Laura Branigan – Hold Me (Album Review)

Released in 1985, Laura Branigan’s Hold Me showcases her commanding vocal and ability to navigate genres ranging from power ballads to upbeat dance numbers. The album builds on her signature style while incorporating more synthesisers and polished pop production, reflecting mid-80s trends. While some tracks revisit her established themes of love and empowerment, others venture into new territory, offering a dynamic listening experience; one that far surpasses the quizzical album artwork.

In reality, Hold Me should be a perfect candidate for inclusion on The Worst (And Most Disturbing) Album Covers Of All Time list, but it’s indicative of the era and isn’t nearly as bad as many other albums included on that list. While it’s true that you shouldn’t judge an album by its cover, the album’s artwork would have deterred many, despite the music, contained within, being extraordinarily good.

Visuals aside, the sonic presentation of Hold Me is bold and dynamic, even when delivered as a CD-quality Lossless stream on Apple Music. To my knowledge, the album has never been remastered so we can assume the stream is representative of how the original CD would have sounded. Yes, modern listeners may need to learn where the volume button is, unless they adopt the Sound Check setting, to get this record to really sing, but there’s plenty of headroom available and it’s recorded, mixed, and mastered so well that you’ll be able to appreciate it at any volume level. Add to that a wide and enveloping soundstage and what you’re left with is a thoroughly enjoyable 80s pop era recording.

Hold Me is an ideal album opener and sets the tone for the entire record with its pulsating synths and urgent rhythm. Branigan’s powerhouse vocals drive the track forward, but it’s the catchy and emotive chorus that, despite not being easy to sing along to, acts as the perfect connective tissue for this exceptional 80s dance-pop number.

Maybe Tonight is a mid-tempo pop track with multilayered musical elements and harmonies that perfectly complement Branigan’s stunning vocal delivery. While not necessarily a standout, Maybe Tonight is a song that makes this album a top-tier experience, for there isn’t a dull moment to be heard throughout the entire record.

Foolish Lullaby is a lovely ballad, with a unique instrumental arrangement, that showcases Branigan’s beautiful vocal range and ability to convey deep emotion through song. The minimal arrangement further validates that aspect as it allows her tender performance to take centre stage and the result is that Foolish Lullaby will stay with you well after the album has concluded; it’s that good!

Spanish Eddie picks up the tempo and will see you on your feet dancing along. The energetic production, with its driving beat and vibrant melodies, ensures it’s one of the album’s most memorable tunes.

Forever Young is a sensational song and Branigan does Alphaville’s original justice. Her delivery is heartfelt and majestic, emphasising the song’s themes of timelessness and longing. More importantly, however, the transformation from a focused synth-pop anthem, to Branigan’s ballad style, works remarkably well and offers fans of the song another perspective of this classic 80s tune.

When I'm With You is a synth-pop rock masterpiece. The shimmering production style flows seamlessly throughout the song and you’ll find yourself turning the volume up for this is one song that should be listened to at ear-bleeding levels.

I Found Someone is an incredible song that was co-written by Michael Bolton and Mark Mangold. As stunning as this recording is, however, it is Cher’s, from her 1987 self-titled release, that is the one that received not only more radio airtime but is most likely the version that you’d be familiar with, especially if you’ve been unaware of Hold Me and this particular interpretation.

Sanctuary is a hidden gem and a killer 80s pop-rock album-only tune. While everyone loves the hits, and few seek out album experiences, it’s songs such as this that are essential for music lovers to find because an incredible tune may never make it to radio, a compilation, or a modern-day playlist.

Tenderness is a lush album-only song that is another jewel from Branigan as the mid-tempo styling, nuanced vocal performance, and textured instrumentation make it a memorable addition to the album.

When The Heat Hits The Streets is an ideal closing tune for the bouncy, upbeat, funk-infused styling compels you to play the record again as Hold Me can seldom be listened to once.

Ultimately, Hold Me captured Branigan at a pivotal moment in her career, balancing the power pop that made her famous with 80s pop and dance stylings that culminated in an exceptional album and is a testament to her artistry and versatility. While the album’s artwork will always raise eyebrows, this is one record that should not be overlooked, for that aspect alone, as doing so would be shortsighted for any fan of 80s music.

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John Fogerty – Centerfield (Album Review)

John Fogerty’s Centerfield marked a triumphant return for the former Creedence Clearwater Revival (CCR) frontman after nearly a decade-long hiatus from the music industry. Released in 1985, Centerfield showcases Fogerty’s signature swamp rock sound, infused with Americana and roots influences that result in the record being a timeless masterpiece.

While there’s no shortage of praise and accolades for Fogerty, Centerfield truly showcases how talented this multi-instrumentalist is. As with many of his other solo recordings, Fogerty acted as not only the sole musician, playing all instruments, but wrote and produced the entire record. Yes, other artists such as Paul McCartney have also used overdubbing to great effect and, in most cases, particularly here, it enables an artist’s artistic integrity and vision to remain at the forefront of their creative output. In Forgerty's case, Centerfield is amongst his most creative endeavours and challenges his legendary late 60s and early 70s output with CCR.    

Regarding the album’s artwork, some will love it, others will loathe it, and most will likely be ambivalent towards it. I lean towards loving it myself, particularly as a Baseball fan (Blue Jays & Seattle Mariners), but the darker colour tone does result in different editions being printed/represented differently and in some cases it is too dark, or too bright. Nevertheless, when the music is this good, one can overlook any shortcomings an album’s artwork may have.

Years ago I was fortunate enough to have owned the HDCD release of Centerfield and despite offering an exceptional musical experience, with an incredibly deep and immersive soundstage, I no longer have a CD player capable of properly decoding the HDCD element. Hence, my go-to is now the 25th Anniversary lossless Apple Music stream. While not as bombastic, it’s a perfectly respectable release that has the bonus advantage of being available everywhere, and anywhere, I choose to play it.

Despite enjoying the 25th Anniversary edition, longtime readers will note that I’m not a great fan of bonus material being added to an album post-release. I’ve, therefore, decided to share a playlist of the album’s core 9 tracks, rather than the extended album that includes My Toot Toot and I Confess; two songs which, with a touch of humour, could be the core of any number of jokes.

The Old Man Down The Road not only launches the album with a classic swamp rock number that harkens back to CCR’s heyday, but the song rocketed to the top of the charts when released as the album’s lead single. If the infectious groove doesn’t get you, Fogerty’s gritty vocal and the compelling guitar riff will.

Rock And Roll Girls is a breezy upbeat tune. The jangly guitars, sing-along chorus, and Fogerty’s incredible vocal delivery ensure that Rock And Roll Girls is a timeless rock anthem.

Big Train (From Memphis) shifts the tone with a song that blends Fogerty’s roots of rockabilly and country music with his unique styling. The result is a rollicking tune that is highly appealing and rich in historical influence.

I Saw It On T.V. is a quintessential toe-tapping head-bopper that highlights Fogerty’s storytelling prowess alongside his musical skill. It may be a slower, more contemplative moment on the album, but don’t let that deter you for this is an incredible number that is as relevant today as it was when first released in the mid-80s.

Mr. Greed is a biting critique of human greed with fiery guitar riffs and a passionate vocal delivery. The track’s raw energy and confrontational lyrics make it a standout and while the entire album is superb, this fusion of rock with sharp social commentary is ultimately cathartic for the listener.

Searchlight is one of the greatest songs Fogerty has ever recorded. The bold musical presentation makes it a joy for the senses as the rhythmic drive, and layered musicality, fill the entire soundstage with what can only be described as a sonic masterpiece.

Centerfield is, arguably, Fogerty’s most iconic song (particularly from his solo career), and for good reason as this playful baseball-inspired anthem captures the spirit of one of America’s favourite sports. From the clever wordplay to the unmistakable handclap rhythm, Centerfield is nothing short of a timeless classic.

I Can't Help Myself has an addictive rhythm and is the perfect song to follow the title track. The energetic instrumentation and upbeat tempo make it a quintessential toe-tapper; one that will stay with you long after the album has ended.

Vanz Kant Danz (formerly Zanz Kant Danz) has been a source of controversy for years as it’s a scathing jab at Saul Zaentz, the head of Fogerty’s former record label. Despite the controversy, it’s a musically compelling piece, due to the track’s funky blues-infused styling, that ends the album on a defiant note.

Centerfield was, ultimately, a masterful return to form for John Fogerty. The album’s diverse tracks showcase his ability to blend rock, country, and blues all while delivering powerful storytelling and timeless melodies. Balancing nostalgia with fresh creativity, Centerfield remains a cornerstone of Fogerty’s solo career and a beloved classic in the annals of rock music history.

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Jimmy Barnes – For The Working Class Man (Album Review)

Released in 1985, For The Working Class Man shook up the music industry locally and abroad with its seamless blend of hard rock, blues, and soul, reflecting Barnes’ working-class roots, musical influences, and his relentless, passionate, vocal style. Renowned for being the frontman of Cold Chisel, Jimmy Barnes would build upon his solo debut Bodyswerve (1984) and deliver an album of 12 tracks (several of which were remixed from Bodyswerve) that ultimately cemented his status as one of Australia’s most beloved rock vocalists.

Featuring blistering performances by all musicians, the spectacle of the album’s artwork most certainly lived up to its hype, for you’ll find yourself captivated from the very first note to the last. Of course, that wouldn’t be possible if it had not been expertly recorded. No, the album won’t win any audiophile awards for its production, but the grunginess of the recording perfectly matches the guttural tone of Barnes’ unique vocal presentation. That being said, the mastering of the album could be a little smoother.

Yes, the rough-around-the-edges approach works well, to an extent, and while I’ve been fortunate to have owned the album on vinyl as well, I’ve never truly been blown away by its sonic presentation. It's similar to Meat Loaf’s Bat Out Of Hell; an incredible album but one in which the listener has to accept that it sounds a certain way and even the most acclaimed editions aren’t going to be perfect. It’s moments like this that I lament the loss of tone controls, amongst modern stereo equipment, for that function, at least, allowed one to dial in the music to their subjective preferences.

That all said, the remastered CD-quality lossless edition, as delivered on Apple Music, is perfectly adequate and offers a solid sonic presentation that will appeal to most fans. If nothing else, at least it isn’t brickwall mastered as badly as Cold Chisel’s Circus Animals is; an incredible album made uncomfortable to listen to due to its ear-bleeding mastering.

I'd Die To Be With You Tonight kicks off the album with a high-energy rock anthem, driven by a melodic guitar riff and a compelling vocal performance that is amongst Barnes’ greatest. Complete with mid-80s Australian production values, and a radio-friendly sound, I'd Die To Be With You Tonight was always going to be a success on the charts but unknowingly became a trademark tune for Barnes.

Ride The Night Away was co-written by Steven Van Zandt (of Bruce Springsteen’s E Street Band fame) and Steve Jordan. As such, there’s a Springsteen-esque blue-collar rock feel that perfectly fits the album’s overall style and Barnes’ gritty vocals. Add to that the powerful driving beat, and anthemic chorus, and this song will stay with you well after the record has ended.

American Heartbeat is a hidden gem if there ever was one. Featuring a synthesised 80s production style, American Heartbeat would have been ideal for inclusion in any of the era’s films as it not only showcases Barnes’ ability to adapt to different styles, but it’s got a sonic signature that would have been ideal for films such as Top Gun.

Working Class Man is, arguably, the defining song of Barnes’ solo career; a song that has become an anthem for the Australian working-class spirit. The track’s uplifting yet gritty feel, coupled with its powerful chorus, made it an instant classic. While it is Barnes’ trademark tune, special mention needs to go out to the songwriter, Jonathan Cain (of Journey), for the American composer wrote one of the most beloved Australian tunes in all of recorded music history.

Without Your Love has a soulful element that Barnes would often delve into later in his career on releases such as Soul Deep. For now, however, this heartfelt power ballad is a lovely album-only number that showcases Barnes’ ability to convey vulnerability amongst raw power.

No Second Prize is a high-energy track filled with driving guitars and an unrelenting beat and is an idealistic counterpart to the song Working Class Man.

Vision is a killer bluesy number that sees Barnes alternate between smooth crooning and his signature raspy wail.

Promise Me You'll Call has a radio-friendly feel, with a catchy chorus and melodic hooks. While it may not be the standout or chart success that other songs on the album are, Promise Me You'll Call is an exceptional tune where Barnes’ vocal performance is amongst his very best. It’s songs such as this that ensure the album experience is coherent and memorable.

Boys Cry Out For War is rock and roll to its core. With a more aggressively charged musical and vocal approach, Boys Cry Out For War is one of the heaviest and most intense recordings on the album.

Daylight, with its funk and groove-focused rhythm, incorporating a blues-infused rock sound, ensures it's a standout; one that will see you coming back for more as Daylight lodges itself in your mind as an earworm.

Thickskinned is a deep cut featuring an old-school rock and roll vibe. The slightly rawer production works well with the song and Barnes’ vocal style, but it ultimately adds a little charm to the album as Thickskinned is a solid album-only tune.

Paradise is an ideal closer with a light-hearted styling that leaves you wanting more.

Ultimately, For The Working Class Man is a defining album in Jimmy Barnes’ career, showcasing his blend of rock, soul, and blues with raw energy and passion. Granted, the title track alone secured Barnes’ legacy, but the album as a whole is a powerful statement of resilience, determination, and working-class pride. Not only that, but it’s musically spectacular. The result is a record that is a classic release from the 80s, an essential listen, and one that has ultimately stood the test of time. There’s no doubt that For The Working Class Man is amongst Barnes’ greatest releases and worthy of inclusion in any record collection.

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Icon – Night Of The Crime (Album Review)

Released in 1985, Icon’s Night Of The Crime is an underappreciated gem from the glam metal and hard rock scene of the mid-80s. While it may not have achieved massive commercial success, it has since become a cult classic. Combining infectious melodies, searing guitar solos, and strong vocals to deliver a polished and dynamic sound, Night Of The Crime has a timeless quality about it, an aspect that will keep you coming back for more.

Part of the appeal is, most certainly, the album’s artwork as it’s stunning. While I haven’t been fortunate enough to own a copy on vinyl, there’s no doubt that it would look fantastic on the larger canvas, certainly far better than on streaming platforms. Yes, the artwork will never match the physical counterpart, but while not as impressive as one would hope, the lossless CD-quality Apple Music stream is utterly perfect.

It’s unclear whether this is the original mastering, or a remaster. Still, if we look at the details on Apple Music, it clearly states a publish date of 1985 and the files are supplied by Capitol Records, rather than Rock Candy; the label that reissued a remastered version on CD in 2005. Nevertheless, as I listen to the Apple Music stream I remain confident that it’s the original mastering as every musical element is perfectly positioned in the mix and there’s plenty of headroom meaning that you’ll feel compelled to turn the volume up and rock out.

Naked Eyes kicks the album off with a hard-hitting style that immediately sets the tone with its driving guitar riff and punchy rhythm section. Stephen Clifford’s vocals soar masterfully above the energetic instrumentation, delivering an anthemic chorus, thereby ensuring you’ll be immediately captivated.

Missing is one of the more melodic numbers on the album, but don’t let that aspect diminish this song for the mid-tempo groove is bolstered by atmospheric synths and another idealistic vocal performance from Clifford. Missing, ultimately, offers a perfect example of how a band balances power and vulnerability to create a lush and layered performance that still resonates today as much as it would have upon release.

Danger Calling embodies everything great about Night Of The Crime for the catchy hooks and galloping rhythm captures the excitement of the era. Danger Calling is, without a doubt, one of the best songs from the album and has all the markings of a radio hit. It’s interesting to note that it was never released as a single. What a missed opportunity!

Shot At My Heart is a driving song, there's no doubt about it, but be careful as you’ll find yourself toe-tapping and head-bopping as you pound your hands on the steering wheel. The power ballad structure, which then blends into a full-fledged rocker, is another example of the musical prowess of the band and Clifford’s exceptional vocal control. Seriously, he’s one of the best, and most underrated, vocalists in the history of rock music and Shot At My Heart further validates that statement.

Out For Blood has an incredible melodic opening with some killer guitar shredding before launching into a fast-paced rocker with a rebellious attitude. Capturing both the highly produced and polished nature of Icon, as well as their raw energy, Out For Blood is one of the best songs Icon ever recorded.

Raise The Hammer is exceptional! If you haven’t already, turn the volume up, for this hard rock number is magical and showcases the band’s technical skill, Dan Wexler’s guitar wizardry, and more of Clifford’s incredible vocal licks.

Frozen Tears is a power ballad in its purest form. The song’s cinematic instrumentation is a highlight and ensures Clifford’s impassioned vocals have the perfect sonic bed to lay upon. While it isn’t necessarily a standout, from the album or amongst ballads from the era, Frozen Tears is a lovely song that ensures the album experience is maintained.

The Whites Of Their Eyes returns the album to its faster, grinding, guitar-driven styling. The Whites Of Their Eyes may be easily overlooked as a straight-up rocker with an aggressive edge, but this thunderous tune would be incredible live as it has stadium filler written all over it.

Hungry For Love is another masterful tune that holds one’s attention, for its driving rhythm, electrifying guitar performance, and Clifford’s soaring vocals all combine to deliver another hidden gem.

Rock My Radio is a quintessential glam metal anthem, one with a sing-along styling that will leave a lasting impression. It’s the perfect way to close the album as it will not only encourage you to play the record again but will compel you to reflect on the music that you’ve just heard; a collection of songs that are amongst the greatest ever recorded.

Night Of The Crime is a stellar album that bridges the gap between hard rock and melodic metal, for its polished production, memorable songwriting, and skilled musicianship make it a must-listen for fans of 80s rock. Icon may not have reached the same heights as their contemporaries, but don’t let that dissuade you for Night Of The Crime has a deserving place amongst the greats and is, subsequently, one of the greatest albums from the era.

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Gary Moore – Run For Cover (Album Review)

Released in 1985, Gary Moore’s Run For Cover represents a pivotal moment in his career, showcasing his growth as a versatile guitarist and compelling songwriter. While this was his fifth solo release, one that presented a sonic shift towards a more melodic rock sound that incorporated elements of hard rock and blues, success was almost guaranteed as these were the elements that would not only define this record but Moore’s illustrious career.

Run For Cover may be recognised for exploring themes of love, resilience, and introspection, but it’s Moore’s exceptional performances on the guitar that are the highlight throughout the entire record. Yes, the polished 80s sound, blending synthetic elements, also helps to build a highly enjoyable sonic presentation, but when you have such an incredible artist as Moore, the result is a timeless release that will appeal to just about any music lover. However, some may not realise, certainly not immediately, that Run For Cover is more akin to a Gary Moore and Friends release as Glenn Hughes and Phil Lynott contribute to the lead vocals throughout the record. Still, despite this changing aspect, Run For Cover flows seamlessly and is an album experience from start to finish.

Produced, recorded, and mixed with kid gloves, the lossless Apple Music stream, a CD-quality counterpart, is not only thoroughly enjoyable but is truly engaging. Yes, it could do with a remaster, but the 80s production styling remains present within this particular master, ensuring that you’ll feel right at home with the sound of the recording; if you’re an 80s-era music lover, that is.

Run For Cover opens the record with a slow burn before setting the tone for the album with its driving rhythm and anthemic chorus. Out of all the songs from the album, this title track is, arguably, the most radio-friendly with Moore’s distinctive guitar riffs, and vocal licks, combined with synthesised elements that make this one of the best rock and roll tunes from the mid-80s.

Reach For The Sky has a blues-driven guitar styling that is immediately identifiable as Moore’s signature sound. While Glenn Hughes takes over on lead vocals, and the shift is noticeable, it’s not a distractive element, particularly after repeat listens. Nevertheless, the song's soaring presentation ensures it’s highly compelling and seamlessly blends with the other songs from the record.

Military Man was co-written with Phil Lynott and he also delivers the lead vocals masterfully with a bombarding style that is amongst Lynott’s greatest vocal presentations and perfectly fitting of the song’s subject matter. While not released as a single, Military Man is a hidden gem that deserves more attention than it often receives. Yes, the ballad-style shift midway is a little strange, until you get to know the song, but the more you listen to the album, the more Military Man finds its way into your soul for the combination of Lynott’s gritty edge and Moore’s poignant and expressive guitar virtuosity is a heavenly match.

Empty Rooms (1985 Version) is a re-recorded version of the song originally featured on Victims Of The Future. Choosing a preferred edition is nearly impossible as both are exceptional and the one I prefer tends to be the one I’m listening to in the moment. Let’s just say that we’re incredibly fortunate to have two different versions of what could be considered a career-defining song.

Out Of My System is your quintessential mid-80s album-only tune, but don’t let that deter you for this unassuming song will compel you from the very first note to the last, thereby ensuring that the album experience is maintained.

Out In The Fields is, arguably, the most iconic and likely the most recognisable tune from the album as it was the lead single and another perfect collaboration between Lynott and Moore. The dual vocals add depth, while the song’s explosive energy and intricate guitar work create a sense of urgency, thereby ensuring that Out In The Fields is an anthem of the 80s; even though it lacks a catchy, earworm-styled, chorus.

Nothing To Lose is a mid-tempo rocker that emphasises hooks and melody. Glenn Hughes once again delivers some killer vocals for this tune and it’s the perfect collaboration of these two great artists. As to why this tune was not considered for release as a single is anybody’s guess for it has chart-topper written all over it and is, arguably, the best song on the album.

Once In A Lifetime is most certainly ensconced in 80s synth-rock and, at times, it can be a little too dated to the era. That said, it’s a solid track but is unlikely to be the first song anyone thinks of when considering Run For Cover.

All Messed Up is a straightforward energetic rocker with Hughes on vocals. The hard-hitting approach, combined with raw guitar riffs, and a punchy rhythm section, is reminiscent of ZZ Top and is amongst the greatest recordings of Moore’s career.

Listen To Your Heartbeat blends rock and pop stylings, showcasing Moore’s versatility as an artist. It may be an album-only tune, but Listen To Your Heartbeat is a thoroughly enjoyable closing track that will encourage you to listen to the album again and contemplate the music you’ve just heard.

There’s no denying that Run For Cover is a landmark release, in Gary Moore’s career, for it bridged the gap between his hard rock roots and the melodic sensibilities that would define his legacy. The result is an album that captures Moore’s technical brilliance and ability to reach music lovers with a timeless emotional resonance. While Run For Cover will appeal to just about any music lover, fans of Moore, and melodic rock, will find this an essential listen and worthy of inclusion in their record collection.

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Feargal Sharkey – Feargal Sharkey (Self-Titled) [Album Review]

Feargal Sharkey’s self-titled debut is an impressive mid-1980s pop release. While many may have been familiar with Sharkey, from his time as the frontman of The Undertones, this initial solo release presents a significant departure from his punk and new wave roots. Embracing high production values, soulful melodies, and emotionally charged performances, Sharkey showcased that he could reinvent himself and deliver a standout release with timeless appeal.

Featuring a mix of ballads, pop-rock, and synth-driven numbers, this self-titled release is as uniquely interesting as the album artwork would lead you to believe. It also helps that one-half of the Eurythmics, David A. Stewart produced the album thereby showcasing that the Eurythmics’ stylistic shift with Be Yourself Tonight, and their subsequent success, wasn’t limited to a single instance.

As it pertains to the sonic qualities of this release, the CD-quality Lossless stream, from Apple Music, is adequate. As the album has yet to be remastered, what you’re hearing is the original CD-equivalent master, but it sounds a little thin. Granted, that is the sound of the 80s and early digital releases, so you’ll likely find yourself needing to add a touch of EQ to bring it in line with your subjective preferences. A slight increase in the treble and a little more oomph in the bass will likely yield results that would find you rocking out; even if this is a pop record!

A Good Heart is, without a doubt, the album’s standout track and is arguably the greatest song that Sharkey ever recorded. It’s a heartfelt anthem with a romantic yearning and offers a perfect combination of shimmering synths, touching lyrics, and a powerful chorus that is amongst the best 1980s pop has to offer.

You Little Thief is a sharp and bitter counterpoint to A Good Heart, yet the seamless flow of the album is maintained. With a driving rhythm, jangly guitars, and Sharkey’s passionate vocal delivery, You Little Thief is a highlight that is made more memorable by the incredible musical bed and soaring saxophone performance.

Ghost Train is an absolute masterpiece and a hidden gem. Its slower pace, layering Sharkey’s emotive vocals over a mix of subdued synths and addictively good percussive elements, ensures Ghost Train is one of the greatest Jazz pop songs in all of recorded music history.

Ashes And Diamonds is a run-of-the-mill album-only tune that is perfectly positioned within the era. That shouldn’t, however, be seen as a criticism for it is songs such as this that make this self-titled debut one of the best records from 1985.

Made To Measure is a mid-tempo pop-rock number and, as with Ashes And Diamonds, while it may not be a standout, the album would have suffered had it not been included for it adds variety to the album’s sequencing.

Someone To Somebody is a soulful ballad with some magical guitar licks that emphasise the delicate nature of Sharkey’s vocals. It’s a truly beautiful song.

Don't Leave It To Nature returns the album to an upbeat tempo, blending funk-inspired basslines with synth-pop elements and some killer harmonica thanks to Jimmy 'Z' Zavala. The song’s lively energy and memorable hooks make it one of the more danceable moments on the album and a highlight of production styles within the 80s.

Love And Hate with its darker, moodier tone, showcases the diversity of Sharkey but the production is so solid that despite the tonal shifts, the album experience remains paramount. If nothing else, you’ll find yourself toe-tapping and head-bopping along to what can only be called a hidden gem; a recurring theme of the album, once you get past the hit singles.

Bitter Man offers a dynamic mix of sharp lyrics and an infectious beat as Sharkey’s vocal delivery oscillates between vulnerability and strength. That said, the chosen mix and panning between left and right channels, while done respectfully, may drive some a little insane. After repeat listens you’ll find your mind grabs onto a singular element rather than randomly picking layered audible elements from the mix.

It's All Over Now closes the album with a song that features lush instrumentation and a powerful vocal performance. As far as covers of this classic song go, this is better than The Rolling Stones’ rendition and is, in my opinion, far better than the original from The Valentinos. Regardless, it makes for a fitting conclusion to the album; one that will encourage you to play the record again and reflect on the music you’ve just heard.

Ultimately, Feargal Sharkey’s self-titled debut album is a testament to his ability to reinvent himself as a solo artist. Combining emotionally resonant lyrics, with impeccable production values, the album’s mix of heartfelt ballads and dynamic pop tunes ensures its place amongst the very best recordings of the era. Yes, it has that mid-80s pop sheen, but it’s a memorable artefact of its time; one that is worthy of inclusion in every music lover’s collection.

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Eurythmics – Be Yourself Tonight (Album Review)

Released in 1985, Be Yourself Tonight marked a bold shift for the Eurythmics as they embraced a more accessible and soulful sound while retaining their core artistic integrity. Seamlessly blending rock, pop, soul, and R&B influences, along with Annie Lennox’s commanding vocals and David Stewart’s innovative production, Be Yourself Tonight solidified the Eurythmics place amongst the greatest 80s pop pioneers.

The album artwork may be on the plain side, but one advantage was that it was easily restructured to fit the Compact Cassette releases and the CD and Vinyl editions upon release. That aspect may not appeal to many, but for those of us who could only choose one format, in this case, the artwork design wasn’t truncated; particularly if purchasing the Cassette. It isn’t, however, nearly as complex a decision as we find ourselves in today whereby there are various masterings available for this classic release; all with pros and cons.

With four different versions, on Apple Music alone, to choose from, it would be logical to suggest that music lovers should be overjoyed with choice. That, however, couldn’t be further from the truth as determining the best version requires a series of comparisons and comparison is the ultimate thief of joy.

So, you may be asking, if it isn’t enjoyable to compare, why do it?

The simplest answer is that the various masterings of Be Yourself Tonight sound considerably different. Sometimes that difference is an improvement, other times it can result in a sonic presentation that lacks appeal, meaning you won’t come back to an album that you would otherwise adore. Think of it this way, salt can enhance food, but too much can make it inedible. The same applies to music and as much as I would like a singular master to exist (preferably the first one) that isn’t the way the music industry works. With that in mind, however, it’s fair to say that there isn’t a perfect master of Be Yourself Tonight.

While there are only three masterings available (as the fourth release on Apple Music is the 2005 Remaster with bonus tracks) that doesn’t make the comparison any easier. The 2018 Remaster is the only one to get the coveted Apple Digital Master tag and is available as a Hi-Res Lossless stream. The other editions are what is suggested as the original 1985 release as well as the 2005 remaster; both of which are presented as CD-quality Lossless files. It’s important, however, not to get hooked up on the numbers alone as higher is not always an indication of better and mastering quality is far more impactful than higher data rates.

There are undoubtedly many who wouldn’t care about which version is which, but if you love music as I do, then it’s important to make sure you’re listening to the one that represents the music as close to your subjective preferences as possible. As such, after much comparison, I find that I prefer the 2018 remaster to the other editions, with the original 1985 release a close second. The 2005 release, unfortunately, is mastered hot and, subsequently, loses some of the record’s ambience and atmosphere, thereby making some of the songs a little too brittle to be thoroughly enjoyed. Naturally, that is my subjective perspective and your viewpoint may well be different to my own. The only way you’ll truly know for yourself is to listen, but if you don’t wish to compare then stick with the 2018 remaster as we take a look at the songs that make up this legendary mid-80s release.

Would I Lie To You? Kicks the album off with a fiery, upbeat, anthem. Driven by a funky guitar riff and an energetic horn section, you’ll be hooked from the very first note to the last. Lennox’s powerhouse vocals dominate the track, but it’s the culmination of all elements, into an irresistible groove, that made it a chart-topping hit, and a timeless classic. It’s also an idealistic opener as it sets the tone for the entire album.

There Must Be An Angel (Playing With My Heart) is an exuberant pop masterpiece. The lush orchestration, combined with Lennox’s ethereal vocal (particularly in the chorus), is simply captivating and ensures that it’s one of the album’s defining moments. It has a Stevie Wonder vibe to it and while he had no hand in the writing, or production, of the song, his harmonica solo takes this song to another level of excellence.

I Love You Like A Ball And Chain harkens a little back to the Eurythmics core experimental roots, but is brought up to date with its gritty electric blues undertones. Lennox’s vocals are raw and impassioned, supported by Stewart’s razor-sharp guitar riffs and pulsating rhythm, thereby showcasing the duo’s versatility and making for a dramatic listening experience.

Sisters Are Doin' It For Themselves (With Aretha Franklin) is a timeless declaration of independence and equality and when you’ve got two of the most powerful voices in all of recorded music history, belting out this incredible song, it becomes nothing short of iconic. With a driving rock beat and gospel-inspired arrangement, Sisters Are Doin' It For Themselves is, without a doubt, one of the greatest songs of the 80s.

Conditioned Soul slows the tempo somewhat, but the more laid-back styling allows Lennox’s exquisite vocals to soar above the musical bed. The result is a delightfully pleasant multi-layered tune that is one of the best album-only songs you’re ever likely to hear.

Adrian is a solid tune from the album, but as good as the combination of Lennox and Elvis Costello is, Adrian isn’t a standout.

It's Alright (Baby's Coming Back) is a bright and infectious pop tune that’s brimming with optimism and catchy hooks. While it didn’t set the charts on fire, as the fourth and final single from the album, this is one of the standout tunes from Be Yourself Tonight and is amongst the Eurythmics’ greatest recordings.

Here Comes That Sinking Feeling presents a sonically stark contrast with its dark and brooding atmosphere that creates an unsettling, yet captivating, mood that makes it a hidden gem.

Better To Have Lost In Love (Than Never To Have Loved At All) is a triumphant closing track, backed by lush instrumentation and a compelling arrangement. The song’s steady rhythm, combined with shimmering orchestral elements, and Lennox’s heartfelt performance, is ideal and will encourage you to either reflect on the music or play the album again for this may be a studio release but it plays like a greatest hits compilation.

Be Yourself Tonight is a pivotal album in the Eurythmics’ discography, showcasing their ability to evolve while maintaining their artistic integrity. From chart-topping hits to deeper cuts, each track contributes to the album’s rich tapestry of sound and is a must for any 80s-focused music lover. This release not only broadened the Eurythmic’s fan base but it has stood the test of time and remains a quintessential 80s record and an enduring legacy to the musicianship of Annie Lennox and David Stewart.

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