America – Hat Trick (Album Review)

Released in 1973, Hat Trick is amongst the greatest records the folk-rock trio, collectively known as America, ever released. While Hideaway remains my favourite America album, Hat Trick came across my radar around the same time when EMI Australia reissued those records as part of the Legendary Masters series. As such, these two records were my only exposure to America for quite some time, and unlike the modern era, when you purchased an album in the pre-streaming period, you generally listened to it until it melded with your soul. Hat Trick did just that and truth be told, I’ve lost count of how many times I’ve listened to this exceptionally underrated album throughout the years.

Part of the appeal is due to the album’s artwork, which features a photograph within a photograph styling and remains highly appealing. Unfortunately, I’ve only ever experienced it on the CD-sized canvas and despite enjoying the larger size when presented via the Apple TV 4K, this is one record that would look exceptional should one be fortunate enough to own the vinyl release. For those who are interested, Warner Records, in conjunction with Music On Vinyl (MOV), recently reissued Hat Trick in 2021. I’ve no idea what that pressing is like as it flew under my radar at the time. That said, MOV reissues are often amongst the very best reproductions available to vinyl music lovers, so it may well be a consideration.

As with Hideaway, the non-Apple Digital Master CD-quality lossless stream, from Apple Music, is sonically pleasing, so much so that you’ll ponder if you need to seek out a “better” copy. It really is quite lovely, but for those who are looking for even higher resolution options, Qobuz has a 24-bit/192 kHz edition available. Regardless, when an album is recorded, mixed, and mastered this well, format and delivery method matter far less for you’re in for an audible treat that is nothing short of extraordinary.

Perhaps most interesting is that Hat Trick failed to generate significant interest from the music-loving public; particularly considering how well their self-titled debut (January, 1972), and Homecoming (November, 1972) were received. While I’ve no idea why the album failed to be as successful, and Holiday (June, 1974) would see the band regain some ground, I have heard in passing that the record label was not sold on “Muskrat Love” being the lead single, an aspect the band demanded, and hence support upon release was significantly dropped. While I can neither prove nor disprove this possibility, the music industry is littered with similar stories. It’s a shame because Hat Trick is a hidden gem that has rarely been acknowledged outside of the album’s existence within the band’s back catalogue.

Of course, the lack of interest amongst the music-buying public could also be attributed to the slightly more experimental style when compared directly to their first two records. The chosen singles weren’t necessarily the strongest songs from the album and the record is absent of a hit such as “A Horse With No Name”. However, if we consider Hat Trick to be a coherent album experience, then this album knows few peers.

Muskrat Love is a beautifully soft ballad. While the lyrical context is a little whimsical and quite frankly, quirky, it’s a solid tune nonetheless. As the album’s lead single, one can understand why Hat Trick may not have been received as well as the band’s previous releases, but I for one find this song to be a charming addition to America’s catalogue of exceptional music.

Wind Wave has an incredible opener with an evolving sound that builds via its layered production. Dreamy would be one way to describe it for Wind Wave is a moody atmospheric piece that will stay with you long after the album has ended.

She's Gonna Let You Down flows seamlessly from Wind Wave and is absolutely stunning. The lush, yet melancholic, piano-centric tune is a pleasure to the ears, but it’s the vocal delivery and harmonious presentation that’s the ultimate standout in this cinematic-styled tune.

Rainbow Song is an upbeat number that plays into America’s folk roots with vivid imagery. If nothing else, Rainbow Song is a toe-tapping head-bopper that is well-balanced with rich vocal harmonies and jangly musical elements.

Submarine Ladies includes a little psychedelia. To say it’s exceptional would be an understatement for Submarine Ladies is not only perfectly suited to the era, it’s amongst the greatest songs America ever wrote and recorded. There’s also a touch of Glen Campbell's influence to be heard but the soundscape is so multilayered that you’re sure to hear new elements upon each subsequent listen.

It's Life is another hidden gem that has seldom received the recognition it deserves for it’s quintessentially America; albeit with a touch of rock and roll.

Hat Trick is a lovely tune that blends pop sensibilities with America’s harmonious folk origins. It’s an ideal title track and despite a runtime of well over eight minutes, this symphonically experimental tune, with a touch of progressive rock, is amongst the very best timeless recordings in America’s extensive back catalogue. It’s another of those songs that make me question how Hat Trick was overlooked at the time for there isn’t a dull moment to be heard throughout this song or the entire album.

Molten Love is a smooth mid-tempo tune with a touch of R&B to add to the song’s overall warm production, thereby offering a unique blend of folk and soul. While it isn’t a standout, it’s another perfect album-only number that enhances Hat Trick.

Green Monkey is a killer tune and Joe Walsh’s guitar performance amplifies the song as his rock edge works remarkably well with the trio’s harmonious and layered production qualities. Despite being the third, and last, single from Hat Trick, one can’t help but wonder if Green Monkey would have been a far better lead single.

Willow Tree Lullaby is a beautiful acoustic folk-focused ballad that offers a respite from the newer and more experimental pieces for those who would find Hat Trick too far removed from America’s origins.

Goodbye is a perfect closer, one that will compel you to play the album again or stay within America’s impressive discography. No, it isn’t a standout, but every song need not be a hit to make an album thoroughly enjoyable.

Hat Trick is first and foremost an album experience, not just because it lacked a series of killer singles. While it’s a little more experimental and sees the band evolve from their folk-rock origins, it isn’t so far removed that fans, both casual and dedicated, should ignore this release for doing so is to miss out on one of the greatest albums from the 70s, particularly 1973.

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Genesis – Selling England By The Pound (Album Review)

Released in 1973, Selling England By The Pound is amongst their most renowned releases yet sales figures would suggest otherwise as Genesis would see peak sales success in the 80s and early 90s with a series of incredible albums with Phil Collins at the helm. However, as it pertains to the Peter Gabriel era, Selling England By The Pound is the band’s most successful and once you hear it, really listen to it, and accept it into your soul, you’ll likely consider it a masterpiece that has few peers.

Phil Collins did, however, perform lead vocal duties on “More Fool Me”, but for all intents and purposes, Selling England By The Pound is a perfect example of the band’s original lineup, consisting of Peter Gabriel, Tony Banks, Steve Hackett, Mike Rutherford, and Phil Collins (primarily on drums, percussion, and backing vocals).

As incredible as the music is, however, Betty Swanwick’s artwork The Dream is simply magnificent and complements the music perfectly. It’s artwork like this that is well suited to the era as the larger vinyl canvas is ideal, allowing the album artwork to be displayed with pride.

While a vinyl edition has failed to make it to my record collection, I was fortunate to have owned the 2014 High Fidelity Pure Audio (HFPA) Blu-Ray edition that featured not only the stereo mix in 24/96 kHz High-Resolution Audio but also the 5.1 surround mix. As to which mix of the album I preferred, I honestly can’t remember. Our memory, as it pertains to sound quality, is usually very unreliable. That said, what I do recall is that the stereo presentation on the Blu-ray Audio disc was rather clinical and jarring on the senses, particularly at less-than-modest volumes. As such, it caused some listening fatigue that I’m happy to report doesn’t exist when listening to the lossless Apple Music stream.

So what’s different between the stream and the Blu-ray Audio disc? After all, aren’t they both derived from the same mix/master? Well, yes, it’s supposedly the same mastering only the lossless Apple Music stream is delivered at CD-quality resolution by comparison. That could be a factor, but it’s more likely that my setup was different at the time, more resolving, and it simply didn’t suit my listening tastes. In fact, it was one of those times when audiophile gear didn’t live up to the hype as I could never seem to get CD reproduction sounding the way I would like it to as it was always too clean and clinical. First-world problems, I know, but sometimes less is more and as I’m aging I’m finding comparing editions, and gear, to being a pointless exercise that is best left to those with the patience of a saint. Sometimes happiness comes from contentment and I’m content.

Still, it’s somewhat surprising, given Apple Music’s approach to delivering immersive audio, that none of Genesis’ releases are currently streaming in surround sound. As to why Warner Music et al has yet to deliver the 5.1 mixes to the streaming giant is anybody’s guess. Yes, Apple would likely want each album presented as an Atmos mix, but there are numerous examples where traditional 5.1 mixes have been successfully added to the service, thereby allowing fans to enjoy the surround mix without seeking out an out-of-print and often ludicrously priced SACD release on the secondhand market. Regardless, I honestly can’t recall how the surround mix sounded but, in any case, you’d be much better off checking out Mike’s YouTube Channel Life In Surround for he’s got far more knowledge in this area than I could ever hope to have.

All that said, I find that I’m delighted with the Apple Music stream for the 2007 stereo mix on that platform is stunning; so much so that the other weekend when I was listening to the album while reading, I had to put my book down, sit, and enjoy the record as it commanded my attention. While purists will lament streaming services and their perceived quality, give it a shot, you may be surprised. I know I have been throughout the years as I find far more sonic consistency with Apple Music than I ever did with attaining and comparing physical releases.

Now, for those who are wondering, no, I don’t have experience with the original mix, hence the 2007 remix of Selling England By The Pound is my only experience as it pertains to this classic album and let’s just say I’m more than happy with that particular edition. Do I need to check out the original mix? Some will say yes, but, again, constant comparing takes the joy away from the music-listening experience and when you’re happy, you should leave well enough alone.

Dancing With The Moonlit Knight is a magnificent opener with Peter Gabriel’s a cappella approach being idealistic as the musical bed builds slowly in the background. The level of elemental details and layered elements is stunning as the song traverses from its balladry to the more aggressive and sweeping rock passages.

I Know What I Like (In Your Wardrobe) has an atmospheric, and somewhat quirky opening, yet it’s so good! With its laid-back, near psychedelic, styling that incorporates oriental sitar-like guitar elements, I Know What I Like (In Your Wardrobe) is one of the standouts from the album, perhaps a reason why it was chosen to be released as a single, yet it works seamlessly within the album’s linear structure. So seamlessly, in fact, that you’ll come away from Selling England By The Pound as if it were a cinematic experience.

Firth Of Fifth is one of Genesis’ most impressive tunes and Tony Banks didn’t disappoint with that classical piano introduction that is a masterstroke of brilliance. The sharp intro of Gabriel’s vocals and the band’s musical bed, around the minute mark, is perfectly positioned for it turns the song into a symphonic masterpiece that is simply unforgettable and doesn’t stop impressing until the very last note has been played. Firth Of Fifth is, ultimately, one of those songs that makes Selling England By The Pound the landmark album it is and it’s a core reason as to why I consider this to be Genesis’ greatest album.

More Fool Me is the only song from this album to be sung by Phil Collins. While he does a solid job with this tune, it’s also fair to say that the stripped-back introduction wasn’t ideally suited to his vocal style. Collins is far more appealing on the pop-oriented material that would make him a household name in the 80s. Still, More Fool Me is a nice little tune that works well within the album’s linear structure.

The Battle Of Epping Forest is epic and is amongst Genesis’ most ambitious story-driven numbers. While here, at Subjective Sounds, literal interpretation is not always at the forefront of the musical experience, it is difficult to ignore The Battle Of Epping Forest as it’s progressive rock theatre at its very best. Could it have been more succinct, yes, but if it had been, I dare say it wouldn’t be the same for there’s a certain level of appreciation that forms for this song, the more often you listen to the album.

After The Ordeal is a stunning instrumental that acts as a palate cleanser following the complexity of The Battle Of Epping Forest. While easy to overlook, After The Ordeal should not be ignored for it’s a beautiful interlude that showcases just how incredible the band were, from a purely instrumental perspective. I don’t know about anyone else, but I could certainly do with an entire album of Genesis’ instrumental compositions as songs like this leave me in awe.

The Cinema Show seamlessly transitions the senses from After The Ordeal. Like many of the songs from the record, The Cinema Show is another example of Genesis at their finest; symphonic, poetic, and emotionally stirring. As the song builds, adding layers of musical textures, The Cinema Show becomes a dazzling performance and is a textbook-perfect mix for there isn’t a single element that is overshadowed by any other. They simply don’t make music like this anymore is an appropriate comment when reflecting on The Cinema Show.

Aisle Of Plenty is a brief closing track that concludes the album perfectly with a reprise of Dancing With The Moonlight. It’s an ideal bookend to a sensational album, one that will compel you to play the record again for, from the moment you allow it, Selling England By The Pound will meld with your soul and never let go.

Selling England By The Pound is more than just a collection of songs, it’s a complex and beautiful high watermark in the history of progressive rock and is, arguably, the defining album from Genesis’ classic era. While some may point to the incredible success Genesis would have post-Gabriel, Selling England By The Pound remains quintessentially Genesis and is, arguably, their greatest creative output for their 80s and early 90s releases, as successful as it was, is too easily confused with Phil Collins’ solo career, yet this album is uniquely unique; a technical term, yes, but an apt assessment.

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Buffalo – Volcanic Rock (Album Review)

When Buffalo released Volcanic Rock in 1973, they staked their claim as Australia’s first, truly, heavy rock band, giving local audiences a taste of the riff-heavy, doom-tinged energy that bands such as Black Sabbath were renowned for. Following their impressive debut, Dead Forever, Volcanic Rock cranked everything up with a louder, heavier, and bolder production. To say Volcanic Rock is the band’s greatest creative output would be an apt assessment for the extended jams and primal grooves are raw, unrelenting, and uniquely Australian, thereby ensuring that this is a landmark release worth celebrating.

Visually stunning, yet knowing the tone of the era, one can only imagine the raucous the artwork for Volcanic Rock would have created between conservative parents and their teenage children. Perhaps it was a good thing that Buffalo flew, somewhat, below the radar for if they had been more successful, you can almost guarantee that social expectations would have deemed the cover art inappropriate thereby requiring different artwork to be issued. That said, I think we can all agree that Volcanic Rock’s artwork is significantly more tame than their 1974 follow-up, Only Want You For Your Body.

While Volcanic Rock was never a commercial success, as with many albums that didn’t see the respect they deserved upon release, Buffalo and Volcanic Rock would achieve a cult following; particularly amongst those with a penchant for early heavy metal, psychedelic rock, and doom metal releases. The album’s raw production and extended track lengths may also have deterred casual listeners but this style of powerful rock is steeped in tradition and remains a sonic treasure to those of us who appreciate music that is somewhat on the fringes of mainstream rock and roll.

Sonically, the album is starting to show its age and despite being remastered by Gil Matthews in 2005, the Apple Music edition is non-committal as it pertains to which master has been given to the streaming giant. The two bonus tracks, Sunrise (Come My Way) (Single Version) and Shylock (Live Version) are missing from digitally delivered versions and the publishing seems to have reverted to Phonogram Pty Ltd, a Universal Music company, rather than Aztec Music; the label that reissued the album in the mid-naughts.

While I don’t have any major issues with the digitally available version, the cymbal crunching can get a little jarring on the senses, particularly if your system leans towards the treble range of the musical spectrum. Granted, this could be an aspect of the original recording, but sometimes mastering is a critically important element and it would be good to know if one offers a less crushed high-end than the other. Maybe I should just head down to Utopia Records and pick up a copy, for the 2005 reissue is still in print. Until then, the streaming edition is my go-to, so join me as I take a look at the songs that make up this legendary release.

Sunrise (Come My Way) opens the album with some killer licks that instantly set the mood for the music that’s about to come. Thick and creamy with a perfect amount of distortion and low-end power ensures Sunrise (Come My Way) is a memorable number that highlights Dave Tice’s incredible vocal delivery. Part metal, part blues rock, but 100% menacing, Sunrise (Come My Way) is amongst the greatest rock and roll numbers that you’ve likely never heard of; especially if you’re not overly familiar with the Australian music scene.

Freedom continues the ominous sonic presentation and is pure rhythmic gold with some of the very best guitar licks you’re ever likely to hear. Yes, there’s a Pink Floyd meets Black Sabbath feel to Freedom, but don’t let that deter you for this song is uniquely Buffalo; a slow tempo blues-based metal masterpiece.

'Til My Death is such a cool tune. You’ll be compelled to get out your air guitar and sing along to Tice’s otherworldly lyrics, for he takes this performance to another level. In addition to that, the chosen mix is pure perfection as Tice’s vocal sits atop and apart from the grungy musical bed, thereby allowing each sonic element to stand on its own merit. If you’re looking for a modern-day equivalent, may I suggest you check out the recordings of Wolfmother or Ash Grunwald.

The Prophet is another exceptional groove-oriented cut with a mid-tempo thunderous rhythm and blistering lead guitar work from John Baxter. Add to that Tice’s howls and snarls, sounding like a man possessed, and what you’ve got is a highly compelling album number.

Intro: Pound Of Flesh is the start of, arguably, the most ambitious moment on Volcanic Rock, for this dramatic, tension-filled instrumental is stunning as it leads into the idyllic Shylock.

Shylock is the masterpiece that you’ve been waiting for, for every tune, thus far, has been leading up to what can be best described as one of the greatest metal numbers ever recorded, in all of recorded music history. It will not only compel you to listen to the album again, but it will simultaneously make you wonder why Buffalo was never a household name. It’s manic, unhinged, and unforgettable and is undoubtedly one of Buffalo’s finest moments.

From start to finish, Buffalo’s Volcanic Rock is an impressive statement in the history of Australian hard rock and heavy metal. It’s ferocious, unfiltered, and confident in its heaviness and while it could be suggested that Buffalo were merely mimicking their overseas influences, that would be to the detriment of the musical experience for they ultimately forged their own path, one distorted riff at a time.

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Paul McCartney & Wings – Band On The Run (Album Review)

As it pertains to Paul McCartney’s Wings era recordings, Band On The Run is one of two masterpieces, the other being Wings At The Speed Of Sound. Yes, each album from Paul McCartney & Wings features a series of notable tunes, but these two releases are true album experiences from the first note to the last.

Released in 1973, Band On The Run was the third studio release under the Paul McCartney & Wings banner and is, arguably, a significant improvement over Wild Life and Red Rose Speedway; in no small part due to the inclusion of recording engineer, Geoff Emerick. Coincidentally. Emerick won the Grammy Award for Best Engineered Album, Non-Classical, for his work on Band On The Run. While Wings had always been somewhat of a band affair, Band On The Run was even more a McCartney-focused production for he took on additional roles as drummer and guitarist, following the absence of Denny Seiwell and Henry McCullough, with both leaving the band prior to the recording of the album.

Of course, music is only one part of the equation. Anyone who appreciates physical releases will attest that the album artwork is one of the most important aspects of an album’s release, for it aims to connect us, more deeply, with the music contained within a particular record. In this case, McCartney & Wings didn’t disappoint as it’s one of the most compelling visual accompaniments from the era, featuring a sense of wonder that will see you staring at the album’s artwork throughout the entire runtime, wondering just who the band is running from.

Due to this compelling aspect, it’s fair to say that this is one release that could best be appreciated via a larger vinyl canvas. Alas, a vinyl edition has, thus far, eluded my grasp, but that need not matter too much as I was fortunate to have owned the Paul McCartney Archive Collection CD reissue and the streamed album artwork, via the Apple TV, is a somewhat adequate counterpart. At least, the streamed edition didn’t replace the original album artwork with that of the 50th Anniversary reissue.

Physical releases aside, the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is exquisite. While it lacks a touch of clarity and extension within the treble range, which was present on the CD reissue, the stream is most certainly smoother and a little more analogue sounding, with a slight roll-off in the top end of the treble range. It isn’t a drastic difference, but if you’re looking for a lovely facsimile that you can pump the volume on, the stream will most certainly please.

Despite generally focusing on two-channel audio, when you’ve got a classic album like this, redone in Dolby Atmos, you've got to check it out, and I’m certainly glad I did. While the stereo mix is perfect, the latest surround mix (from 2024) is a toe-tapping head-bopper that expands the album’s presentation, thereby making it an even more immersive experience. It’s done so well, and is so pleasurable, that I could see myself preferring this mix to that of the stereo release.

Interestingly, while the Atmos mix was released for the 50th Anniversary of the album, it was not issued physically; a shame considering Giles Martin and Steve Orchard did such an incredible job with the Atmos mix. Nevertheless, the stream is divine and only the purist of audio enthusiasts will lament the absence of a physical disc. If, however, you’re after a more detailed review of the Atmos mix, and how it compares to the previous surround releases for Band On The Run, may I recommend you check out Jonathan Cornell’s excellent review at Immersive Album Audio.

While some may wonder what my thoughts are regarding the Underdubbed Mixes, I’ve not given it much attention as I tend to favour original mixes, despite my interest in the Atmos mix. I also won’t be referencing the non-album single Helen Wheels as I don’t feel it’s a particularly strong song or well suited to the album. I do, however, acknowledge that for those of you in the United States, the inclusion of this song is how the album was originally experienced, but I’d prefer to stick to the original linear structure from the UK release.

Band On The Run is an incredible opening tune with a dreamy mid-tempo approach that leads into an upbeat number bursting with Beatles-esque styling that’s both intricate and melodically rich. It is, without a doubt, one of the greatest songs McCartney has ever penned, and the layered structure and soaring harmonies further confirm the incredible nature of this toe-tapping, head-bopping, masterpiece.

Jet is a brash and infectious rocker that will capture your attention from the very first note. Built around a catchy riff, consisting of fuzzy guitar elements, punchy vocals, and arena-sized ambitions, Jet will light up any sound system, but is particularly appealing should you have an Atmos-compatible setup.

Bluebird shifts the tone of the album to that of an acoustic ballad that, depending on your perspective, will infuse a breath of fresh air into the album following the intensity of the previous tracks. That said, it flows seamlessly and the laid-back rhythm, accompanied by perfectly layered musical elements, ensures that this pure and simple song is a pleasure to listen to and is one of the many highlights from the album.

Mrs. Vandebilt, with its irresistible groove, slightly offbeat lyrical style, and joyful energy, is simply unforgettable and will likely result in a pleasurable earworm well after the album has ended. Overall, it’s a fun tune and is 100% McCartney, in that regard. What more could we ask for?

Let Me Roll It is simply magnificent! Whether intentional or not, Let Me Roll It feels like a homage to John Lennon with McCartney delivering the lyrics in a similar manner to his former bandmate. It isn’t only the vocals, however, that have the Lennon feel for this is one song that could have easily suited inclusion on Lennon’s Imagine. Regardless of the similarities, the crunchy bluesy guitar riff and chosen percussion are stunning, ensuring that Let Me Roll It is not only a standout within McCartney’s back catalogue, but it’s worthy of being included as one of the greatest songs from the 70s.

Mamunia is another of McCartney’s lighthearted tunes with a laid-back groove, whimsical lyrics, and perfectly layered harmonies. While not as immediately arresting as some of the other songs from the record, Mamunia is deeply charming and, with a touch of reggae inspiration, is perfectly suited to the era as well as the flow of the album.

No Words is a solid pop-rock tune that holds the structure of the album together, but it isn’t the strongest song on the record and is unlikely to be one that you will return to, outside of the album’s linear structure.

Picasso's Last Words (Drink To Me), with its fragmented structure and theatrical styling, shouldn’t work, yet it does. It showcases McCartney’s musical innovation and experimentation and the callback to earlier tracks is simply extraordinary. When someone says they don’t make music like they used to, this song and its unique approach to creating a piece of musical art is a wonderful example of just how true that statement (sometimes) is.

Nineteen Hundred And Eighty Five closes the album with an explosive, piano-driven number that encapsulates the excitement heard throughout the entire record.

Ultimately, Band On The Run is more than just an incredible album, it’s amongst the very best works McCartney has ever had a hand in producing and is one of the greatest records in all of recorded music history. With its ambitious songwriting, stylistic diversity, and flawless tracking, Band On The Run is one of those classic records that is, absolutely, worthy of the respect it receives.

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Russ Ballard – The Fire Still Burns (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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Ratt – Invasion Of Your Privacy (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Mötley Crüe – Theatre of Pain (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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