious groove with a killer bassline and guitar solo, it’s not my favourite song from the album as the chorus is underwhelming and grinds on the senses due to its pitch.

Try To Make It True is musical bliss. That introduction and the song’s overall vibe ensure Try To Make It True is one of the best tunes on the album. 

Right Kind Of Love is a great lovely ballad with a catchy chorus and dynamic instrumentation that will see you singing along while simultaneously toe-tapping and head-bopping to the rhythm. Rindy's saxophone work, with the intertwining of Marv Ross’ guitar solo, is a standout and is the ultimate sonic trademark of Quarterflash.

Cruisin' With The Deuce is a musical masterpiece. It reminds me fondly of the musical style heard on Quincy Jones’ The Dude, for it has a similar funk meets jazz meets rock styling. Ultimately, Cruisin' With The Deuce is the complete package and if you only listen to one song from this self-titled debut, make it this one. It’s, honestly, amazing that Quarterflash was never more popular than they were for when music is this good, it deserves to be heard and shared. 

Love Should Be So Kind slows the album down considerably, but the reflective nature of the song showcases Quarterflash's lyrical depth and ability to craft poignant melodies. Love Should Be So Kind was never destined to be a hit, but it’s one of the best songs Quarterflash ever recorded, thereby making it an essential album-only tune. 

Williams Avenue closes the album on a high note and while it’s a jazzy shift from the otherwise mellow Love Should Be So Kind, the rock-infused sound, driving rhythms, and passionate vocals provide a more than satisfying conclusion to the Quarterflash musical journey; one that will find you compelled to play the album time and time again.

Quarterflash's self-titled debut album is somewhat of a hidden gem from the early 80s, and one of the best albums released in 1981, capturing the essence of the era's musical diversity. While Harden My Heart remains the standout hit, the album as a whole offers a well-rounded collection of classic songs that are so well-polished that it makes this album sound like a well-put-together greatest hits release. 

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Grace Jones – Nightclubbing (Album Review)

Released in 1981, Nightclubbing stands as a remarkable testament to Grace Jones’ artistic prowess, avant-garde sensibilities, and genre-blending expertise. As an album that defies categorisation, effortlessly blending elements of new wave, reggae, funk, post-punk, and electronic music, it’s remarkably memorable and will appeal to audiences with broad musical preferences. Nightclubbing, Jones’ fifth studio album, offers a seductive and atmospheric experience that has left an indelible mark on the music landscape, not only in the 80s but in all of recorded music history.

Of course, it wasn’t only the music that was influential for the original album artwork is striking, to say the least. Sadly, due to a rights issue, the original album artwork, created by Jean-Paul Goude, is absent from streaming services and digital download stores. As there haven't been any worldwide reissued physical releases, since 2014, it’s unknown if this will impact the physical counterpart moving forward. What I can say, however, is the replacement artwork Island Records decided to put in its place isn’t all that bad. Okay, so if you look at all of the album covers, created by Goude, that are currently missing, it’s a little irritating, but on its own, however, I really like the design that somewhat replicates a compact cassette sleeve design. As such, and given the rights element, I won’t be utilising the original artwork within this review but you can always check it out on the various editions added to Discogs.

Speaking of different editions, while I’m extraordinarily happy with the Apple Music stream, an Apple Digital Master, I was fortunate to have owned the Blu-ray Audio release and with an extended runtime, on a single disc, that matched the sequencing of the Deluxe Edition, it was a party album that extended beyond the record’s original intent. While memory may be the most fallible way to recall the sonic quality of music, I find that I much prefer the fullness of the Apple Music stream as the Hi-Res Lossless version on the Blu-ray format could sound a little too accurate and subsequently clinical. Some music lovers will appreciate that style, but I prefer a warmer and smoother presentation and the Apple Music stream thankfully doesn’t disappoint in that regard. 

Walking In The Rain kicks the album off with a moody funk vibe that is truly captivating while Jones’ sultry vocal takes centre stage as she navigates through the electronic soundscape. While Walking In The Rain is most commonly associated with Jones, and it’s perfect for her style, the song is actually a cover by the Australian band Flash And The Pan from their 1978 self-titled debut. While that album is out-of-print, it can be heard via the 1995 release, Collection and is most certainly worth checking out if you appreciate Jones’ interpretation. 

Pull Up To The Bumper is an uptempo standout with a funky bassline. Jones’ suggestive lyrics, throughout this song, have often resulted in controversial interpretations, but as someone who appreciates the human vocal as another instrument in the mix, rather than a storytelling device, that aspect fails to be a contentious issue in this listener’s mind. Plus, the song's infectious rhythm, coupled with unconventional sound effects, creates a tune that is irresistible. 

If you simply can’t get enough of Pull Up To The Bumper, may I suggest you check out Coolio’s Ooh La La, from 1997, for this classic tune is sampled beautifully. Deni Hines' interpretation is also worth checking out if you’re after a smoother edition. Of course, there are also additional remixes and extended versions to be heard from Jones, herself, on the Deluxe Edition of Nightclubbing.

Use Me introduces a little reggae and showcases Jones’ versatility as an artist as she’s capable of infusing diverse musical genres to express emotive elements. As a cover of Bill Withers’ original, from the 1972 album Still Bill, Jones’ interpretation builds upon the original (an exceptional piece of music in its own right) while making it her own.

Nightclubbing is the album’s centrepiece and what a remarkable song it is. Iggy Pop and David Bowie certainly wrote a masterpiece when they penned this tune. Encapsulating the essence of nightclub escapades, Jones’ cool vocal glides above the electronic arrangement, evoking a mysterious and entrancing atmosphere. It’s without a doubt one of Jones’ greatest recordings, but it’s also an audible treat for listeners as the repetitive rhythm, both musically and within the vocal, forms a structural foundation that holds, together, all other musical elements. 

As captivating as Jones’ cover of Nightclubbing is, may I suggest you check out the original from Iggy Pop’s The Idiot; an incredible recording in its own right. 

Art Groupie shifts the style slightly, yet it isn’t detrimental to the album listening experience for Jones’ spoken word-styled delivery, remains at the forefront of the mix ensuring that aside from the electronic elements, Art Groupie is most certainly a worthy addition to Nightclubbing; even if it is an album-only tune.

I've Seen That Face Before (Libertango) is a reimagining of Astor Piazzolla's excellent Libertango, and between the atmospheric driving beat and melody, the fusion of styles provides an utterly compelling piece of audible art. As with Art Groupie, this is a song that is best described as an album-only tune, but it’s songs such as this that make Nightclubbing so compelling.

Feel Up returns us to a playfully infectious reggae-infused groove. While there isn’t much in the way of lyrics, instead a focus on repetition and spoken aspects, the mix of all elements is so compelling that, much like the rest of Nightclubbing, it is difficult to not be sucked into the musical void when listening to Feel Up.  

Demolition Man injects a little rock and roll into Nightclubbing but its funky bassline is the greatest defining element here. It’s, subsequently, surprising that it failed to garner much attention when released as a single for it’s a perfect song for the era in which it was released and has over the years become a signature tune for Jones. Originally written by Sting, and featured on The Police’s Ghost In The Machine post Jones’ recording, I much prefer Jones’ interpretation of the song.

I've Done It Again slows the tempo and overall style of the album considerably, but it’s a beautiful contemplative tune to close the album on.  

Nightclubbing is a masterful work of musical art that defies genre conventions and pushes the boundaries of musical expression. Jones' distinctive style, combined with innovative production and diverse influences, results in an album that continues to captivate and inspire listeners; inviting them into a world of sophistication, intrigue, and sonic experimentation.

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Ronnie Milsap – There's No Gettin' Over Me (Album Review)

Released in 1981, Ronnie Milsap’s thirteenth studio album, There’s No Gettin’ Over Me, is a remarkable collection of country and pop-infused tunes that showcase his signature blend of storytelling, soulful vocals, and impeccable musicianship. 

As you listen to There’s No Gettin’ Over Me, you’ll find yourself singing along as you toe-tap and head-bop to the rhythm, for this album is thoroughly engaging and will touch your soul from the very first note to the last. The smoothness of the recording also plays a key role and it was recorded, mixed, and mastered beautifully. Yes, the edition available on Apple Music is merely the CD-quality counterpart, but don’t let that deter you for it is a mid-80s digital release that was done well. 

Despite the success of There’s No Gettin’ Over Me, it hasn’t seen a reissue or re-release on any format for decades. Granted, there was a four-album double cd reissue in 2017, but I loathe those types of compilations. Yes, at 35 minutes, the album is short, but I would much prefer to have the albums separated and presented as they were originally intended. Nevertheless, that is what streaming services and digital download stores are perfectly suited to deliver. The unfortunate reality is that should a reissue be made available, such a release would likely be remastered and as any music fan can attest to, that can either be a success or a dismal failure. Plus, when a CD-quality stream sounds as lovely as this one does, I really don’t want to see it being modified. That all said, I would welcome a vinyl reissue at some stage for this is one album that needs to live on in the social consciousness beyond the hear today/gone tomorrow uncertainty of music streaming.

Everywhere I Turn (There's Your Memory) is an incredible opener. Milsap knocks it out of the park with this tune. While you may be thinking of it as being nothing more than crooner music and a Barry Manilow-styled song, I’d argue that there’s absolutely nothing wrong with that style of music for Everywhere I Turn (There's Your Memory) is a vocal and sonic masterpiece.

(There's) No Gettin' Over Me was one of the most successful songs Milsap ever recorded and for good reason, it’s simply wonderful!

It's All I Can Do is a lovely tune and perfectly suited to the overall style of the album. 

Two Hearts Don't Always Make A Pair is easy listening country music 101. A beautiful song!

Jesus Is Your Ticket To Heaven may be a little too preachy for many, but this is one seriously addictive tune that quickly merges into an earworm; a thoroughly enjoyable one I might add.

I Wouldn't Have Missed It For The World is a singalong tune if there ever was one. Like many of the songs from There’s No Gettin’ Over Me, Milsap’s music is simply irresistible and if you can resist breaking into song, you’re more restrained than I am. 

Too Big For Words is a beautiful vocal ballad. Milsap’s vocal is stunning and it’s album-only songs such as this that ensures this is a masterful album and landmark release. 

It Happens Every Time (I Think Of You) is a little campy, but it is Ronnie Milsap and is therefore perfectly acceptable and is actually quite lovely; if you can get past the corniness of the song.  

It's Written All Over Your Face is a lovely tune with a country twang. As I listen, I can’t help but wonder how it would sound had Willie Nelson recorded this song. That isn’t to suggest that I dislike Milsap’s version, but there are certain songs that when you listen to them, you can hear other artists performing them and this is one such example. 

I Live My Whole Life At Night probably isn’t the strongest closer, for swapping it with It's Written All Over Your Face likely would have offered a more compelling reason to play the album again. Nevertheless, due to the record’s length, I find myself frequently playing the album on repeat and appreciating every minute. As solid as I Live My Whole Life At Night is, it is an album-only tune that is unlikely to be memorable, yet it simultaneously ensures the album as a whole remains thoroughly enjoyable. 

Overall, There’s No Gettin’ Over Me remains a standout album in Ronnie Milsap’s illustrious career. With its mix of heartwarming ballads, upbeat tunes, and soulful performances, you’ll be swept into a musical wonderland that is most certainly one of the best albums released in 1981 and one of Milsap’s greatest recordings. 

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Earth, Wind & Fire – Raise! (Album Review)

Released in 1981, Earth, Wind & Fire’s 11th Studio album, Raise!, delivers the band’s trademark blend of funk, disco, R&B, and soul so well that you’d be mistaken for thinking this is a greatest hits compilation. Filled with infectious and uplifting tunes, Raise! sounds as fresh today as it was when it first hit record stores in the early 80s and is bound to captivate modern audiences, as much as their legacy counterparts, for Raise! is ultimately timeless. 

What is also enduring is Earth, Wind & Fire’s compelling artwork for they rarely disappoint in that regard as their albums are all worthy of presentation via the larger vinyl canvas. It’s disappointing to note that Raise! hasn’t been reissued on vinyl at all, despite some of their other albums seeing a reissue on the format. Given the modern resurgence of vinyl records, it seems like a missed opportunity and it isn’t as if Raise! is one of their lesser-known albums. That all said, the lossless Apple Music stream, an Apple Digital Master, is exquisite in every way imaginable. When streaming sounds this good, it makes one wonder why they should invest in the physical counterpart. 

Let’s Groove opens the album with a dance-floor vibe that sets the tone for the entire record. With an irresistible tempo, catchy melody, and some powerful instrumental elements, Let’s Groove will get you moving. 

Lady Sun continues the upbeat feel but is a little more soul focused than Let’s Groove. Don’t let that deter you, however, for the party has just started. In fact, if you were having a party, Raise! would provide the perfect background music for such an occasion. 

My Love slows the tempo a little but the disco vibes remain ever-present. The band's instrumentation and tight harmonies are nothing short of pure sonic bliss and while My Love may be overlooked as an album-only song, it’s one of the greatest groove meets funk meets disco tunes in Earth, Wind & Fire’s extensive catalogue. 

Evolution Orange is a lush musical experience. That said, it’s a quirky little tune that takes a few listens to fully appreciate. Part of the slow appreciation process is due to Maurice White’s vocal style, on this particular tune, as it differs considerably from the vocal tracking on the rest of the album. Subsequently, while the Apple Digital Master ensures his high notes remain tamed, I can only imagine how fatiguing Evolution Orange could be, especially if the CD, for instance, was mastered with loudness in mind. 

Kalimba Tree is a mesmerising musical interlude that could barely be called a song, due to its length, but it’s a perfect introduction to You Are A Winner.

You Are A Winner is infectious. Its sheer energy and positive message, while maintaining the core groove-fused musicality, is a trademark of Earth, Wind & Fire and is a core component that makes Raise!, and their music in general, so compelling. 

I’ve Had Enough will see your body moving involuntarily to the rhythm. Its smooth, laid-back, style, combined with elements of R&B and funk, ensures that I’ve Had Enough is not only magnificent but that it remains another hidden gem. Despite charting satisfactorily when released as a single, it simply doesn’t get the recognition it deserves.

Wanna Be With You initially slows things down, but its funk, disco, and R&B elements show their true colours rather quickly. While the tempo doesn’t reach the pace heard earlier in the album, Wanna Be With You is perfect in its own right while also being thoroughly relaxing. 

The Changing Times, in a similar manner to Wanna Be With You, has an introduction that is somewhat different to the core song and while it’s a style, I find it to be a little distracting. Nevertheless, as the closing track, The Changing Times allows for contemplation as well as compelling listeners to listen to the album again.

Raise! is a testament to Earth, Wind & Fire's incredible artistry and their ability to create timeless music. The album seamlessly blends different genres while maintaining a cohesive and infectious sound throughout. From the energetic and irresistible Let's Groove to the quintessential closer, The Changing Times, each song showcases the band's unmatched musical prowess and their ability to uplift and inspire listeners. Raise! is, subsequently, a must-listen for any fan of the band as well as being a perfect entry point for those who are new to Earth, Wind & Fire.

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Alice Cooper – Constrictor (Album Review)

Released in 1986, Constrictor was Alice Cooper’s first album in three years since the release of the masterpiece that is DaDa. Although, Cooper would likely contest that declaration as part of the reason for the break between album cycles was to deal with his addictions; some of which nearly consumed the shock rocker and influenced his prior releases. Subsequently, Constrictor is a very different album to Cooper’s “blackout” releases (Special Forces [1981], Zipper Catches Skin [1982], and Dada [1983]) as it’s less artsy, thereby returning Cooper’s style to a more traditional hard-hitting rock album with radio-friendly tunes. That aspect alone shouldn’t deter fans, or newcomers, for his artistry has always been diverse, but Constrictor can be seen as a significant turning point in his career; a shift that would ultimately send him back to the top of the charts a few years later with Trash.

Visually, it’s one of Cooper’s more comical album covers and the snake still looks fake. That’s a good thing for it’s not only indicative of the era but also showcases Cooper’s more light-hearted persona. While I’ve yet to own a copy on vinyl, Constrictor is one album that needs a reissue on the format as the larger album artwork would look incredible amongst his other albums. 

On the topic of sonic quality, however, Constrictor is in desperate need of a remaster. It’s 80s rock, raw ,and hollow sounding, resulting in a little too much treble and not enough mid to low-end oomph. Some may suggest that it is perfect the way it is as many classic 80s rock albums have a thinner sound, but I find that I have to apply some EQ to get Constrictor to sound half decent. Granted, it’s not the end of the world, but it would be nice to hear what the master recording sounds like for the CD quality stream is merely adequate. 

Teenage Frankenstein kicks things off with a thunderous roar. Cooper’s distinctive snarl combined with the gritty guitar riffs and a rock-solid rhythm perfectly captures the spirit of the album. 

Give It Up has an infectious chorus and catchy hooks, but it’s the memorable pop-rock styling that is most notable. 

Thrill My Gorilla is an incredible tune. The soaring guitars with a playful tongue-in-cheek lyrical perspective ensure that Cooper’s combination of humour and shock rock remains at the forefront of the music.

Life And Death Of The Party slows the tempo, but it’s one of the greatest songs on the album and is a hidden gem in Cooper’s back catalogue. Additionally, that solo is what air guitar dreams are made of. Brilliant!

Simple Disobedience with its infectious hooks and drilling rhythm injects a dose of energy into the record. It’s one of those songs that has rarely been heard outside of the album and it’s a shame for Simple Disobedience is a stadium-filling tune. 

The World Needs Guts has a driving rhythm, anthemic chorus, and powerful guitar solos that create an empowering atmosphere that encourages listeners to face life's challenges head-on. I love it!

Trick Bag may channel the spirit of classic rock 'n' roll with a bluesy undertone and groovy rhythm, but it isn’t the strongest song on the album. While the musicality is solid, there’s too much vocal processing that makes Cooper sound as if he’s singing in a silo. 

Crawlin’ is a dark and brooding track with haunting guitars and eerie synths. Cooper's vocal delivery adds a touch of menace but it’s the song's heaviness that ultimately makes it a standout tune on Constrictor.

The Great American Success Story has a catchy melody and is a solid tune, but it’s too campy in the chorus to be notable.

He's Back (The Man Behind the Mask) embodies the essence of '80s glam metal with its driving guitars, synthetic elements, and anthemic chorus. As it was recorded for the Motion Picture, Friday the 13th Part VI: Jason Lives, it perfectly captures the dark and mysterious allure of the film. Yet, it also provides listeners with a perfect album closer; one that allows for reflection as well as encouragement to spin the album again. 

Overall, Constrictor showcases Cooper's ability to adapt to a changing musical landscape while maintaining his signature style. The album strikes a balance between catchy radio-friendly tunes and darker introspective moments. While it may not be considered one of his greatest releases, Constrictor is severely underrated and is a thoroughly enjoyable album that captures a pivotal moment in Cooper’s career.

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ABBA – The Visitors (Album Review)

Released in 1981, The Visitors marked a significant turning point in ABBA's career. After all, it would be their eighth and final studio album before returning with Voyage, some four decades later, in 2021.

While many may disagree, I don’t consider Voyage to be a natural evolution and subsequently don’t consider it to be a follow-up to The Visitors. I much prefer to consider Voyage as an independent album; one that is ABBA at its core, but one that also doesn’t belong in their foundational back catalogue. It’s much the same as my opinion of the Eagles’ Long Road Out Of Eden; an excellent album in its own right, but one that is incapable of following The Long Run. Sometimes the fundamental aspects contributing to the specialness of an artist, or band, are void when decades elapse between releases. We want to be enthralled, but it is also as if our expectations can only be met with disappointment for it’s rarely, if ever, what we had always hoped for.

Subsequently, The Visitors is not only one of the greatest recordings ABBA ever made but it is the quintessential closing chapter and no matter what the Swedes release henceforth, I consider that their classic era ended with The Visitors.

Showcasing a more mature and introspective side to their music, The Visitors is an album that may not immediately appeal to those who appreciate ABBA’s catchy tunes such as Dancing Queen, Gimme! Gimme! Gimme! (A Man After Midnight), or Mamma Mia. It certainly wasn’t up to the same commercial standards as their highly successful mid-career releases, but success at the cash register is rarely an indication of quality and while sales weren’t to ABBA calibre levels, The Visitors was a monstrous sales success by any metric.

One may think that I’m suggesting that there aren’t any great hooks to enjoy when listening to The Visitors. That is certainly not the case, but the lighthearted off-the-cuff pop style, which had previously been an ABBA trademark, was largely omitted for a more serious style; one that I thoroughly appreciate.

This seriousness also extended sonically to The Visitors for it’s a master recording and arguably ABBA’s most sonically pleasing release. While I’m fortunate to own the Studio Albums vinyl boxset; the Apple Music stream, an Apple Digital Master, is the pinnacle digital release for I’ve never heard the album sound better.

Yes, I thoroughly enjoy the aforementioned vinyl reissue for it is smooth with a thoroughly pleasing tonal warmth, while also ensuring that every element is clearly present within its soundstage. However, it isn’t convenient. Vinyl purists likely have their pitchforks at the ready but when an Apple Digital Master release sounds this good, and I can enjoy it anywhere, at any time, there’s something incredibly freeing in acknowledging that reality.

The Apple Digital Master edition is of particular note given that ABBA’s catalogue, including The Visitors, has been remastered numerous times, yielding different results each time. It has understandably left fans and collectors frustrated for the differences are noticeable and not to everyone’s tastes. That said, I feel that the Apple Digital Master solves many of the problems associated with prior masterings and is subsequently the perfect way to listen to and appreciate not only The Visitors but ABBA’s back catalogue.

Speaking of digital releases, all post-1997 editions have been issued with bonus songs. As long-time readers will note, I generally favour the original sequencing of albums. This is, unfortunately, not currently available on Apple Music, so I’ve had to share with you a playlist that replicates the original 9-track album. Of course, you can also appreciate the bonus tracks or the Deluxe Edition by clicking on the previous links if you wish. Interestingly, for those paying attention to such things, the Deluxe Edition is the non-Apple Digital Master release of the album.

Returning our thoughts to the musical presentation, and associated artwork, the cover art design is also indicative of the maturity the band were presenting via their music. However, knowing what we know now about the marriage breakups of the band members, one can read more into the album artwork than on any other ABBA release for the band members are separated and independent. Intentional, or not, I can’t imagine a better album cover for what was, at the time, to be their final album for it visually reflected their emotional status, their maturity and independence as well as their need to be taken seriously.

The Visitors was an interesting choice to open the album with. The somewhat spacious synthesised introduction will either capture your attention or you’ll wonder if it was at all necessary. I fall into the latter category but once the song passes the first-minute mark, you get a real sense of direction as the music continually builds its melody until the harmony hits with memorable effect. It’s, therefore, simultaneously, ABBA’s weakest and strongest opener. I’ll let you decide as to which you feel it is but suffice to say that it’s worthy of being the album’s title track.

Head Over Heels is an upbeat catchy tune that will appeal to longtime and casual fans alike. Agnetha Fältskog’s lead vocals are utterly perfect with Anni-Frid Lyngstad (Frida) entering the chorus seamlessly, ensuring that their vocal interweaving is as captivating as ever.

When All Is Said And Done is a poignant reminder of the relationship breakdowns within the band. Where The Winner Takes It All grappled with Björn Ulvaeus and Fältskog's divorce, When All Is Said And Done is a direct commentary on the split between Benny Andersson and Frida. While music often deals with relationships, ABBA differs from many others in that they were working with each other to make these exceptional recordings all while their personal lives were unravelling. It takes courage to bare it all in such circumstances and as you listen to Frida’s lead vocal, you can hear the emotion in her voice for such heartache is rarely easy to restrain. When All Is Said And Done is, subsequently, one of her greatest vocal achievements.

Soldiers is powerful and thought-provoking. Containing a blend of rock and pop elements that had not been heard since the release of The Album in 1977, Soldiers showcases a level of versatility that makes for a captivating listen.

I Let The Music Speak is a beautiful and introspective ballad showcasing the songwriting prowess of Ulvaeus and Andersson. The delicate piano arrangements and heartfelt lyrics make it a landmark tune and while it may not be ABBA's most notable song, it is the one that will forever live in the annals of music history.

One Of Us is memorable, due in part to the pensive pop verses and catchy chorus. It’s also one of Fältskog’s greatest vocal recordings and reminds me fondly of her recording style throughout Arrival.

Two For The Price Of One is one of ABBA’s classic quirky tunes, with a little controversial subject matter, but Ulvaeus vocalises it so well that you’ll forget the literal interpretation and be captivated by the hook and harmonious intertwining, all of which is nothing short of musical perfection.

Slipping Through My Fingers is another stunning vocal performance from Fältskog. Yes, I acknowledge that she’s always been my favourite of the four core musicians in ABBA, but when heartfelt lyrics are met with tender vocals, music simply doesn’t get much better than this.

Like An Angel Passing Through My Room is a gorgeous ethereal tune to close the album on and is one of the reasons why I’m less than impressed with the reissues that offer additional tracks. It’s not that the bonus material is bad, but Like An Angel Passing Through My Room is the quintessential closer that allows one to contemplate the music they’ve just heard while also encouraging the listener to play the album again.

With a unique blend of pop, rock, and electronic influences, The Visitors stands as a testament to ABBA's enduring legacy and their ability to evolve with the times. The Visitors is subsequently deeply introspective and musically diverse, showcasing ABBA's ability to create memorable pop songs while tackling deeper themes. The culmination of this makes The Visitors a must-listen for both ABBA fans and those looking to explore the evolution of pop music in the early '80s.

Check out more ABBA reviews by Subjective Sounds