Dire Straits – Brothers In Arms (Album Review)

Released in 1985, Dire Straits’ Brothers In Arms was not only a defining moment in the band’s career, but it was a landmark release. With its blend of poignant songwriting, intricate guitar work, and state-of-the-art production, the album resonates as a timeless masterpiece with an equally compelling piece of cover art that blends perfectly with the music.

While the fanfare surrounding this record is absolutely justified, it’s an album that has long divided music lovers and audiophiles for there are so many different versions (masterings) that one needs to question if it is the sonic quality, or the music itself, that should be at the forefront when listening to Brothers In Arms.

Here at Subjective Sounds, you’ll get both perspectives, but I do lean towards the music rather than sonic prowess alone. Let’s start with the formats, and then discuss the music, shall we?

With over 500 versions of Brothers In Arms listed on Discogs, one would rightfully find selecting a definitive edition to be tricky, if not impossible. While I obviously can’t review every release, I’ll give you my thoughts based on the versions I’ve been fortunate to have listened to.

The releases include:

• The Mobile Fidelity Sound Lab 2015 release (MFSL 2-441)

• The 20th Anniversary Vertigo (9871498) Hybrid SACD edition

• The Apple Music 16-bit/44.1kHz ALAC lossless stream

What’s most interesting, however, is that the Hybrid SACD contains not only the CD version of the album but also the HDCD, SACD Stereo 2.0 mix, and the SACD 5.1 Surround Sound Mix. That single disc has so many different versions on it that it really showcases just how well the Hybrid SACD format could be utilised for a mass market release; a release that could appeal to all music lovers, rather than just audiophiles.

While multiple options are (usually) a good thing, sometimes there can be too much of a good thing and in this instance, less is more. Yes, dear reader, I drove myself to the point of insanity, listening to every version and the truth is that I couldn’t pick a winner for each exhibited their own uniqueness and none were what I would consider to be flawed. Certainly, I had my preferences, but I could never quite lock one in; until now.

So, which version did I prefer and why?

I chose to go with the lossless Apple Music stream. Blasphemy, I hear you say. The problem was I was listening for faults and minute elements rather than simply enjoying the music. Plus, when all else fails, sometimes good enough is…good enough.

Nevertheless, I’ll give a brief rundown on my experiences with the two physical versions, for those of you who may, or may not, wish to go through the torturous process of deciding which version you’d subjectively feel is better. And, yes, if you’ve put more money into your turntable setup than your SACD et al gear, that will be the one to go for, and vice versa.

Let’s start with the Mobile Fidelity Sound Lab (MOFI) edition; for it is magnificent. While I don’t condone MOFI’s deceit regarding the master tape sources they used, along with using a digital intermediary, the sonic reproduction, of this release, speaks for itself as you will be enveloped in the soundstage from the very first note to the last. Every musical element is positioned exactly where it should be and regardless of the volume you choose to play the album at, it’s going to sound incredible. While it isn’t necessarily affordable, although what is these days, if you’re after a record that will make your turntable sing, this is one you should certainly consider. You do have to deal with flipping the record over after two songs, however; a by-product of the album being pressed at 45rpm. Of course, original releases truncate some of the album’s greatest songs in order to have had it fit comfortably on a regular 33.3rpm release, so there will always be a tradeoff when it comes to vinyl editions.

As with all MOFI releases, the outer sleeve is thick, so much so that one would need to be determined to damage it before the sleeve would fall apart. It’s a lovely reproduction, even if the gatefold inner artwork is a little on the blander side.

Shifting our attention to the Hybrid SACD, the following summarises my thoughts on this all-inclusive release:

• 20th Anniversary CD is clean, perhaps a little too clean. By that, I mean that the bass response, while present, lacks a sense of emotive energy that is present in all other versions. It’s dynamic, yet a cohesion of musical elements is missing, thereby resulting in a lack of body and tonal warmth. Of course, many will point to the origins of the recording, being that it was one of the first albums to be recorded digitally, but it isn’t that; it simply lacks presence.

• 20th Anniversary HDCD sounds fantastic, especially compared to the CD version found on the Hybrid SACD; but it’s getting increasingly difficult to obtain players that can decode the HDCD layer. Nevertheless, the entire soundstage, bass elements, and treble range of the HDCD sparkles without being fatiguing and while it’s, arguably, not as smooth as the SACD Stereo Mix, it sounds right.

• 20th Anniversary SACD Stereo Mix is smoother than the HDCD version but arguably lacks detail as the treble range is rolled off considerably. While smoothness can also translate to warmth, the SACD Stereo Mix fails to impress me as much as the vinyl counterpart does as turning the volume up showcases its limitations in comparison to the aforementioned vinyl release. At higher volumes, it simply becomes less pleasurable to listen to. It’s my opinion that the 20th Anniversary SACD Stereo Mix is mastered a little too hot.

• 20th Anniversary SACD 5.1 Surround Sound Mix is a different beast entirely and if you’ve been listening to the stereo mix of Brothers In Arms for decades, the surround mix can take a little getting used to. While I appreciate the spectacle of it, with discrete sounds moving about my listening space, I still found myself preferring the stereo mix. It’s important to note, however, that I’m not a surround sound enthusiast, so I would recommend that you check out Mike’s Life In Surround YouTube channel and QuadraphonicQuad where the general consensus is highly positive.

If you’ve got this far I applaud your dedication as the testing and comparing, then writing and/or reading about it, can be about as interesting as watching grass grow. Nevertheless, as it pertains to the lossless Apple Music stream, derived from the 1996 CD remaster, I find myself at ease with its flexibility and convenience. Yes, I went there. Convenience is a must and if you have to flip a record too often, or find yourself constantly trying to decide which of the many versions on the SACD to listen to, then just like me you’ll find a breath of fresh air as it relates to the streamed edition. While it is not as resonant as the vinyl counterpart, nor as feature-rich as the Hybrid SACD, it is the simplicity that I appreciate.

As I mentioned earlier, sometimes less is more and, truthfully, I don’t feel as if I’m missing out on much, compared to the physical releases. The Apple Music stream is thoroughly enjoyable, and not at all fatiguing, ensuring that the core musical experience is maintained. Look, it won’t be for everyone, but as I subscribe to John Darko’s music-first audiophile mantra, it’s more than enough and listening to it, anywhere and everywhere, gives me immense joy without the constant nagging that comes along with comparing multiple editions.   

Hence, with all that in mind, let’s take a look at the music that makes up this legendary release.

So Far Away opens the album with a clean and steady rhythm that is largely unassuming but equally compelling. Setting the tone for the music to come, So Far Away is not only an enduring classic but its relaxed groove will appeal to just about any music lover as it sounds deceptively simple, yet its melodic sophistication ensures that it’s timeless.

Money For Nothing is, without a doubt, the most iconic track from the album with one of the most recognisable guitar riffs in rock history. This is pop-rock at its finest and despite being released in the mid-80s, no element pigeonholes it to that era. Much could be said about this landmark tune, including the often criticised controversial lyrics, but it’s in the listening that will determine one’s interest in Money For Nothing. So, take a listen and rock out for Dire Straits doesn’t get much better than this.

Walk Of Life lifts the tone of the album with its upbeat organ tuning and the song’s infectious rhythm. Providing a lighter, more playful counterpoint to much of the album’s introspective tone, Walk Of Life is a joyous track that has long been a fan favourite and a staple in Dire Straits’ live performances.

Your Latest Trick immediately sets itself apart from Walk Of Life, yet it doesn’t sound out-of-place in the album’s linear structure. Your Latest Trick is very much jazz meets soft rock, with lush instrumental arrangements and an intricate interplay between all musical elements. While it may not have set the charts on fire, when released as the final single from the album, it’s amongst Dire Straits’ greatest recordings and harkens back to their earlier releases, just with a tad more production and layered musicality.

Why Worry? is tender, meditative, and despite clocking in at eight minutes, I never tire of it and could listen to this song on repeat indefinitely. The soothing melody, combined with Knopfler’s gentle guitar work and delicate arrangement, makes this beautiful song a hidden gem.

Ride Across The River paints a vivid sonic landscape, one built on a foundation of Latin-inspired percussion and atmospheric synthesisers. The song is so immersive that it creates a cinematic listening experience and, despite being an album-only tune, is a core reason why Brothers In Arms is so respected.

The Man's Too Strong has a stark acoustic arrangement before delving into a more dramatic dynamic that will draw you in instantly. As it pertains to the various editions of this album, it’s songs such as this that can either make or break the record as the crescendo tends to be ear-piercing and shrill. In fairness, the Apple Music stream doesn’t deliver the low-end boldness that is heard on the vinyl release, but at the very least it doesn’t grind my senses.

One World injects a funky upbeat groove into the album. Its lively tempo and rhythmic interplay make it a refreshing change of pace; one that will find you toe-tapping and head-bopping along to this incredible tune.

Brothers In Arms is a hauntingly beautiful ballad that features one of Knopfler’s most emotive guitar performances and serves as a poignant closer to one of the greatest albums ever recorded.

Ultimately, Brothers In Arms is more than just a collection of songs, it’s an artistic statement that has stood the test of time; one that has sold more than 30 million copies worldwide. With its seamless blend of rock, jazz, and blues influences, there’s little doubt as to why this landmark release was not only so well received, but is amongst the greatest albums released in 1985.

Check out more Dire Straits reviews by Subjective Sounds

Diana Ross – Eaten Alive (Album Review)

Diana Ross’ Eaten Alive offers a compelling blend of pop, soul, and dance music, featuring contributions from some of the most celebrated names in the music industry. Released in 1985, the album sees Ross collaborate with the Bee Gees and Michael Jackson amongst other legendary musicians. While not as commercially successful as some of her previous works, Eaten Alive showcases Ross’ versatility and her willingness to experiment with the contemporary sounds of the mid-80s, but does it work?

Yes, and no! Let me explain.

While Eaten Alive is amongst the best releases of the mid-80s, it isn’t an album that can be appreciated via a single listen alone. So often, in our fast-paced modern realities, we are seeking what’s next and an album such as Eaten Alive will generally be overlooked for it takes several playthroughs to truly connect with the inner soul of us music lovers. Yes, the title track will likely appeal instantly, as will the catchy and iconic Chain Reaction, but the other songs require greater patience. If you have the time, however, you’ll find an album that is most certainly worth your time and Ross’ incredible legacy.

As with many things associated with the era, the album artwork is a product of its time, yet it isn’t worthy of inclusion amongst The Worst (And Most Disturbing) Album Covers Of All Time list. The sonic qualities of this release also exhibit the mid-80s vibe and while that isn’t a bad thing, it could be suggested that Ross drifted, at times, a little too far from her unique style in an attempt to appeal to a modern audience.

Regarding the Apple Music stream, the CD-quality Lossless presentation is more than adequate. It isn’t, however, a sonic powerhouse that you’d use to demo a new stereo or show off your system with pride. Granted, it likely wasn’t intended to have that quality as every album need not have audiophile aspirations to be appealing. What you will hear, however, is an album that has been inspired by some of the most incredible musicians to have ever written and recorded a song and one that is perfectly aligned with the recording, mix, and mastering standards of the era. Hence, the best way to appreciate Eaten Alive is not to listen critically, but to simply listen to the music for there are some hits and plenty of hidden gems to be heard.

Eaten Alive opens the album with a pulsating energy, but don’t get too attached for this isn’t the kind of song that sets the tone for the entire album, as its style is significantly different to the other songs on the record. Of course, that isn’t necessarily a bad thing for this electrifying performance, blended with the smooth vocal delivery, matches the urgency of the song’s delivery perfectly. With backing and intertwining vocals, from Barry Gibb and Michael Jackson, Eaten Alive is one of the most memorable tunes Diana Ross has ever recorded.

Oh Teacher shifts gears into a funky, mid-tempo number but it’s fair to say that Oh Teacher would have been better suited to Barry Gibb as Ross’ chosen vocal register is a little higher than she’s ideally suited to. Interestingly, Gibb did release the demo on the iTunes Store and it’s, arguably, stronger than this interpretation. Nevertheless, the harmonised backing vocals with the song’s catchy hook and Ross’ sultry vocals ensure that Oh Teacher is a solid album-only tune.

Experience slows the record considerably with this ballad; one that stands out for its heartfelt delivery and emotional depth. While its stripped-back production may seem out of sorts with the album’s overall style, Experience is a stunning tune that is not only amplified by Ross’ vocal warmth but also Gibb’s perfectly positioned backing vocals.

Chain Reaction is a killer tune, one that very well could have been a Motown classic had it been released when Ross was a member of The Supremes. Despite the obvious correlation, it was an instant hit, outside of the US, with chart-topping success around the globe. It really is Motown meets The Bee Gees and Ross delivers nothing less than a powerhouse performance.

More And More slows the tempo again, but this beautifully delicate song is perfectly suited to Ross’ more tender style. More And More is, subsequently, irresistible, although I’m certain some would call it a piano bar tune. While that may be an accurate assessment, that shouldn’t be seen from a negative perspective for it’s a lovely song and is one that offers a nice contrast to the more intense moments on the album.

I'm Watching You is a sultry, mysterious track that features a thoroughly atmospheric production. Ross’ seductive tone will draw you in as the narrative builds and while it may not be a song that you’d often associate Ross with, it’s nonetheless lovely and is a quintessential album-only track; one that ensures that the album experience is cohesive and thoroughly enjoyable.

Love On The Line blends disco and pop with a touch of rock. As with most of the songs on the album, it’s got that classic Bee Gees sound and is one of Ross’ most underrated gems. If nothing else, the pulsating beat and uplifting melody provide a dance floor-ready vibe; one that will be remembered well after the album has concluded.

(I Love) Being In Love With You is a dreamy, romantic ballad. Ross delivers a tender, yet understated, vocal performance that perfectly suits the song’s intimate lyrics. Add to that Barry Gibb’s incredibly good backing vocals and what you’ve got is the perfect culmination between these two powerhouse artists.

Crime Of Passion dramatically shifts the tone following the relaxed (I Love) Being In Love With You and while it may not be the most perfectly sequenced record, Crime Of Passion does offer a compelling toe-tapping and head-bopping melody.

Don't Give Up On Each Other closes out the album with this exceptional ballad; one that allows you to reflect on the music you’ve just heard whilst simultaneously encouraging you to play the record again.

Eaten Alive is, subsequently, a testament to Ross’ ability to evolve with the times while retaining much of her artistic essence. The blend of pop, soul, and dance elements, coupled with high-profile collaborations, gives the album a polished and eclectic feel. While it may have failed to set the charts on fire, there are several standout tracks to accompany the hit tunes, thereby making it an ideal album experience and one of the best released in 1985.

Check out more Diana Ross reviews by Subjective Sounds

Bon Jovi – 7800º Fahrenheit (Album Review)

Released in 1985, Bon Jovi’s 7800º Fahrenheit was a pivotal moment in the band’s early career and could be seen as a make-or-break release following their self-titled debut in 1984. 7800º Fahrenheit not only solidified their sound but built upon the band’s raw talent with even higher production and songwriting capabilities that would yield the fan favourite In And Out Of Love and become a precursor to their 1986 release, the highly successful Slippery When Wet. Granted, the songs of 7800º Fahrenheit aren’t nearly as polished as that follow-up, and the band have been rather critical of this release, but if we avoid comparisons and imagine we’re back in 1985, hearing this record for the very first time, what you’ll find is a killer album that offers an essential snapshot of Bon Jovi’s growth.

As with much of their discography, the compelling album artwork would have looked superb on just about any record store shelf. However, an album can’t, and shouldn’t, be judged by its cover, but even if we were to applaud the song selection and sequencing, how does the album stand up sonically?

The good news is that the Hi-Res Lossless Apple Digital Master is exquisite and a marked improvement on the terribly loud and shrilly produced Special Edition CD from 2010. While I always wanted to turn the volume down on the CD, for it was incredibly fatiguing, the Apple Music stream presents a smoother, more rounded tonality, but one that still rocks. I find myself listening at higher volumes and still wish to turn the volume up; most likely to the chagrin of my neighbours. Ultimately, the stream is, by far, the best-sounding digital version (as I’ve yet to hear a vinyl release) of this classic album.

In And Out Of Love is one of the greatest album openers of all time. With Richie Sambora’s sharp guitar riffs and Jon Bon Jovi’s gritty vocals this hard-rocking anthem not only sets the tone for the entire record, but it’s one of the most memorable tunes from the album and is an 80s glam metal classic.

The Price Of Love is a mid-tempo rocker, but it’s Sambora’s licks that are a highlight here, as well as the backing vocals during the chorus. While those aspects are memorable, and Jon Bon Jovi’s vocal delivery is admirable, his performance just isn’t noteworthy. Perhaps it’s the mix, rather than the recording itself, for it sounds as though Jon’s vocal is recessed and all musical elements are front and centre, by comparison. Nevertheless, The Price Of Love is a killer track and a perfect album-only tune.

Only Lonely is a standout and while it may not have received the fanfare, post-release, that In And Out Of Love did, when released as the lead single it performed admirably. Yes, it may have only been a minor hit, but it foreshadowed the depth and sonic prowess of the music that would come on later albums and take the world by storm. Hence, if you’ve overlooked this classic tune, and Sambora’s killer solo, give it another shot for Only Lonely is severely underrated.

King Of The Mountain is an adrenaline-fuelled, energetic number, that embodies the spirit of 1980s arena rock. Unfortunately, most casual fans would have never heard this incredible number, so if you know a Bon Jovi fan who only knows the hits, let them know about King Of The Mountain, for it’s an exceptional tune!

Silent Night foreshadows the band’s knack for crafting timeless ballads, but this, unfortunately, falls short. It’s simply too campy and polished, as if the band and the production team were trying to reach too far.

Tokyo Road has a Japanese-inspired introduction before forging forth with a hard rock swagger. It’s a killer rock and roll number, but the introduction could be seen as either additive or distractive. Part of the problem is the song doesn’t start straight away and while there is nothing fundamentally wrong with the introduction, I don’t feel it adds anything to the song itself.

The Hardest Part Is The Night has quite the multi-layered production, and despite being a solid tune, isn’t exceptional as it gets lost in its own lush production.

Always Run To You is a fast-paced rocker with infectious energy. Sambora’s fiery guitar licks elevate the song, even though Jon’s vocals didn't quite reach the heights he was capable of.

To The Fire is 80s 101 with its stylistic production that, unfortunately, sounds dated to the era. While it may not be entirely indicative of Bon Jovi, the sense of urgency and determination, along with the catchy chorus, results in a tune that’s quite compelling. One, subsequently, can’t help but wonder what To The Fire would have sounded like minus the synthetic elements for there’s a solid rocker hidden behind the extraneous production layers.

Secret Dreams has a killer guitar introduction but it’s the overproduced nature that detracts from the song. It is, however, a solid tune but isn’t necessarily memorable or capable of encouraging the listener to reflect on the album and listen to it again. Its saving grace, however, is the highly addictive chorus and, at times, that is more than enough to close the album on a high note.

From start to finish, 7800º Fahrenheit showcases Bon Jovi in a transitional phase, balancing youthful exuberance with the desire to mature as artists in both production and songwriting capabilities. Clearly centred on what we now consider to be 80s rock clichés, 7800º Fahrenheit delivers moments of brilliance and was a critical stepping stone in their journey to global superstardom. While it may not have been their greatest release, as an album, 7800º Fahrenheit stands as one of the best releases from 1985 and is worth greater attention than it often receives.

Check out more Bon Jovi reviews by Subjective Sounds

Bob Dylan – Empire Burlesque (Album Review)

Released in 1985, Bob Dylan’s Empire Burlesque is a fascinating entry in Dylan’s celebrated and extensive discography, yet it, much like Street-Legal and Slow Train Coming has its detractors; especially those who favour Dylan’s early to mid-70s output. While not quite the album that Oh Mercy would become four years later, Empire Burlesque showcases Dylan’s eagerness to experiment with evolving contemporary production styles. Produced by Dylan himself, the album features a polished, modern sound with an unmistakable 80s sheen; one that isn’t, however, dated to the era.

While the music may not be dated, the album artwork most certainly is. Granted, it isn’t as kitch as some of the other albums, from the 80s, but it’s unlikely that you’ll display this album artwork with pride. Of course, if you’re like me, you may not have had the privilege to have attained this classic release on the larger vinyl canvas and while it would be lovely to acquire a copy, the Lossless Apple Music Stream, a CD-quality counterpart, is mastered respectfully; with one notable caveat. Following the album’s opening track, there’s a considerable sonic shift when Seeing The Real You At Last comes into play and this change, subsequently, is less treble-focused and, therefore, more concealed than the album’s opener. It isn’t necessarily detrimental, but it’s an aspect that may irritate some as album experiences are generally more uniform in their production styles.

Tight Connection To My Heart (Has Anyone Seen My Love?) opens the album with a catchy melody and glossy production that is perfectly suited to the era; even if it’s slightly different to Dylan’s traditional trademark style. Nevertheless, the polished arrangement, backing vocals, and overall musicality of the song make it a memorable opener.

Seeing The Real You At Last is a solid rock-driven number but as alluded to before, the sonic shift when listening to the album's sequencing is interesting as one would assume a bold and rocking sound to emanate from one’s speakers. It’s as if the song has been reduced by several decibels, but has also been muddied as it pertains to the mix. It doesn’t diminish the song, a killer rock number in its own right, but the shift may irk those of us who listen to albums in their intended sequencing, rather than random songs or playlists. That all said, Seeing The Real You At Last balances raw energy with the era’s typical propulsion of sharp guitar riffs and a driving rhythm. The result is that Seeing The Real You At Last is one of the best songs from Empire Burlesque.

I'll Remember You is a beautifully tender ballad that showcases Dylan’s ability to convey deep emotion through lyrics. Add to that the gentle arrangement, featuring understated instrumentation, that highlights Dylan’s vocals, and what you’ve got is one of the greatest ballads Dylan ever recorded.

Clean Cut Kid has a killer rhythm with a brisk tempo that’s addictively good. As usual, Dylan’s biting sarcasm and criticism of modern life come through loud and clear for this satirical number contrasts perfectly with the blues rock edge heard throughout.

Never Gonna Be The Same Again is a smooth, mid-tempo number that maintains the album’s polished production with backing vocals that add to the song’s lush texture. Interestingly, when you listen to Never Gonna Be The Same Again, the lyrical delivery from the backing vocalists is somewhat offset to Dylan’s vocal delivery and while that would normally take away from the song itself, it works perfectly and the combination makes it one of the best tunes from the record.

Trust Yourself is a motivating and empowering anthem of self-reliance. The track’s dynamic instrumentation, with its jangly guitars and keyboards, adds depth without overshadowing Dylan’s lyrics thereby making it ideal for both those who appreciate music from a purely musical perspective, as well as those who listen for literal interpretation. Ultimately, Trust Yourself is a standout and is one of Dylan’s greatest recordings.

Emotionally Yours is a masterful tune, for this soulful ballad, with its beautiful arrangement, complements Dylan’s tender and delicate vocal style. It’s so impressive that I’d place it amongst Dylan’s greatest ballads and it would be fair to say that it could very well be the most remarkable ballad he’s ever recorded.

When The Night Comes Falling From The Sky is Dylan meets rock with a touch of dance. Yes, Dylan purists will likely dislike the slick production, and while it’s far from his greatest tune, it works exceedingly well for not only Dylan’s overall style but within the context and the flow of Empire Burlesque.

Something's Burning, Baby is driven by an ominous melody that works well with Dylan’s vocal delivery. The sparse yet atmospheric arrangement enhances the song, but it’s the culmination of all musical elements that set this song apart from the rest of the tunes on the record.

Dark Eyes closes the album on a stark and poetic note. It’s this kind of stripped-down simplicity that truly highlights Dylan’s exceptional vocal skill for his folk origins shine through and allows a level of intimacy that simply isn’t present throughout the rest of the record. Dark Eyes is, subsequently, a quintessential closing track as it allows time for reflection whilst also encouraging the listener to play the record again.

Overall, Empire Burlesque captures Dylan at a crossroads, blending his timeless songwriting with the contemporary production trends of the 1980s. While some fans may be critical of this further shift within Dylan’s legacy, the album offers a compelling mix of heartfelt ballads, biting social commentary, and his trademark poetic musings. Empire Burlesque is, subsequently, a compelling chapter in Dylan’s discography for it offers a unique blend of old and new and is subsequently one of his best albums from the 80s and one of the greatest albums released in 1985.

Check out more Bob Dylan reviews by Subjective Sounds

AC/DC – Fly On The Wall (Album Review)

Released in 1985, AC/DC’s Fly On The Wall marked a significant moment in the band’s career as it was the third album to follow their mammoth release, Back In Black (1980), and was released during a period of downturn in interest from fans the world over. Comparisons aside, Fly On The Wall was successful in its own right with sales exceeding one million units. While it’s an album that isn’t always heralded by fans as one of their best, Fly On The Wall is somewhat of a hidden gem that features their landmark hard-rocking sound via this electrifying and gritty release that is amongst the greatest hard rock albums from the 80s.

Part of the hidden appeal, considering there isn’t necessarily a standout tune on the record, is the continued high-production values for this was an era when music, especially rock music, began to shift to a more shrill tonal quality that would plague many of the era’s greatest rock and roll albums. Yet, amongst this industry shift, AC/DC never changed their styling and the result is an album that rocks as hard as any other they released. Additionally, Angus and Malcolm Young did a masterful job in the Producer’s chair, ensuring that their vision for the album came through loud and clear. It also helps that the album artwork is visually appealing with its comical design that looks as fresh today as it would have been upon release.

Sonically, as is the case with the majority of AC/DC releases, it’s a powerhouse and the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is no exception for the bombastic nature remains while every aspect is clearly presented within the chosen mix and overall mastering of the album. Brian Johnson’s vocals are raw and exceptionally detailed within the soundstage; a sonic presentation that will envelop you from the very first note to the last. One of the best examples of this can be heard on Danger; where every musical element can be heard clearly but it isn’t shrill and is so sonically pleasing that you’ll be looking to turn up the volume despite being able to enjoy the record at lower volumes.

While some will always lament the fact that AC/DC has basically played the same song over and over, decade after decade, music lovers and fans alike can be confident that AC/DC never changed their style and adopted the “new” recording styles for if they had, an album such as Fly On The Wall would have been a shrill nightmare that would have seen everyone needing to turn down the treble and boost the bass. Thankfully, that isn’t an issue here, so turn up the volume, sit back, and let’s take a look at the songs that make up this, often, overlooked, masterpiece.

Fly On The Wall kicks the album off, perfectly, with an energetic opener featuring sharp guitar riffs, bold percussive elements, and Johnson’s unmistakable growl.

Shake Your Foundations would also make it to Who Made Who, the soundtrack accompanying Stephen King’s film Maximum Overdrive. That version, however, differs slightly from this one as it was remixed and cut down slightly in runtime. As to which I feel is the stronger version, that would be this original album release for despite the remix presenting Johnson’s vocals more prominently, it pales in comparison to the original as the musical bed is somewhat recessed and the song, subsequently, doesn’t rock as hard as the Fly On The Wall original does. Propelled by a driving beat, bluesy rhythm, and sing-along chorus, it’s a wonder that Shake Your Foundations hasn’t remained more prominent within AC/DC’s back catalogue as it’s an exceptional tune.

First Blood is a mid-tempo blues rocker with duelling guitars that weave together seamlessly. It’s quintessentially AC/DC and sometimes you don’t need to forge a new path to stand out, for I’d take songs like First Blood over a shifting style any day of the week.

Danger has a brooding tempo that shows a different side of AC/DC; one that could offer a more blues-focused appeal than the hard rock styling most commonly associated with the band. However, one can understand why it wasn’t a hit amongst fans, at the time, but I have a feeling that modern audiences would be much more receptive to this mood-driven eerie number.

Sink The Pink is, arguably, the song that would appeal to most of AC/DC’s legacy fans for it combines their renowned playful attitude with an infectious groove and some hard rocking licks.

Playing With Girls is a fast-paced rocker that leans heavily into AC/DC's cheeky, tongue-in-cheek persona. While the core riff is straightforward it, combined with the song’s energy, keeps the momentum going and is a standout on this release.

Stand Up is a magnificent tune and is one of Simon Wright’s greatest drum performances with the band, having taken over that role upon Phil Rudd’s departure. In truth, Wright performed magnificently throughout the album and while his style is slightly different to Rudd’s, his appointment didn’t detract from the music at all. I’d even go as far as saying that his inclusion was an enhancement. Nevertheless, Stand Up is a raw, back-to-basics, tune that will have you coming back for more.

Hell Or High Water is a hard-hitting anthem with a relentless rhythm. AC/DC doesn’t get much better than this as Hell Or High Water will appeal to all fans of the band.

Back In Business is a killer mid-tempo rocker with a powerful riff and a driving rhythm section. Its anthemic quality adds to the album, as well as AC/DC’s incredible back catalogue, in such a way that you’ll experience an earworm as that catchy chorus will remain front and centre in your mind well after the album has concluded.

Send For The Man is an ideal closer with its heavy, blues-infused, sound, featuring a grinding riff and thunderous rhythm that ensures the record ends on a high note; one which will compel you to listen to the album again for Fly On The Wall can seldom be listened to once.

Fly On The Wall may be a polarising release within AC/DC’s discography, but it shouldn’t be as the band’s signature hard rock energy is present throughout as it accompanies the infectious riffs and anthemic choruses they’re best known for. Hence, if you’ve overlooked this release, and have never given it a proper listen, I implore you to give it another shot for you may just fall in love with the album’s raw, unfiltered, and rebellious spirit; I know I have!

Check out more AC/DC reviews by Subjective Sounds

Van Halen – 1984 (Album Review)

Released in the year that adorns the album’s title, Van Halen’s 1984 (MCMLXXXIV) stands as one of the most iconic and commercially successful records of the 80s with sales exceeding 10 million units.

While there’s no shortage of exceptional Van Halen music, regardless of frontman, 1984 would be the final album from the band’s classic era to feature David Lee Roth on vocals and in one respect 1984 can be seen as an album that captures the band at the height of their success; certainly from the perspective of the Roth years. This sixth studio release also marked a significant shift in their sound with a genre-defining fusion of hard rock, pop, and synth-laden melodies. That shouldn’t deter longtime rockers, however, as the core Van Halen hard rock styling remains present throughout and there are really only three of the nine album tracks that are synthesise-focused. Nevertheless, the shift perfectly captured the imagination of 80s music lovers; some of which likely wouldn’t have given Van Halen a second thought had the band not leant into the sounds of the era.

Speaking of imagination and while not directly related to the music, the album’s cover art is among the greatest ever released and looks magnificent on a vinyl-sized canvas. The Apple Music version has gone one step further by turning the purported candy cigarette into a smoking one via their animated album artwork feature. It’s certainly unique and despite the cover art being controversial, I’m glad to see that it hasn’t been modified by cancel culture because it is true to the era and the original intent. Plus, you can’t help but appreciate the contrast between good and evil whereby the childlike angel has a devilish side; a true representation of us all, wouldn’t you agree?

What is devilishly good, however, is the sonic prowess of the Apple Music stream. Delivered as an Apple Digital Master, this digital edition simply sounds right with no glaring issues to discuss. You’ll be immersed in the stereo soundstage that is both wide and deep as well as leaving you in awe with the power in the mid to low-end range of the audio spectrum. Treble fans need not be concerned, however, as this isn’t a muddy presentation, anything but, but you won’t get an overall sonic glare in the high end; unless you’ve dialled your sound system in to be bright, that is.

As to which master has been used for the Apple Music stream, that is anybody’s guess as there is no information available. Nevertheless, when music sounds this good, via a stream, let’s blast the tunes on the stereo as we take a look at the songs that make up this legendary release.

1984 is an ideal opening track that sets the tone for the album with its synthesiser-drenched atmosphere. While it may be a musical prelude, it creates the perfect build-up to the album’s first full-length song, Jump.

Jump is undoubtedly the band’s most famous song and for good reason as the catchy upbeat synthesiser riff dominates the song. While it could have been suggested that synthesiser-based music would have dated quickly, even upon reflection, four decades later, Jump hasn’t aged a day and sounds as compelling as it would have been when released in 1984. It just goes to show that a good song, with a killer riff, will always be timeless, regardless of the technology used to construct the music. Plus, the synthesised elements weren’t overused and Eddie Van Halen’s guitar solo not only adds to the overall mix but showcases that an anthemic pop-rock hybrid is not only possible but is delectable to the senses.

Panama is a quintessential Van Halen song, blending heavy guitar riffs with David Lee Roth’s larger-than-life vocal delivery. While it may play second fiddle to Jump, sometimes a straightforward hard rock number is all that’s required and in this case, Panama shines with the spirit of classic Van Halen.

Top Jimmy may not be as commercially impactful as the other songs from 1984 but it certainly adds to the overall album experience. Part of its musical appeal is due to the complex bluesy riff that drives the song forward, but Roth’s vocal delivery isn’t the greatest on this tune. While it could be due to the mix, it sounds as if Roth was recording from a studio across the road as he sounds distant, if not uninterested, throughout.

Drop Dead Legs features a killer mid-tempo groove with Eddie Van Halen front and centre. The song’s sleazy, blues-infused rock, very well could have come straight out of ZZ Top’s wheelhouse, but despite being a deep cut it’s thoroughly enjoyable and it is songs such as this that remind us that each song need not be a hit for the album experience to be thoroughly entertaining.

Hot For Teacher is a fast-paced rocker showcasing the band’s virtuosity and sense of humour. The song’s playful lyrics, about a schoolboy’s crush on his teacher, are delivered with Roth’s trademark cheeky charisma. Eddie Van Halen’s guitar work here is particularly stunning with its speedy, yet intricate, styling. However, it’s Alex Van Halen’s explosive drum intro, mimicking the sound of a revving engine, that steals the show as it’s different to what we’d normally expect from a song introduction.   

I'll Wait returns the album to the synth-driven sound that, as much as I can appreciate the hard-rocking tunes, I prefer. It’s a styling that simply works well for Van Halen. Hence, I’ll Wait is one of my favourite songs from the album and while it didn’t quite set the charts on fire, as the second single from the record, it did perform admirably.

Girl Gone Bad is one of the more aggressive tracks on 1984, with Eddie Van Halen’s rapid-fire guitar riffing reaching a frenetic pace, yet blending perfectly into the complex arrangement. With the more intricate nature of the song, Girl Gone Bad is, arguably, Van Halen’s foray into progressive rock while maintaining a balance with the band’s heavier rock roots. One thing Girl Gone Bad is not, however, is dull, for each time you listen to this track you’ll take away yet another element as the multi-layered production is incredibly intricate.

House Of Pain closes out the album with a raw, hard-hitting, riff-heavy, tune that dates back to the band’s early days; ensuring long-time fans that they didn't completely turn their back on their original sound. While it’s a great tune, one thing that has always bothered me is I don’t feel it’s a strong closer. It neither compels me to listen to the album again nor sit and reflect upon the music I’ve just heard. It simply exists.

Overall, 1984 is an album that blends the innovative with the familiar, making it a creative high point for Van Halen. The inclusion of synthesisers may well have alienated some of the band’s hard rock fan base, but it expanded their reach and solidified their position as rock giants of the era. With the diversity heard on 1984, Van Halen crafted a record that appeals to both purists and pop-rock fans alike, ensuring its place as an era-defining album.

Check out more reviews by Subjective Sounds

Scorpions – Love At First Sting (Album Review)

Released in 1984, the Scorpions’ Love At First Sting is an album that not only epitomises the energy and musicianship that was prevalent in 1980s hard rock, but it would be the album that would solidify the Scorpions’ position as one of the biggest rock acts of the era. Building on the success of their previous records, and over a decade of well-received (but sometimes controversial) releases, the Scorpions would deliver their ninth studio album; a record that plays akin to a greatest hits release, for Love At First Sting is more than a mere collection of songs.

Where Love At First Sting really shines is in the mix of soaring guitar solos, Klaus Meine's unmistakable vocals, and a balance of power ballads and fast-paced rockers, that were commercially successful. While there’s no shortage of editions of Love At First Sting, with over 200 at the time of writing, the latest remaster and associated reissue (from 2015) is a bit of a double-edged sword. Yes, some will love the bonus material and demo tracks and while I’m not suggesting they should be omitted, I prefer album reissues to retain the original track listing and have any bonus material added as a separate disc. That isn’t the case for Love At First Sting as the demos are tacked onto the back end of not only the streaming editions but the CD re-issues. Yes, there is a two-disc set, replicated on streaming services, that contains a live performance from Madison Square Garden (in 1984), but it’s irritating that the concert remains intact while the core album is inundated with five additional demo songs. I know, first-world problems, but it’s an aspect that drives this music lover mad.

Thankfully, Apple Music et al allow for the omitting of songs that aren’t of interest and in the heyday of the compact disc player, these technological wonders had a program function that allowed the listener to program a set of songs that would be played, omitting those they didn’t wish to hear. Modern, high-end, CD players still offer this functionality, but it is no longer considered the norm across the board. We’ve truly gone backwards, it seems, in our attempt to march to the modern technological beats. What I can say, however, is that the 2015 remaster of Love At First Sting is exceptional. While not presented as an Apple Digital Master, the lossless CD-quality stream is thoroughly enjoyable with an enveloping soundstage that not only rocks but allows for separation between all elements. Some may criticise the heavy-handed compression and volume increase applied to this newest remaster, but I wouldn’t say it’s detrimental to the album for it may be loud, by comparison to the original releases, but it’s sonically pleasing enough that if you don’t already own a copy of this classic album, you’ll likely find this remaster to be more than adequate.

To facilitate a consistent overview of Love At First Sting, I’ll be sharing a playlist of the album’s original linear structure for you to enjoy as we take a look at the songs that make up this legendary release. Additionally, for those of you seeking a physical release, the vinyl reissues maintain the original tracking and when you have Helmut Newton’s photography adorning the cover art, those larger canvas releases undoubtedly look spectacular in any record collection.

Bad Boys Running Wild opens the album with a rock styling and guitar lick that is not only aggressive and full of rebellious energy but draws you into the sheer power of the song. It also has stadium filler written all over it for Bad Boys Running Wild is not only a classic Scorpions rocker but it’s a song that will appeal to the wild spirit of rockers everywhere.

Rock You Like A Hurricane is an iconic rock anthem of the 80s and, arguably, the Scorpions’ most famous song. It has all the elements of a classic: a catchy riff, a larger-than-life chorus, and a blazing guitar solo. Additionally, the song’s tight structure and sing-along hook make it irresistible. Rock You Like A Hurricane is one of those songs that no matter your musical tastes, will connect with your soul from the very first note and won’t let go until the last note has been played. Exceptional!

I'm Leaving You continues the rhythmic rocking nature of the album as it flows seamlessly from Rock You Like A Hurricane with a catchy chorus, thoroughly pleasing guitar work, and a high-energy vibe.

Coming Home slows the album slightly with its calm and melodic introduction. Not only is the musical bed exceptional, but before the song crescendos, Meine’s vocals will impress just about anyone. Yes, his vocals later in the song are equally impressive, but the delicate nature of the song's opening is to be celebrated. As the song progresses, Rudolf Schenker and Matthias Jabs provide some of their best intertwining guitar work, alternating between powerful chords and intricate solos. However, it is the launching into a fast-paced rocker, from calmer beginnings, with a touch of Iron Maiden influence, that truly turns this song into a hidden gem and one of the most incredible sonic journeys in the Scorpions’ extensive back catalogue.

The Same Thrill is a high-octane rocker driven by pounding drums from Herman Rarebell and aggressive guitar riffing. While it may not have the commercial appeal of songs such as Rock You Like A Hurricane, there are undoubtedly fans who would adore this tune for they prefer the Scorpions’ harder-edged sound.

Big City Nights is a classic 80s rock and roll number. The mid-tempo groove, catchy riff, and anthemic chorus make it appealing and it, therefore, isn’t surprising that it was released as the album’s third single and performed respectfully in the US.

As Soon As The Good Times Roll is a bold mid-tempo number and a quintessential album-only tune. While it is unlikely that this song will be anyone’s favourite tune, what is certain is that it’s a solid B-side and one that continues to drive the album forward as it offers a nice contrast to the more adrenaline-fuelled tracks.

Crossfire is one of the more musically complex songs on Love At First Sting, featuring a slower, more deliberate pace. Rarebell’s drumming is particularly noteworthy here, adding a military-like precision to the track, but with a mix where the guitars and vocals are more subdued, until the song launches into its powerful solo, it offers one of the greatest musical experiences on the album and within the Scorpions back catalogue. Crossfire is most certainly a hidden gem, for it’s worthy of greater recognition than it has ever received.

Still Loving You closes the album with one of the Scorpions’ greatest ballads. As someone who adores the power ballad, Still Loving You is amongst the greatest ever recorded with Meine delivering one of his most passionate vocal performances. As the closing song on the album, it not only offers a reflection of the music that has just been heard, but leaves a lasting impression while also encouraging you to play the record again, for classic albums such as this can seldom be listened to only once.

With a mix of hard-hitting rock anthems and emotional ballads showcasing the Scorpions’ versatility and ability to balance commercial appeal with genuine musicianship, Love At First Sting is not only an essential album in the Scorpions’ discography, but it is amongst the very best albums released in 1984. Add to that a plethora of catchy hooks and an accompanying high-energy guitar-driven sound with exceptional rhythm and vocals and what you’ve got is a timeless classic.

Check out more reviews by Subjective Sounds