Joe Cocker – Cocker (Album Review)

By the mid-80s, Joe Cocker had cemented his reputation as one of the most soulful and raw vocalists within the pop-rock genre. With a gravelly vocal that could tear the roof off one moment and break your heart the next, he entered 1986 with Cocker, his tenth studio album; a polished and radio-friendly release that continued his 80s-era reinvention while also being an ideal follow-up to the thoroughly enjoyable Civilized Man.

Though not as gritty as his earlier material, Cocker embraces slicker 80s production values without compromising his signature emotional intensity. The rich blend of ballads and mid-tempo rockers will appeal to just about all music lovers, and while the album artwork isn’t anything to fawn over, it’s ideal for Cocker in that it’s what one would have expected from a solo artist during that era.

Naturally, an 80s album has that well-acknowledged sheen to the production, and despite the Lossless Apple Music stream being sonically appealing, the album is somewhat of an enigma, as it has, certainly to my knowledge, never been remastered. Hence, one would assume that the Apple Music stream would offer the CD-equivalent counterpart, but the album is delivered at 24-bit rather than the CD’s 16-bit. Hence, it isn’t a direct 1:1 parallel.

While it pleases me to note that the album hasn’t been remastered to questionable modern standards, it’s both a blessing and a curse, as a reissue campaign would be much appreciated for those of us who have come to appreciate Joe Cocker’s extraordinary catalogue in recent years. Still, the streamed edition is thoroughly enjoyable, and I wouldn’t be surprised if it weren’t the same mastering, that has been used on previous CD releases, just the studio-quality version before it was truncated from 24 to 16 bits. Yes, the 80s recording, mix, and mastering sheen remains present, which may deter some, but it’s otherwise thoroughly enjoyable and dialling back the treble range slightly can bring forth a little more warmth in the album’s reproduction should that be your intent. Even if it’s not, join me as I take a look at the songs that make up this often underrated release.

Shelter Me is a great opener, with synthetic elements that, admittedly, connect it to the mid-80s, but Shelter Me has a timeless quality that ensures this classic tune can be appreciated indefinitely.

A To Z has a playful groove that will see you moving your body involuntarily to the rhythm. The arrangement is sleek, complete with funk-laden bass lines and synth embellishments, while Cocker’s performance is spirited, giving this track a sense of fun and ease that lightens the overall mood of the album. While it may not be amongst Cocker’s most well-known songs, this deep cut is one of his greatest recordings.

Don't You Love Me Anymore is a standout and is amongst the most heart-wrenching power ballads the Englishman ever recorded. Cocker’s vocal is raw, cracked in all the right places, giving the lyrics a level of authenticity that is seldom heard.

Living Without Your Love continues the emotional thread, with another touching ballad, this time with a more subdued, introspective tone. The arrangement is understated, allowing Cocker’s vocal space to breathe. While songs like this were never intended to be chart-topping hits, it’s album tunes such as Living Without Your Love that are a core component as to why Cocker is such an incredible album.

Don't Drink The Water is a solid mid-tempo blues rocker that is perfectly positioned within the album’s structure as it bridges the gaps between the previous ballads and the rockier You Can Leave Your Hat On.

You Can Leave Your Hat On was originally recorded by Randy Newman and released on his 1972 album, Sail Away, and while it’s a solid recording, Cocker takes it to another level with his gravelly vocals and a more funky vibe. As such, You Can Leave Your Hat On is not only a standout from Cocker, but it became a defining moment in his career; one that was already illustrious.

Heart Of The Matter is a little less bombastic than You Can Leave Your Hat On, but the subtleness not only appeals to the song but also allows the listener to appreciate the previous song before Heart Of The Matter opens up throughout the chorus. Again, it’s songs such as this that ensure the album experience is upheld.

Inner City Blues is a Marvin Gaye original that was released on his renowned 1971 record, What’s Going On, and it was a bold move on Cocker’s part to record it, but he pulls it off with his own smoky, rock-tinged approach. Despite not necessarily reinventing this classic tune, Cocker pays homage to the original with sincerity and strength.

Love Is On A Fade is a melodic toe-tapper that rewards those of us who listen to Cocker repeatedly, for a song need not be a hit for it to be thoroughly enjoyable.

Heaven closes the album with a serene, uplifting, soulful ballad. It’s an ideal closer that permits a reflection of the music that’s just been heard, as well as simultaneously encouraging you to play the record again, as Cocker’s vocal is exceptionally moving, and you’ll want to hear more of his gravelly tones.

While it’s easy to consider Cocker as an album with only one major hit and, therefore, dismiss it, to do so would be short-sighted. Cocker may be firmly rooted in the mid-80s production qualities, complete with synthesisers and slick arrangements, but Joe Cocker’s vocal and overall style remain timeless, ensuring that it’s a standout from his celebrated career and is amongst the greatest records released in the 80s, particularly in 1986.

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Alice Cooper – The Revenge Of Alice Cooper (Album Review)

They’re back!

The Alice Cooper band has returned after a five-decade hiatus with one of the most anticipated releases in recent memory. Yes, Alice Cooper — the man, the myth, the legend — has remained active as a solo artist, with a series of rotating band members, since 1975’s classic Welcome To My Nightmare, as the last studio album featuring the original Alice Cooper band was 1973’s exceptional Muscle Of Love. Yes, Michael Bruce, Dennis Dunaway, and Neil Smith have all collaborated and recorded with Alice in recent years, but it was via a series of tracks rather than an entire album. So, after so many years, could the original Alice Cooper band’s magic be recaptured?

The results speak for themselves. The Revenge Of Alice Cooper is not only a triumphant return, but it’s one of the finest album experiences in recent rock history.

Let’s be honest, not all legacy comebacks are noteworthy. Voyage failed to live up to ABBA’s legacy. AC/DC’s Power Up was adequate, at best. The Rolling Stones, however, proved that an exceptional new release, from a legendary band, was indeed possible with the release of Hackney Diamonds in 2023. And now, Alice Cooper joins that rarified group of artists who’ve managed to deliver a genuinely compelling modern release, not just for the longtime fans, but for music lovers the world over.

As you listen to The Revenge Of Alice Cooper, it becomes abundantly clear that this record is, above all else, an album experience. There may not be a runaway hit on the scale of “School’s Out” or “I’m Eighteen,” but that’s beside the point. This is a cohesive, confident, and utterly enjoyable record from start to finish. Yes, “Crap That Gets In The Way Of Your Dreams” and “Famous Face” feel like natural single choices, but neither has been released as a single. Even “What A Syd” would have been single-worthy as its whimsical nature, tongue-in-cheek lyricism, and unmistakable flair is quintessentially Alice, without the shock-rock elements, of course. Interestingly, the single release schedule mimicked the album’s linear structure. Perhaps the intent was to focus on the album’s overall structure and flow, but it feels as if this was a missed opportunity to highlight some of the album’s standout tracks, despite the first three being highly compelling.

From the first spin, it’s clear that this isn’t some half-hearted reunion. The Revenge of Alice Cooper sounds like a natural continuation of the band’s classic 70s output, but with modern production values. There’s a fluidity and tightness here that suggests the band never really went away; they were just biding their time to release what will most likely become a landmark record. That’s no accident, and much of the credit goes to long-time producer Bob Ezrin, who also mixed the record. A vital architect of the original Alice Cooper sound, Ezrin’s fingerprints are all over this release, just as they were on Love It To Death, Killer, School’s Out, and Billion Dollar Babies. He knows how to get the best out of Alice, usually, and it shows. His return ensures that The Revenge of Alice Cooper not only sounds authentic but fresh, bridging the gap between the past and the present without ever sounding like a nostalgia trip.

Speaking of how the album sounds, the Lossless Apple Music stream is mastered a little louder than I’d ideally like, resulting in a touch of listening fatigue that may have you turning the volume down, rather than up. There’s minor crunching at the top end of the audible spectrum, which is a shame given how exceptional the music as a whole is, but if you can handle a little cymbal crunching, or dial back the treble on your system, you’ll likely find that it is more than acceptable as the album is, otherwise, sonically beautiful.

Of course, it isn’t only the music that’s appealing when it comes to this release, as the artwork invites the listener in. The visual aesthetic is unmistakably Alice Cooper, and it sets the tone before a single note is played. As to which version I intend to pick up for my collection, I’m going with the CD release. While I’ve no doubt one of the vinyl variants would look extraordinary, the price of vinyl is a little too high these days for this music lover. Plus, I’ve grown weary of double LP releases as the flipping of sides gets old, and at 54 minutes long, a single record release would have been far from ideal, as it would either need to be sonically compromised or truncated.

The Deluxe Box set looks incredible, but as there are only 5,000 available worldwide, all you super duper Alice Cooper fans have, seemingly, already purchased your copies. Truth be told, I love the concept, but I would rarely wear the T-shirt, and while the bonus 7-inch vinyl, exclusively containing Return Of The Spiders 2025 and Titanic Overunderture, is desirable, I prefer focusing on core album experiences these days. So, with that in mind, join me as I take a look at the songs that make up The Revenge Of Alice Cooper.

Black Mamba launches the album in the sinister tone that is trademark Alice Cooper, with a spoken word introduction that has become a notable element in much of Alice Cooper’s music. While I question if it was the best song to be released as the lead single, there is an undeniable vibe that will see you toe-tapping and head-bopping along, and it’s, therefore, the perfect song to open the album with.

Wild Ones picks up the tempo, and while you may not be toe-tapping or head-bopping, you’ll feel compelled to pull out your air guitar on this fast, yet mid-tempo number as Cooper’s tempered vocal, atop the thunderous musical bed, ensures that Wild Ones is highly compelling.

Up All Night is a killer tune with an incredible rhythm and magnificent guitar tuning. The chorus, however, is a little campy, despite working exceptionally well with Cooper’s cheeky lyrical approach.

Kill The Flies is the song where I feel the album really starts to ramp up for the narrative-driven story arc, along with some incredible musical licks, is Alice Cooper 101 and will especially appeal to longtime fans. It’s, without a doubt, one of the best songs from the album and amongst the greatest the band has ever recorded.

One Night Stand is an interesting song for it’s got a Nick Cave & The Bad Seeds feel, and while it may not have appealed to me upon first listen, the more I play The Revenge Of Alice Cooper, the more I find myself captivated by this tune.

Blood On The Sun is a modern masterpiece. It sees Alice Cooper at their very best, and Ezrin’s production and mixing style can be heard throughout as it’s one of the most elaborate musical performances on the record. The layering of musical elements and overall soundstage is extremely enticing and is not only amongst the greatest they’ve ever recorded, but I feel that this will be a standout from the album in the years and decades to come.

Crap That Gets In The Way Of Your Dreams flows perfectly from Blood On The Sun, and if you haven’t turned the volume up, now is your chance, for this hard rocker deserves to be heard at ear-bleeding levels. There’s a ton of attitude to be heard here, but it’s the catchy chorus, guitar solo, and solid rhythm that will make this a fan favourite, especially when performed live.

Famous Face is another that has legendary status written all over it, for the fat guitar tuning, rock-solid rhythm, and Alice’s incredible vocal prowess make this a memorable tune that will have you coming back time and time again. It also helps that the chorus is catchy enough, so much so that Famous Face will likely become an earworm for many of us.

Money Screams has a ‘60s meets the ‘70s feel to it with a touch of punk. It isn’t, however, the strongest song on the album, yet I can’t quite put my finger on what is missing. Alice’s chosen vocal style is a little too different to what we normally expect from him, but it also has teeny bopper film vibes to it that take away from the song itself. Still, as an album-only number, it’s solid, but should have probably been excluded from the record and kept as a B-side for a later release.

What A Syd has a jazzy rhythm that harkens back to Cooper’s blackout era, particularly that which was heard from 1977’s Lace And Whiskey. As such, given that it is one of my all-time favourite Alice Cooper records, I adore this tune and only wish that it were longer, or that there were more songs on the album that were written and recorded in a similar manner.

Inter Galactic Vagabond Blues is a solid hard rocker with a blues-band feel that, along with the harmonica, could only have been improved if it had included the use of a cowbell.

What Happened To You, aside from being a killer tune, is a tribute to Glen Buxton, who is sadly no longer with us, having passed in 1997, for his original guitar licks can be heard throughout.

I Ain't Done Wrong is a song that you’d expect more from Aerosmith than Alice Cooper. It isn’t bad, it just lacks a little bit of Alice Cooper’s originality.

See You On The Other Side is the only misstep on the record, for as a would-be farewell song, it falls just short of its emotional target. While the intention is there, the execution feels too reserved, particularly in Alice’s vocal delivery, which doesn’t quite reach the vulnerability of a cracked note in his upper register. For reference, Kenny Rogers nailed this aspect on his posthumous release, Life Is A Song, with the song Goodbye. Still, this minor disappointment doesn’t detract from the album, and you’ll find yourself rewarded upon repeat listens, for this is one record that is going to get better the more often you listen to it.

Ultimately, The Revenge Of Alice Cooper is so impressive that if this were to be the final Alice Cooper album, it’s an ideal closing chapter to a spectacular career, and to do so with the surviving members of the original lineup is a dream come true for Alice Cooper fans.

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Lionel Richie – Dancing On The Ceiling (Album Review)

By the time Lionel Richie released Dancing On The Ceiling in 1986, the '80s pop machine was in full swing, as was Richie’s solo career. Hot on the heels of the blockbuster Can’t Slow Down, this third solo outing didn’t quite replicate the chart-topping dominance of its predecessor. Still, it delivered a polished, versatile, and emotionally rich collection of songs that showcases Richie’s genre-blending skill, vocal charisma, and his uncanny ability to write songs that transcend time.

Crafted with care and delivered from the heart, Richie takes listeners on a musical journey with Dancing On The Ceiling. From the dancefloor to reflective ballads, to a touch of reggae and a dollop of R&B, there’s never a dull moment as Dancing On The Ceiling is one of the very best albums from the era. The only distracting element appears with the inclusion of Night Train (Smooth Alligator) on most releases. Initially, this atrocious bonus track was only available via the CD release; however, it has also been included on vinyl reissues in recent years. The problem is that it takes you out of the album experience and is completely foreign to the rest of the music found on the album. This is, therefore, one of the core reasons why I am smitten with digital/streaming options, as I can easily omit this bonus track, permanently, from my Apple Music/iTunes Music library.

Speaking of Apple Music and the Lossless Apple Digital Master, it’s absolutely stunning. The sound is warm, full-bodied, yet detailed. It has the vibe of the 80s, and whoever undertook the Apple Digital Master process to get this sonic presentation out of the record should be commended, for I doubt you’d find a better mastering of the album. Yes, dear reader, it really is that good. But don’t take my word for it, hit play and let’s take a look at the songs that make up this landmark release.

Dancing On The Ceiling is a pure joy to listen to as its synth-driven, uptempo rhythm is impossible to sit still to. Sure, the spoken-word introduction feels a little unnecessary, especially if listening to the song on repeat, but the song’s so irresistibly pleasing that that aspect quickly fades away as the dance floor awaits, and this song gets the party started.

Released as the first single from the album, Dancing On The Ceiling performed well in the charts, reaching the Top 10 in most regions. The music video is delivered in a classic cringeworthy 80s-style, but there’s something strangely compelling about it that makes you want to watch it over and over again.

Se La is steeped in swaying reggae rhythms. The production is light and clean, with layered musical elements and backing vocals that instantly remind me of Bob Marley & The Wailers. While there’s a natural correlation, that is as far as it extends, for Richie has recorded the tune in his style, thereby making it truly his own. Se La may not be the best-known song from the record, but it’s one of the most musically satisfying Richie has ever recorded.

Ballerina Girl is one of Richie’s most stunning songs. Penned by himself, for his adopted daughter Nicole, it’s Richie at his most heartfelt. As a ballad delivered via a delicate piano with tender vocal phrasing and a tad of 80s musical styling, this is one song that will likely pull at the heartstrings of even the most hardened individual. It also happens to be one song that I’d love to see Richie perform in front of a symphony orchestra, for I dare say it would be a stunning performance.

Don’t Stop has a great rhythm, once you get over the shock from the smooth and relaxing Ballerina Girl, of course. Seriously, it’s one of the worst cases of bad tracking I’ve ever come across. Especially considering it’s the last song on Side A of the vinyl release. All I can think is that the next song, Deep River Woman, would have been the perfect closer for the first side and would have flowed far better from Ballerina Girl than Don’t Stop does. Don’t Stop isn’t a bad tune, not by any means; it just doesn’t sit well within the album’s linear structure and, due to its extended length, overstays its welcome slightly. Don’t Stop would have, however, been an ideal B-side to one of the album’s singles, but at the same time, Dancing On The Ceiling wouldn’t be the same without it.

Deep River Woman is a gorgeous tune that strips everything back to its essentials: harmony, melody, and soul, thereby allowing Richie’s extraordinary vocal presentation to become the focal point. Featuring the country group Alabama on backing vocals, the song blends gospel, country, and southern soul, with their inclusion perfectly complementing Richie’s overall style. While the song failed to set the charts on fire, it’s a creative high point on the album. Richie would later re-record the song with Little Big Town on his reimagined country-styled compilation album Tuskegee, but nothing quite touches the magic of the original.

Love Will Conquer All is another gem and is mid-‘80s R&B at its finest. From the layered vocals in the chorus to the mellow yet propulsive beat, it’s an uplifting love song that’s easy to fall into. Marva King’s backing vocals add an extra layer of richness and emotional urgency, enhancing the song’s power and overall message.

Tonight Will Be Alright is the quintessential album-only tune that, despite not hitting the emotional highs of its predecessors, is a lovely song with a pleasant melody and breezy vibe. I could easily imagine someone like Neil Diamond, or Bruce Springsteen, giving it a grittier, more impassioned rock edge. Still, it’s thoroughly enjoyable and is a reason why Dancing On The Ceiling is a fulfilling album experience.

Say You, Say Me is the song. It needs no introduction, and nothing really needs to be said about it other than it’s utterly perfect. The reimagined version, as found on Tuskegee, doesn’t have the vocal or musical prowess of the original, and while it’s good, the original is beyond reproach and ensures that Dancing On The Ceiling closes memorably, thereby encouraging you to play the album again.

Dancing On The Ceiling is, without a doubt, one of the greatest R&B/Soul albums of the 80s. Richie shows he can master the dancefloor, deliver tender lullabies, explore southern and reggae influences, and still deliver massive pop ballads that withstand the test of time. A true gem, in every sense of the word, that sounds just as good today as it did upon release.

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Crowded House – Crowded House (Self-Titled) [Album Review]

As far as debuts go, the self-titled Crowded House is amongst the greatest you’re ever likely to hear.

Released in 1986, Crowded House may be an album of the 80s, with its studio sheen, but its timeless appeal is due to Neil Finn’s heartfelt vocals, strong melodic instincts, and the band’s tight arrangements. Joined by drummer Paul Hester (also formerly of Split Enz) and bassist Nick Seymour, Crowded House is a masterclass in pop craftsmanship and remains one of the most enduring debuts in pop-rock music history.

Visually compelling, as much of Crowded House’s album artwork is, this debut will reward those who pick up a physical copy, particularly on vinyl, as the cover art is worthy of displaying amongst one’s record collection. While the streaming version provides an adequate visual facsimile (depending on screen size, of course), the Hi-Res Lossless Apple Digital Master delivers a stunning audible presentation that must be heard to be believed and is worthy of this classic album’s stature. Derived from the 2014 remaster series, there will be those who vehemently disagree with this assessment, as some will consider the remaster to be mastered too hot. While I appreciate that concern, as I grow older, I’m honestly getting tired of comparing editions and listening for differences. These days, if it sounds good, then that’s all I’m looking for, as the music is the most important element, and this remaster sounds really good.

As it pertains to the track listing of this self-titled release, depending on your region, the linear structure of the album has varied throughout the years. There have even been songs swapped and omitted but, thankfully, common sense prevailed upon the 2014 reissue campaign and it’s that version’s linear tracking that provides the backbone to this review, for it’s about as comprehensive as we’re ever going to get and the more I listen to it, the more this linear structure melds with my soul.

Mean To Me isn’t just an exceptional opening track that sets the tone for the music that’s to come, it was an ideal choice to be the album’s lead single as Finn’s vocals are slightly raw, full of urgency, and are perfectly aligned to the energetically addictive musical bed; aspects that would ultimately form the basis of Crowded House’s sound signature.

World Where You Live slows the tempo slightly, but this mid-tempo melancholic number, complete with jangly guitars and layered textures, is amongst the finest songs in Crowded House’s celebrated catalogue.

Now We're Getting Somewhere takes a slight left turn for the jangly elements remain, with a tight rhythmic pulse, but it’s a more straightforward pop-rock number. It’s a solid album tune, and despite being released as a single, it simply doesn’t engage my interest outside of the album’s linear structure, as I much prefer Crowded House’s more elaborately produced songs.

Don't Dream It's Over is, arguably, Crowded House’s most recognisable tune, and there’s little doubt as to why that is, for the song’s structure makes it a classic in every sense of the word. Add to that the haunting style, a technique that would be further explored throughout the exceptional Temple Of Low Men, and you’ve got an incredibly moving and memorable song that’s amongst the greatest ever recorded.

Love You 'Til The Day I Die is a sharp contrast to the mellow style of Don't Dream It's Over, but this punchy, somewhat chaotic number blends elements of funk and new wave to create a highly compelling tune. The layered musical elements are simply stunning, and you’ll find yourself immersed in a soundstage that is as deep as it is wide. Still, throughout all the complexity, every musical element and vocal lick is perfectly positioned in the mix, making this one of Crowded House’s greatest compositions.

Something So Strong is an uplifting guitar-driven number and another standout from the band’s extensive catalogue. The reason for its success is likely due to the bright melody, instantly engaging and sing-along lyrics, along with the song’s clean production, all of which makes Something So Strong quintessentially Crowded House.

Hole In The River is one of the darker, more moody songs from the album, and I simply adore it. Finn’s vocal control and delivery are masterful, but it’s the whole soundstage and layered presentation that make Hole In The River one of the very best songs Crowded House ever recorded.

Can't Carry On returns the album to a more upbeat rhythm, following a reserved introduction. The driving beat and unique vocal phrasing keeps the album interesting and showcases the diversity of not only Crowded House but also Finn’s songwriting.

I Walk Away, written by Neil Finn while he was a member of Split Enz, was also recorded by the New Zealand band and released on See Ya ‘Round in 1984. As to which I prefer, it would have to be this latter Crowded House recording. Of course, as a fan of Crowded House, and one who has never really been enamoured with Split Enz, my subjective perspective, in this regard, may differ from your own. Still, as a bridge between both bands, I Walk Away is ideal for those who want to hear more of Neil Finn’s brilliance.

Tombstone adds a lovely bluesy touch to the album with its stripped-down arrangement. As a deep cut, it’s thoroughly enjoyable, but few will seek it out on its own, outside of the album’s linear structure. Despite that, all songs need not be hit-worthy to be thoroughly enjoyable, and Tombstone ensures that this debut release is an album experience worthy of all music lovers’ attention.

That's What I Call Love closes the album with a sonically adventurous number, complete with swirling synths and a slightly off-beat styling that works exceedingly well, despite a departure from what has, thus far, been a guitar-driven sound. Again, diversity is key as it pertains to this release, and that’s what makes it so rewarding, as you’ll find yourself revisiting this classic album time and time again, for it can seldom be listened to only once.

Crowded House is a rare debut, filled with confident, eclectic, and timeless tunes. While it was launched into prominence thanks to hits like “Don’t Dream It’s Over” and “Something So Strong,” the album holds up because of its consistency and emotional range. Neil Finn’s incredible songwriting and vocal capabilities are unique in being capable of delivering stadium-filling tunes and deeply personal ballads while Paul Hester’s charismatic drumming style similarly impresses, as does Nick Seymour’s melodic bass work that gives the album its solid foundation. The culmination of all these elements ensures that this self-titled debut is amongst the greatest albums of the 80s, particularly of 1986.

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ICEHOUSE – Measure For Measure (Album Review)

By the time 1986 rolled around, Icehouse had already cemented themselves as one of Australia’s premier new wave/synth-rock acts. Measure For Measure, the band’s fourth studio album, would represent a further shift in refinement for the band, particularly following the rawness of 1984’s Sidewalk, as their sound evolved beyond the post-punk energy of their earlier works into a more lush, cinematic soundscape that would further embrace synthesisers and ambient textures.

Impeccably produced, mixed, and mastered, Measure For Measure is a pleasure for the senses as the music contained within isn’t the only extraordinary aspect, as the album’s artwork is stunningly beautiful and is amongst the greatest that Icehouse ever released. If you haven’t already, consider picking up the CD reissue from 2012. Not only does it sound exceptionally good, but the foldout digisleeve design takes the album’s artwork to another level of immersion and appreciation.

Speaking of immersion, regardless of how you choose to listen to this classic album, you’ll be met with a warm and full-bodied sound and a sonic signature that isn’t often associated with the shrill clarity of the early digital recording era. While I simply can’t recall how previous editions sounded, I can say with certainty that Steve Smart (Studios 301) did a fantastic job in remastering not only Measure For Measure but all of Icehouse’s studio albums for the 2012 reissue series.

The only challenging aspect when listening to Measure For Measure is whether or not you should include the bonus tracks, particularly the core CD-era bonus material, Too Late Now and Into The Wild. Both are exceptional, but to maintain the album’s original linear structure, given these songs weren’t included on the original vinyl and cassette releases, I’ve decided to stick to the original 10-track album structure, from the original Australian release, via the following playlist. However, if you’re after the bonus material, including the additional live tracks, click here for the complete Bonus Track edition.

Paradise opens the album with a pulsating synth element that adds to the overall atmosphere of the song as well as playing into the style of the album as a whole. Sonically expansive and immersive, the greatest aspect of Paradise is Iva Davies’ magnificent vocals, which hover over the entire musical bed. It’s an utterly perfect mix as there isn’t a single element that is overshadowed, and with the hypnotic groove and cinematic styling, Paradise is the perfect combination of art-rock and ambient pop.

No Promises, despite being the first single from the album, had previously been released on the Boxes (Original Motion Picture Soundtrack), from 1985, and was included in an original composition and a reprise, but it is this re-recording that stands out as the gold standard. Driven by a shimmering synth-pop rhythm and an uptempo beat, No Promises is another exceptional tune. More importantly, however, it showcases just how expressive Davies is as a vocalist, for his vocal reach knows few peers, especially regarding the high notes and control he has over his delivery.

Mr. Big shifts the tone of the album, somewhat abruptly, yet the more you listen to the record, the more you’ll appreciate the shift from Paradise and No Promises to this rockier, glam-infused tune. It’s Icehouse amongst their most playful, with a healthy dose of crunchy guitar riffs, a sassy delivery, and brass instrumentation by Simon Lloyd that shines and adds to the overall vibe of this addictively good song.

Angel Street returns the tempo to one that’s a little more contemplative while the near out-of-phase musical styling adds incredibly textured layers to the song. Is it a favourite? Not really, yet something is compelling about Angel Street. While I wouldn’t seek the song out on its own, I thoroughly enjoy it each time it plays within the album’s linear structure.

The Flame is a slow-building epic. The mood and atmosphere captivate and encapsulate the senses via the song’s three-dimensional soundstage, resulting in one of the greatest songs Icehouse ever recorded.

Regular Boys, as with No Promises, was originally part of the Boxes soundtrack, and although the original and reprise are solid, this re-recording is arguably better. However, it does present another significant structural shift in the album’s mood and tempo. While I’m used to it, having listened to this album since the 80s, I fear newcomers may get lost in the mid-tempo, synth-heavy style of Regular Boys, particularly if they only listen once. Interestingly, this shift wouldn’t be so dramatically noticeable should you have the Australian vinyl or cassette editions of Measure For Measure, as Regular Boys was positioned as the opening track on Side 2 of those releases. Hence, in the time it took for you to flip the record, or turn the cassette, the senses had time to readjust.

Cross The Border has always been a personal favourite, but despite the tribal percussion style, intricate melodies, and overall rock edge, what I would have once considered to be the best song on the album now takes a backseat to The Flame, proving that as artists evolve, so do the fans. Still, Cross The Border is a standout tune that suits the album’s structure perfectly.

Spanish Gold is a smooth, upbeat number that works remarkably well within the band’s ambient pop-styled framework. Presented in a hazy, almost dreamlike style, Spanish Gold represents another unique entry in the Icehouse catalogue, one that showcases their willingness to evolve beyond their core roots.

Lucky Me is one of the most abrupt rock-structured tunes Icehouse ever recorded. Still, the rawness shows diversity, and it’s a style that Davies and co would develop further via the more industrial Big Wheel album in 1993. Yes, it can be seen as being somewhat out of place on this release, but as alluded to earlier, once you’ve listened to the album several times, you’ll consider it to be perfectly normal and well-aligned, even with the more delicate songs on the album. Perhaps this is one reason why I appreciate such a diverse range of music, as this is one of the albums that I grew up listening to.

Baby, You're So Strange is utterly brilliant. The swagger, riff-heavy, distorted and crunchy styling, combined with Davies’ gritty, yet smooth, vocal delivery, makes for not only one of Icehouse’s most flamboyant numbers, but is a glam-rock masterpiece that is an ideal counterpart to the works of legendary acts such as T. Rex and David Bowie. It’s also a wonderful song to close the record on, and while CD/Digital releases have additional songs, Baby, You’re So Strange is the perfect album closer, for it will compel you to listen to the album again.

Measure For Measure is a masterful fusion of sophisticated art-rock with a touch of 80s pop accessibility that is, at times, unfortunately overshadowed by the exceptional Man Of Colours release from the following year. Still, some may find this era of the band to be too polished and experimental, especially when contrasting it against the band’s rawer rock-oriented origins. For this fan, however, Measure For Measure is the perfect evolutionary bridge that blends seamlessly with the music that has come before, and that which came after, and is amongst the greatest releases from 1986.

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Black Sabbath – Sabbath Bloody Sabbath (Album Review)

By the time 1973 rolled around, Black Sabbath was already a legendary powerhouse with few peers and Sabbath Bloody Sabbath, their fifth studio album, further solidified that position and is, without a doubt, one of their best releases. It’s also fair to say that it was their last great release, particularly from the original lineup. While that’s a subjective take, their subsequent records weren’t as cohesive, complex, or experimental. Add those elements into Sabbath Bloody Sabbath and what you’ve got is an idealistic album structure where every song blends perfectly within the record’s sequencing. Yes, there are standout tunes, but this exceptional release is first and foremost an album experience, one that should be enjoyed from the very first note to the last.

Adding to the exceptional music, the album’s artwork, by Drew Struzan, is stunning. While artwork in the modern era of streaming takes a back seat, the primary music format in 1973 was the vinyl record and artwork such as this was, in many ways, just as important as the music that was contained within. While the Apple Music stream, an Apple Digital Master (derived from the 2009 remastering sessions), sounds extraordinarily good, this is one album that everyone, including myself, should own, as it still eludes my physical music library.

Nevertheless, those of you who prefer a digital or streaming music collection will find much to appreciate in the 2009 digital remaster. Every musical element is perfectly positioned in the mix, and at no time is any aspect concealed, unless that was the intention. Additionally, the punch and power of the 2009 remaster is utterly perfect, meaning that the dynamic energy from the band shines through. It’s one of those times when I dare say that you’ll be happy with the streamed release and won’t feel the need to seek out a physical copy, aside from the lack of immersive artwork via pure digital offerings, that is.   

Sabbath Bloody Sabbath launches the album with one of Sabbath’s greatest and most sinister guitar riffs. It not only sets the mood for the entire album, but is amongst Tony Iommi’s greatest. The thick and thunderous styling ensures this title track is seething with aggression, while the interspersed hypnotic melody culminates in making this one of the most iconic Heavy Metal tunes in recorded music history.

While there’s no shortage of bands that have been influenced by Black Sabbath, if you take a listen to Silverchair’s early recordings, particularly from Frogstomp and Freak Show, you’ll come to appreciate just how much this tune, and Sabbath in general, has changed the course of music history.   

A National Acrobat is a masterpiece with a metal groove that is fuelled by a touch of funk. It is, however, the switching styles throughout that are most notable for the doom-filled riffs ideally meld with the upbeat funky rhythm to give A National Acrobat a thoroughly enjoyable musical bed, one that allows Ozzy Osbourne’s vocals to soar majestically above the mix.

While Metallica would cover Sabbra Cadabra on Garage Inc. in 1998, they melded elements from A National Acrobat with that of Sabbra Cadabra. The result is exceptional, and if you haven’t checked it out, you most certainly should give it a listen as it pays homage to the original songs while making the presentation of both songs uniquely different.

Fluff is one of the greatest tunes ever recorded. A stunningly beautiful instrumental is perhaps the best way to describe it because not only is it Black Sabbath 101, but it’s one of the most musically expressive compositions ever written; one that would stand up against the work of humanity’s most legendary composers. It’s truly remarkable!

Granted, some metal purists may see it as album filler, or a distraction, but don’t ignore this classic tune for it’s essential should one wish to fully understand and appreciate the breadth of Sabbath’s musical prowess.

Sabbra Cadabra is legendary, even though it was Metallica’s killer interpretation from Garage Inc. that would first introduce me to this incredible tune. This edition, however, sees Ozzy’s snarling vocals adjoin the swaggering riff that ensures it’s sonically infectious. The added funk elements further add compelling contrast to Ozzy’s demonic vocals and Bill Ward’s exceptional drumming, complete with dynamic shifts and creative fills, to culminate in one of Black Sabbath’s greatest songs.

Killing Yourself To Live will compel you to get out your air guitar, for this riff-driven number is heavy, brooding, and is perfectly aligned with Sabbath’s overall themes and style. The mix is rather interesting as Ozzy’s vocals are somewhat distant from the musical bed, but it adds to the overall sense of dislocation from societal norms and expectations.

Who Are You? is wonderfully experimental. While some may lament the use of synthesisers, when used as a creative tool to achieve a sound, it can be a benefit rather than a distracting element. That is certainly the case for Who Are You? as Sabbath didn’t overuse the technique. The result is an otherworldly dystopian number that is slightly unsettling but perfectly suited to Sabbath and the album as a whole.

Looking For Today flows perfectly from the darker tone of Who Are You?, particularly considering the song’s upbeat energy and pop-rock styling. Still, again, as with much of the music heard on the album, it isn’t simply a matter of rock and roll, played hard, and turned up to 11, for the layers of musical elements, and associated arrangements, showcase a band at the apex of their creativity.

Spiral Architect closes the album on a lush, string-laden, style that is not only ambitious but feels cinematic in scope. As the song builds, and the riff comes into the mix, Spiral Architect comes into its own and is amongst the greatest songs Black Sabbath has ever recorded. Interestingly, if you’ve checked out the popular Apple TV+ show, Severance, I dare say that you’ll hear a slight correlation to the string element that made it into the television show’s theme.

No matter which way you look at it, Sabbath Bloody Sabbath is a beautifully complex masterpiece and if not their greatest release, is certainly amongst the very best the English rock legends ever released. It has a timeless quality that has transcended the decades but resides in that very special place of being amongst the greatest albums to come out of the 70s, particularly 1973.

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Bee Gees – Life In a Tin Can (Album Review)

Released in 1973, Life In A Tin Can is one of the Bee Gees’ most overlooked releases. From the moment disco fever took over, following the release of Main Course in 1975, most everything prior to that release was ignored by the broader music-loving public. While no one would ever wish that the Bee Gees hadn’t changed their approach, their earlier releases, with their original styling, are amongst some of the greatest recordings in all of music history. Granted, one really can’t take Life In A Tin Can seriously with its downright dorky album artwork, but it’s one of the Bee Gees’ greatest releases in their pre-disco era.

Life In A Tin Can is, ultimately, intriguing for as much as it builds upon the band’s origins, it incorporates more country and soft rock elements as the Gibb brothers embraced a more Americana style for this particular release. While some may lament that aspect, the shift in styling works remarkably well and in many respects, just as Mr. Natural can be seen as a further precursor to the band’s shifting sonic styling, Life In A Tin Can was vital to the evolution of the Bee Gees. Yes, we all want our favourite artists to keep pumping out the same music that first drew us to them, but when you have the creative genius of the brothers Gibb, to expect them to restrict themselves to a single style is incredibly short-sighted.

Sonically, Life In A Tin Can is masterfully recorded with no glaring issues to mention. Similarly, the Lossless edition, via Apple Music, offers a thoroughly pleasing reproduction that will satisfy most music listeners. That, however, can be said for much of the Bee Gees back catalogue (aside from Spirits Having Flown) that is available on Apple Music, for despite not being presented as an Apple Digital Master, you’d swear the available CD-quality stream is utterly perfect.

Saw A New Morning is a lovely album opener with a beginning instrumental presentation that ensures this is one of the album’s highlights. This soft rock number, underscored by acoustic guitars, warm harmonies, and a touch of country-rock is thoroughly pleasing to the senses and while it isn’t likely that you’ll find yourself singing along, you’ll undoubtedly find yourself captivated by the orchestral arrangement and the Gibbs incredible vocal presentation.

For uber fans, there’s also a touch of musicality, from this song, that would make its way to the hidden gem, Edge Of The Universe from their 1975 release, Main Course.

I Don't Wanna Be The One flows seamlessly from Saw A New Morning and despite being considerably different, given it’s a melancholic ballad, the shift is so masterfully done that your senses won’t skip a beat and you’ll only notice a difference should you be paying attention to the tracking of the album. While I may have mentioned that Edge Of The Universe is a hidden gem, and it most certainly is, I Don’t Wanna Be The One is another of those Bee Gees deep cuts that seldom get the attention or respect they deserve. Yes, the subdued arrangement may not appeal to all fans, but it’s also fair to say that I Don’t Wanna Be The One is amongst the greatest vocal recordings the Bee Gees ever made.

South Dakota Morning embraces a country-western styling, complete with a lap steel guitar that helps to create that rustic element that would remind anyone of the melodic tunes from the Eagles or Willie Nelson. While short, in duration, South Dakota Morning is a beautiful song that is not only worthy of the Bee Gees but is amongst the greatest recordings of the era. Seriously, if you know a Bee Gees fan, one that hasn’t ventured beyond their hits, send them a link to this song for its cinematic quality will quickly grab their attention and they’ll likely fall in love with the Bee Gees all over again.

Living In Chicago is simply stunning. From the delicate opening to the subdued orchestrations and harmonies that underlie the entire song, Living In Chicago is another hidden masterpiece in the Bee Gee’s celebrated back catalogue.

While I Play picks up the pace and leans further into the Americana and country music styling. It isn’t a bad song, far from it, and the musical bridge is notable, but it isn’t the strongest song on the album despite its toe-tapping influence.

My Life Has Been A Song is a lovely tune with Barry’s vocals being delivered beautifully with just the right amount of calm and vibrato, but it’s the chorus that takes My Life Has Been A Song to another level entirely for it’s got that earworm quality about it.

Come Home Johnny Bridie is a solid country-folk number. It’s neither a standout, nor a notable album-only tune, but despite having a touch of what could be considered Beatlesque styling, had the Fab Four recorded a country album, Come Home Johnny Bridie is an ideal filler track and sometimes that is all that’s needed for an album to be considered a top tier release.

Method To My Madness closes the album out beautifully. The vocal presentation is extraordinarily pleasing and while the vibrato in the vocal will impress, the slight variation in the musical bed adds to the song’s overall appeal. The result is that Method To My Madness is an idealistic closer that will encourage you to play the record again, for Life In A Tin Can can seldom be listened to once.

Life In A Tin Can may not have enjoyed commercial success, but that’s seldom a measure of quality. Instead, Life In A Tin Can is quietly ambitious and upon retrospection stands as one of the Bee Gees’ most creative works. Yes, the shift in direction, from baroque pop and orchestral ballads to a more American-influenced country and soft rock presentation would have varied public opinion, but the experimental shift works incredibly well as the subdued nature of the album is hauntingly beautiful, so much so that Life In A Tin Can can be considered a Bee Gees masterpiece.

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