ABBA – Ring Ring (Album Review)

As far as debuts go, ABBA’s Ring Ring is highly compelling, offering a glimpse of a band that would ultimately take the world by storm. Naturally, at the time, it would have been just another release, by another band, but with the benefit of retrospect, we can see the origins of ABBA’s undeniable sonic characteristics that would continue to appeal to music lovers the world over.

While Ring Ring may not have the spit and polish heard on some of their later albums, there’s a natural charisma to this debut that remains captivating and, in some ways, as bewitching as the record’s artwork. Okay, so the cover art may be a little corny by modern standards, but the mirrored snapshot works exceedingly well in capturing your attention. It’s also far more appealing on the larger vinyl canvas; an impactful aspect that no streaming service can match.

While I thoroughly appreciate the Apple Music stream, presented as an Apple Digital Master, I’m also fortunate to own the 2020 vinyl reissue of The Studio Albums. I am pleased to report that that too is sonically beautiful and, as it pertains to track listing and artwork, it honours the original Swedish release whereby the Swedish version of Ring Ring (Bara Du Slog En Signal) is positioned as the album’s opener and the additional track on international versions, She’s My Kind Of Girl, remained absent as in it’s position on the original release was the English language version of Ring Ring.

Yes, dear reader, for those of us interested in the artist’s original intent, the plethora of reissues has complicated things. Interestingly, no matter which version you listen to, they’re all sequenced perfectly. It’s as if it was always meant to be that way. Still, the confusion associated with the various releases does little to appease one’s mind for the ultimate edition of Ring Ring is still a, somewhat, elusive proposition. With that in mind, however, this review will focus on the more readily available 12-track international edition, minus the bonus tracks that are included in the Bonus Tracks release; you’ve got to draw the line somewhere and I feel the core 12-track international release is ideal as it pertains to the flow and overall sense and style of Ring Ring.

As to which is sonically preferred, based on the two editions I have access to, I’ll give the stream a slight advantage, mainly due to the lack of surface noise and convenience it offers. Regardless, either of these options are about as good as you’re ever likely to hear Ring Ring sound and, yes, I have experience with earlier vinyl reissues that weren’t up to par and the CD Deluxe Edition, from 2013, that’s noticeably more shrill and fatiguing to listen to. Contrast that with the aforementioned versions and I can easily listen to Ring Ring for hours on end.

Ring Ring is corny, cliché, and quintessentially ABBA. Sometimes an addictive pop number is all that’s required and the lighthearted musical styling offers a perfect opening to the record and showcases ABBA’s knack for crafting, catchy, timeless tunes.

Another Town, Another Train may slow the tempo a little, but despite the more sombre styling, Another Town, Another Train, hints at the emotional depth and acoustic arrangements that would meld into ABBA’s more ballad-folk-styled ambitions. Regardless, this is a magnificent tune and showcases just how incredible the four core members were together, even in their early days.

Disillusion focuses on the vocal aspects of the recording and is amongst Agnetha Fältskog’s finest recordings. Coincidentally, Disillusion is the only song to have been penned by Fältskog that was recorded by ABBA for a studio release. Stunning is certainly one way to put it for while it may not be one of ABBA’s most well-known hits, and has never been included on a compilation release, it’s without a doubt, one of the greatest ballads ABBA ever recorded and deserves far more respect and attention than it often receives for this heartfelt performance is a standout.   

People Need Love is a solid tune with an upbeat tempo, harmonious vocals, and a positive perspective; an aspect that isn’t always at the forefront of music, but is a message that is needed now, more than ever, as contemporary society marches towards an uncertain future.

I Saw It In The Mirror is a tune that you’ll likely find yourself turning down if other people are within earshot. It isn’t a fundamentally bad song, it’s just that the vocal presentation is jarring and isn’t great while the tempo is also a little too slow for my liking.

Nina, Pretty Ballerina is one of the greatest songs ever written and recorded. Call it a guilty pleasure, but each time this song comes on, I’m captivated from the first note to the last. Yes, on some masterings of this song, the chorus can be too shrill, thereby making it marginally unlistenable, but thankfully the Apple Music stream has no such audible issues and you’ll find yourself toe-tapping and head-bopping along to this classic tune. The playful melody, vivid storytelling, and excitement of the song make it a standout on not only Ring Ring but also within ABBA’s illustrious career. The only disappointment is that it has been somewhat forgotten, outside of this album’s linear structure, that is.

Love Isn't Easy (But It Sure Is Hard Enough) is a solid tune that will see you toe-tapping and head-bopping along, but its strength lies in the fact that it isn’t pushing new ground, instead playing into the sound that would ultimately make ABBA famous; with a touch of country influence, for good measure.

Me And Bobby And Bobby's Brother is another of ABBA’s cringeworthy recordings, but I’ll be damned if I don’t have a smile from ear to ear every time Me And Bobby And Bobby's Brother comes on. Sometimes the corniest of songs are the most memorable and while it may not be a landmark release, for there are so many from ABBA, it’s a thoroughly enjoyable tune.

He Is Your Brother is uplifting and the song’s message of unity is thoroughly appreciated. It’s also a song that I need to remind my children to listen to for most siblings, regardless of gender, could benefit from solidarity at certain points in life.

She's My Kind Of Girl is an incredible tune that, as mentioned earlier, was originally omitted from the original Swedish releases. With a Hollies’ feel to the recording, She’s My Kind Of Girl will likely appeal to many who have an appreciation for 60s-era recordings.

I Am Just A Girl is beautiful! Fältskog, yet again, shines on this delicate number. It's so memorable that you’ll find yourself returning to the album for this song alone as it becomes a pleasurable earworm that will stay with you long after the album has concluded.

Rock'n Roll Band closes the core album structure on an energetic note with a rock and roll flair that will encourage you to spin the record again for Ring Ring can never be listened to only once.

Ring Ring is a wonderful opening chapter for the storied career of ABBA, and while it may be ranked as my seventh favourite studio album by the Swedes, it’s only that the latter albums are so incredible that Ring Ring takes somewhat of a backseat. Nevertheless, every time I play the record I thoroughly enjoy every moment and can say with all honesty that it’s as good a place as any to introduce newcomers to the band; although the same could be said for ABBA Gold. Either way, it’s ABBA, you can’t go wrong!

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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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Tom Waits – Closing Time (Album Review)

Tom Waits’ Closing Time is a lauded over, timeless, masterpiece. Yet, for newcomers, it may take a few listens to fully appreciate this release. That was the case for me as I only mildly enjoyed the album the first time I heard it. With three to four follow-up listens, however, I not only connected with the structure of the album and its songs but the fluidity and sonic presentation melded with my soul in a manner that I was not expecting. Hence, it is true that those albums that don’t immediately grab you upon first listen can, indeed, become amongst the most treasured within your collection.

Released in 1973, Closing Time was Waits’ debut; one that would cement his legacy and become the foundation on which all other creativity would stem from. While much of this release can be pigeonholed to the folk genre, limiting it to that styling would be a disservice to the jazz and blues aspects heard throughout the record. Waits’ smoke-filled raspy but equally tender vocal is a standout throughout, but the entire production and chosen musicians have made this record the revered release it is, for it is amongst the greatest in all of recorded music history.

As it pertains to Apple Music's Hi-Res Lossless stream, for the 2018 remaster, every musical aspect is clearly presented within the mix with no concealment whatsoever. The soundstage is wide and enveloping and is so pleasant that you’ll find yourself listening to this masterpiece on repeat for there is no fatigue to experience. Interestingly, Waits and his wife (Kathleen Brennan) supervised the remastering of the album and while some will lament this aspect, I often find that when the artists, or the album’s producer, are involved in the remastering process, the result is often excellent. Of course, there will be those who prefer the original mastering, and that is understandable given the long legacy of this release, but for this music lover I take comfort in the knowledge that, subjectively, I don’t feel there’s room for improvement. It, really, is that good!

So, with that in mind, join me and let’s take a look at the songs that make up this legendary release.

Ol' ’55 is an incredible tune, but it’s the Eagles’ cover, from On The Border, that is the most memorable interpretation of Waits’ original. Had the Eagles never recorded the song, then there would be no argument relating to the best version, for the more you listen to Closing Time, the more you appreciate Waits’ recording. Nevertheless, Ol' ’55 is a perfect album opener as it sets the tone for the entire record.

I Hope That I Don't Fall In Love With You is a beautiful song with a Dylanesque styling that is highly appealing and endlessly replayable. The melody is instantly memorable, and even though Waits’ vocal is somewhat recessed in the mix, it takes centre stage ensuring that this recording is utterly perfect and amongst the best Waits has ever recorded.

Virginia Avenue is a masterpiece with a laid-back jazzy feel, and Louisiana swamp sound, that is ideally suited to a night-time atmosphere that will compel you to head out to your nearest jazz club. Again, as is the case throughout, Waits’ vocal delivery is exceptional. However, the strength of Virginia Avenue lies in the music bed; one of the greatest to ever be recorded, by anyone.

Old Shoes (& Picture Postcards) has a lovely waltz presentation. While I’d class this as more of a folk-based tune, the country-styling and soft harmonies lean into a country music style that gives you a sense of familiarity; a trademark of the country music genre.

Midnight Lullaby is a beautiful song that’s soft and dreamy. The delicate piano, gentle vocals, and Delbert Bennett’s stunning trumpeting combine to ensure that Midnight Lullaby is one of the most memorable tunes on the album.

Martha is one of the greatest ballads ever written and Meat Loaf covered it exceptionally well on his 1995 release, Welcome To The Neighbourhood. However, as much as I enjoy that interpretation, in this case, Waits’ is the standard all others will be measured by. It, really, is Waits at his poetic best.

Rosie is the perfect song to follow Martha as Waits crooning, amid a soft jazz-blues folk styling, is simply exquisite.

Lonely is stripped down with a slightly sombre tone, compared to the rest of the songs on the album. That isn’t a negative aspect, however, as the sparseness evokes deep and raw emotions that can be equally appreciated via lyrical or musical perspectives.

Ice Cream Man picks up the pace and if you’re not shuffling around on your feet, you’ll most certainly be toe-tapping and head-bopping to this lively tune.

Little Trip To Heaven (On The Wings Of Your Love) is a song straight out of a smokey jazz club. The subdued trumpet and piano swirl around Waits’ vocals, which add to the rich and heartfelt nature of the song, but the entire band recorded what should be considered a textbook-perfect performance.

Grapefruit Moon continues the late-night reflective jazz styling that is both contemplative and thoroughly relaxing. Yes, the arrangement is delicate, but it allows Waits’ vocal performance to shine.

Closing Time as an instrumental number is the perfect closer to the album. The melody is gentle and soothing, allowing the listener to sit in reflection of the music they’ve just heard, whilst simultaneously encouraging them to listen to the record again.

Despite not setting the charts on fire, upon release, Closing Time has maintained a slow build of appreciation throughout the decades and is highly regarded in the modern era. Undoubtedly, Waits’ time at The Troubadour was imperative for it allowed him to hone his original compositions, and band dynamic, before hitting the studio. His ability to blend folk, jazz, and poetic lyricism into a unique sonic presentation is the foundation for all his future works and even if this release has its detractors, compared to his later grittier compositions, it’s amongst his most accessible and is one of the best albums released in the 70s; particularly 1973.

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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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