Van Halen – 1984 (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Scorpions – Love At First Sting (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Metallica – Ride The Lightning (Album Review)

While Metallica Killed ‘Em All with their first album, they were determined to Ride The Lightning on the second; a record that has not only stood the test of time but remains one of the greatest thrash metal albums ever recorded.

Marking a pivotal moment in the evolution of thrash metal, Metallica’s second studio album, Ride The Lightning, not only cemented the band’s legacy within the genre but showed that they were capable of a more mature and thematically deep album than was presented on their 1983 debut Kill ‘Em All. Retaining the intensity of their debut, Ride The Lightning, struck a perfect balance between speed, aggression, and intricate musicianship that would not only set them apart but would result in a collection of timeless tunes and one of the very best albums released in 1984.

Visually striking, as many of the albums within Metallica’s discography are, Ride The Lightning looks stunning on the larger vinyl canvas and while I’ve been fortunate to have owned various editions of this classic album throughout the years, all are not created equal and in some cases it comes down to the mastering, whilst others come down to the quality of the vinyl pressing; such as the less-than-impressive Blackened Recordings 2014/5 vinyl reissue (BLCKND004-1). What is pleasing, however, is that the 2016 remaster brings about greater consistency across all formats. As such, it no longer matters how you choose to listen to this classic release, but what I can say is that streamers are in for a treat for the Apple Digital Master rocks; despite it being, technically, more compressed than previous editions.

Of course, give it a listen and see for yourself as we explore the songs of this legendary release.

Fight Fire With Fire opens with a killer acoustic guitar intro that quickly erupts into one of Metallica’s most ferocious thrash metal tunes. Blending melody with aggression sees Fight Fire With Fire set a chaotic and intense tone that continues throughout the record; thereby making it the perfect album opener.

Ride The Lightning flows perfectly from Fight Fire With Fire for the guitar riff continues the non-stop assault on the senses. If you haven’t already, this title tune will encourage you to get your air guitars out for it is impossible to sit still as this legendary song is playing. However, it isn’t just the relentless riffing that’s a highlight here, for the shift between the frantic thrash riffs and the slower, doom-laden sections, demonstrates Metallica’s evolution and ability to blend tempo and mood. Ultimately, Metallica’s music doesn’t get much better than this and words seem somewhat meaningless to explain the impact of this song. Hence, you need to experience it for yourself as that’s the only way to truly appreciate and understand Metallica’s impact on not only thrash and metal, but music in general.   

For Whom The Bell Tolls is EPIC! From the tolling bell, to the slower and more methodic tempo that builds tension and atmosphere, to the musical interplay between the band, For Whom The Bell Tolls is one of the album’s most memorable moments and is, undoubtedly, one of the greatest songs Metallica ever recorded.

Fade To Black is a slight departure from their core thrash roots, but when you combine a slight country twang and a more melodic tempo you end up with a power ballad worthy of Metallica. Of course, the song ebbs and flows between the semi-acoustic and full-on electric, adding to the overall appeal and merging this new style with their thrash origins. Yes, some detest 80s power ballads, but this is no ordinary ballad for its masterful composition sets it apart from its 80s counterparts. And, if nothing else, Kirk Hammett’s closing solo seals the deal on this being one of the greatest power ballads ever recorded.

Trapped Under Ice returns the album to a faster, more chaotic pace with aggressive riffing and frantic drumming that create an overwhelming sense of urgency that perfectly mirrors the song’s theme. Trapped Under Ice may be one of the more straightforward thrash tunes on the record, that would have been perfectly suited to Kill ‘Em All, but it doesn’t let up for the entire duration.

Escape has a killer riff and rhythm with a groove that is widely appealing. That said, Escape can be best described as a quintessential album-only tune and as much as I enjoy it, I’ve always felt it wasn’t the strongest song from a vocal perspective. However, had it been an instrumental tune, it would have been exceptional.

Creeping Death is a monumental tune and a thrash masterpiece due to its relentless energy and perfect balance of storytelling, technical prowess, and visceral intensity.

The Call Of Ktulu is, without a doubt, one of the greatest songs ever recorded in all of music history. If you haven’t checked out the live performance from their legendary S&M concert, you really should because it bests this original. The Call Of Ktulu’s strengths are on full display across the song’s sprawling 8-minute runtime. Building tension with atmospheric guitar work and ominous riffs, along with a thunderous percussive element, The Call Of Ktulu isn’t easily forgotten and will compel you to play the album again because Ride The Lightning can seldom be listened to once.

Ride The Lightning is nothing if not a milestone release for Metallica and the thrash metal genre. Its combination of raw power, thematic depth, and technical brilliance set it apart from its peers and showcased Metallica’s growing ambition. It also expanded the boundaries of what thrash metal could be, incorporating new levels of complexity, emotion, and atmosphere without sacrificing the core aggression. No matter which way you look at it, Ride The Lightning was a monumental achievement in metal, and its influence can still be felt today as it’s one of the greatest thrash records ever released.

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Meat Loaf – Bad Attitude (Album Review)

By the time 1984 rolled around, Meat Loaf was at a crossroads in his career. After the massive success of Bat Out Of Hell (1977), the pressures of maintaining that momentum would naturally take its toll. Conflict with longtime collaborator, Jim Steinman, would further complicate matters; despite two of his songs being included on this release. Nevertheless, Bad Attitude, Meat Loaf’s fourth studio album, showcased that he was still capable of delivering powerful rock anthems; even if it was less cohesive than his 70s masterpiece. However, if we consider Bad Attitude as a unique experience from Bat Out Of Hell, rather than a continuation, it’s a thoroughly enjoyable album featuring a timeless collection of bombastic rockers and dramatic ballads.

As with several high-profile Meat Loaf releases, the album artwork for Bad Attitude is spectacular. Not only is it perfectly suited to the era, but it simultaneously harks back to what quickly became a Meat Loaf trademark; the motorbike. Yes, a beautiful woman adds to the allure but it isn’t just outward appearances that matter for you’ll come to see that the music contained within this release is quite incredible, yet it isn’t without fault.

Let’s be frank, Meat Loaf’s music has never truly been recorded, mixed, and mastered to what could be considered perfection. Bat Out Of Hell II: Back Into Hell was a marked improvement and his best-sounding record has to be Welcome To The Neighbourhood but all others are merely satisfactory. Granted, his music had a unique sound signature, but just as Bat Out Of Hell isn’t a sonic masterpiece, neither is Bad Attitude.

Given the album’s lacklustre sales performance, Bad Attitude is often overlooked and while it was remastered and reissued in 2014, it was only for a CD reissue that I’ve yet to hear. Interestingly, when you search on Apple Music et al, you’ll come across two editions of the album. Due to the way they’re listed, you have no idea what the differences are, other than one has more appealing visual colour tones and contrast compared to the album artwork on the other. However, in this instance, don’t let the bolder album artwork confuse you because whatever master that version is utilising, it’s downright atrocious.

While I acknowledge that not every music lover is focused on attaining the very best-sounding version of an album, I do wish each record would have a singular definitive master. That isn’t the case here, so let’s take a moment to compare the two different masterings of the same song; Surf’s Up. Click here to listen to the first version. Pay particular attention to the piano introduction and overall soundstage as the song progresses. Now, let’s play the same song but from what I think is the original CD mastering. Click here to listen to the second version. Different, aren’t they?

It’s elements such as this that can make or break an album and I’d love to say this is an isolated incident, but it isn’t. While I appreciate that both editions exist, particularly the second one which is my preferred version, relying on the Apple Music stream can be a recipe for disaster as there is always the chance that the superior edition could be removed for the inferior one. It’s a constant concern for music lovers who want their music to sound a certain way and never change. And, yes, dear reader, as you get older, and get more used to the way the music should sound, you’re less flexible with regards to substandard sonic presentations.

As it pertains to the edition I’m sharing below, I feel that it is the better-sounding version available on Apple Music as it may not be a recording that will set your stereo on fire, but it sounds right and a few minor EQ tweaks on the stereo can go a fair way to addressing any shortcomings.

Bad Attitude (feat. Roger Daltrey) certainly has an 80s synth vibe to it, despite the hard-rocking anthemic styling. There’s also a little Queen guitar lick to be heard on the song, but what is perhaps most disappointing is that Daltrey’s inclusion fails to enhance the song as, in some ways, his vocal is too similar to Meat Loaf’s to truly stand apart. Yes, this title song is a solid and thoroughly enjoyable opener, but when you have these two exceptional vocalists, it isn’t unreasonable to have expected more.

Modern Girl was the first single released from the album and while it didn't set the charts on fire, it did perform admirably in some regions. It’s a shame it wasn’t better received for it’s one of Meat Loaf’s greatest songs, offering a balance between the theatrical and that of a pop-rock masterpiece. While the lyrics may feel slightly dated, in the modern era, the song itself is catchy and energetic, thereby ensuring that it can still be enjoyed by those who are not only nostalgic but are driven towards radio-friendly pop-rock tunes with soaring melodies and lush production values.

Nowhere Fast is one of the two Steinman compositions to be included and was previously recorded by Fire Inc. on the 1984 Streets Of Fire soundtrack release. Meat Loaf’s interpretation has a bolder rock edge and is, arguably the stronger of the two, but retains the 80s synth styling. It suits the era perfectly, even if it isn’t ideal for Meat Loaf. Nowhere Fast is, subsequently, a thoroughly enjoyable album-only number with a killer chorus. Interestingly, the lyrics, aside from the chorus, are different between the two editions. As to why, I’ve no idea as information relating to the change is sparse at best. If you know, please reach out to me as I’d love to know a little more about this variant.

Surf's Up feels like a continuation of the cinematic rock sound from Bat Out Of Hell. Let’s just say that Steinman was a master songwriter of the highest calibre and when Meat Loaf would record his songs, for the most part, they were always exceptional. That is certainly the case here for Surf’s Up is one of the album’s most impressive songs and Meat Loaf’s vocal performance shines here, as he navigates the song’s emotional highs and lows. Add to that the exceptional mid-song guitar solo and you’ve got what can best be described as a masterpiece; an overused term, yes, but one that most certainly applies to this song.

Piece Of The Action is a mid-tempo rocker that flows seamlessly from Surf’s Up while also providing a change of pace. As the song slowly builds, you get the sense that something very special is coming and when the song reaches the first chorus crescendo, you’re given that sonic reward that is essential to mid-tempo rock numbers. With an infectious chorus and a straightforward anthemic 80s rock style, Piece Of The Action is a killer tune; one that is perfectly suited to Meat Loaf’s theatrical storytelling.

Jumpin' The Gun has a driving rhythm punctuated by tight guitars and energetic percussion, but the mix and overall recording isn’t great. It sounds as if it’s a demo and the additional atmospheric elements, while relevant to the era, simply don’t work. Nevertheless, Jumpin’ The Gun can most certainly be appreciated as an album-only tune, for each song need not be a hit for an album experience to be thoroughly enjoyable.

Sailor To A Siren plays into Meat Loaf’s ability to turn songs into mini-operas for the arrangement is dramatic, with soaring guitars and powerful drumming that drive the song forward. Sailor To A Siren may be brimming with 80s cues, but it’s also a stroke of musical genius for it is simultaneously timeless. It may never be one of Meat Loaf’s most recognised tunes, but it’s most certainly one of his greatest recordings.

Don't Leave Your Mark On Me has an interesting, yet offbeat, introduction. It works, however, following the Sailor To A Siren as it builds a large enough gap that the songs can be easily differentiated. While the arrangement of Don't Leave Your Mark On Me is straightforward compared to some of the bolder songs from the album, it doesn’t change the fact that this song is extremely compelling; particularly its chorus. I do, however, feel that it ends prematurely.

Cheatin' In Your Dreams is a beautiful closing introspective ballad that showcases Meat Loaf’s emotional intensity. Pairing his spectacular vocal with a delicate piano arrangement and lush strings ensured an orchestral feel prior to the bombastic energy that arose midway through the song. If nothing else, Cheatin' In Your Dreams will do what all good closers do – encourage you to play the record again.

Bad Attitude may not have reached the towering heights of Meat Loaf’s earlier or later works, but if you’re after a straight-up hard rock album filled with power ballads and rock anthems, look no further than this classic 80s release. While the era was dominated by synth-driven pop and new wave, Bad Attitude is a breath of fresh air as it not only rocks but is a reminder that outside of trends, good music is still prevalent and when combined with Meat Loaf’s larger-than-life persona, Bad Attitude is most certainly an album worthy of any music lover’s collection.

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Julio Iglesias – 1100 Bel Air Place (Album Review)

Released in 1984, Julio Iglesias’ 1100 Bel Air Place marked a significant milestone in his career and established him as a global pop icon. Showcasing his signature romanticism, primarily from an English-language perspective, 1100 Bel Air Place became a worldwide phenomenon selling over 9 million copies.

Featuring collaborations with prominent artists of the time added to the crossover appeal. However, when an album is recorded and mixed this well, success is most certainly the culmination of all elements. That said, the mastering, of different versions, is a point of contention for the Apple Digital Master is a little smoother and more laid back. At the same time, the 2006 CD remaster is louder and more forward, offering fans a more lively presentation. There is no doubt that fans will be divided over the editions, especially considering one version is not categorically better than the other.

If I were forced to choose one of the aforementioned versions, it would be the CD remaster as the Apple Digital Master can sound a little too concealed, in places, as a result of mastering decisions. Naturally, the core performance remains, regardless of how you choose to listen to the album, and perhaps this is why Sony Music has decided to keep various editions on Apple Music so that listeners can decide for themselves. Nevertheless, by utilising tone controls, the remaster can be dialled in extremely closely to the sonic presentation of the Apple Digital Master. Hence, it is really up to you as to which version you prefer.

While I can appreciate both masterings, I do wish that each album would have a definitive master as I find comparisons to be frustrating and fatiguing, thereby taking away from the magic of the music itself. With that in mind, dear reader, I am going to share the 2006 remaster with you, but know that either version is readily available on Apple Music if you search for the album.

All Of You (with Diana Ross) is a beautiful opening track that sets the tone for the music that’s about to come. While I’m not in awe with the introduction, particularly Ross’ ad-lib vocal, as the song proceeds through the verses and then to the chorus it comes into its own and is simply magnificent with an enchanting melody and lush orchestration that perfectly complements the vocal styles. All Of You was also, strategically, included on Ross’ 1984 release, Swept Away; a perfect collaboration technique as it allowed fans of each artist to experience the duet without having to purchase an album they may not have been enamoured with.

Two Lovers is one of Iglesias’ most heartfelt performances. The slow build is utterly exceptional and the soft rock feel blends perfectly with Iglesias’ usual balladry to create an extremely compelling tune. While Two Lovers wasn’t released as a single, it should have been for I believe it would have topped the charts worldwide.

Bambou Medley introduces a tropical flair to the album that showcases Iglesias’ multilingual abilities. While this medley brings a light-hearted, fun moment to the album, offering a change of pace from the more emotionally intense tracks, it isn’t a style that I believe encompasses Iglesias’ musical talents.

The Air That I Breathe (with The Beach Boys) is a cover of Albert Hammond’s 1973 masterpiece, but it’s most likely that The Hollies' exceptional 1974 release is the one that many music lovers will remember. Regardless, this classic tune has been covered by some of the greatest musicians the world has ever known and this rendition by Iglesias and The Beach Boys doesn’t disappoint. They not only paid homage to the original but ensured this newer composition was memorable. As you listen to Iglesias’ heartfelt rendition, the nuanced delivery of his lead vocal will touch your soul. Add to that the appealing harmony delivered by The Beach Boys and you’ve got a lush and dramatic rendition of a classic tune that will remain in your thoughts long after the album has finished playing.

The Last Time is a lovely smooth mid-tempo pop tune with a slight jazz influence. Iglesias’ vocal delivery is calm and restrained, bringing an air of wistfulness to the track, but it’s the combination of all elements that makes The Last Time one of the most stunning songs from the record.

Moonlight Lady injects a Latin flair into the album with its rhythmically vibrant melodies. The infectious groove makes it difficult to sit still and you’ll find yourself toe-tapping and head-bopping along to this most beautiful tune that draws inspiration from Iglesias’ Spanish roots.

When I Fall In Love (with Stan Getz) was a perfect choice for this landmark record as the legacy of this song is nothing short of astounding. This interpretation retains the song’s timeless appeal, with Iglesias adding a level of warmth and sincerity that makes his rendition unique. Add to that Getz’s magnificent performance and you’re left with one of the most pleasant songs ever recorded.

Me Va, Me Va is another song that sees Iglesias return to his Latin origins as this lively upbeat number has an infectious energy that will see you on your feet dancing along to the addictive rhythm. It’s thoroughly enjoyable, and perfectly positioned within the tracking of the album, as it gives a brief burst of excitement and is the quintessential album-only tune.

If (E Poi) is a bilingual track, blending English and Italian, but wasn’t originally intended to be when written by singer-songwriter David Gates and made famous by Bread. Nevertheless, If (E Poi) is a lovely ballad with a tender melody that works perfectly with Iglesias’ vocal style. The language switches are done so seamlessly, that you likely won’t notice, but it adds depth and elegance to the song. Granted, it might irritate those of you who appreciate the human vocal for its literal interpretation, but for those of us who consider the vocal to be akin to another instrument in the mix, this interpretation is simply magnificent.

To All The Girls I've Loved Before (with Willie Nelson) is a cover of the Albert Hammond classic. As lovely as the original was, Iglesias and Nelson took the song and made it their own. The result of this collaboration was a chart-topping hit across the globe and it’s fair to say that it’s the best rendition, to date, of this exceptional song.

Bonus Track

I Don’t Want To Wake You is frustrating as the album’s original linear structure was flawless. Nevertheless, I Don’t Want To Wake You is a lovely tune, even if it doesn’t add anything to an otherwise perfect album. While bonus material encourages people to purchase reissues, and I can appreciate the appeal from both the artist/label and fan perspectives, I do wish they’d come on a separate disc or be released in a separate compilation for my aim is to always appreciate the album in its original linear structure. That said, I Don’t Want To Wake You closes the 2006 remaster nicely and compels me to play the album again.

There is no doubt that 1100 Bel Air Place was a pivotal album in Julio Iglesias’ career, cementing his status as a global star. It was, however, the blending of pop ballads, Latin influences, and collaborations with iconic artists such as Diana Ross and Willie Nelson that gave the album its broad appeal. As it pertains to 1984, it is one of the very best albums released, but it’s also a highlight of the 80s as a whole and is one of the most beautiful records released in all of music history.

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Julian Lennon – Valotte (Album Review)

Julian Lennon’s debut album Valotte (1984) was a bold and promising start for the son of John Lennon, proving that Julian had his own voice, separate from his father’s legacy. While comparisons to his father are inevitable, if you take the time to listen to Valotte with a fresh perspective, you’ll find a beautiful set of songs that form an idealistic album experience for Valotte offers music lovers a stunning blend of pop, rock, and ballads that reflects the musical landscape of the mid-80s.

What isn’t 80s-styled is the striking artwork for its timeless appeal would have looked spectacular on the shelves of a local record store; especially via the larger vinyl canvas. It’s humble and unassuming and doesn’t detract from the music itself as it is complementary. While I haven’t been fortunate enough to hear this release on vinyl, what I can say is that the overall production, mix, and mastering, that has been made available via Apple Music, is thoroughly pleasing.

No, the Apple Music stream offers no unique mastering and isn’t an Apple Digital Master, but as it pertains to CD facsimiles, it doesn’t get much better than this. The presentation has an airiness that allows each musical element space to breathe and while not entirely enveloping, the presentation is sonically beautiful and will leave most fans more than satisfied. Could a vinyl edition, perhaps the 2021 Friday Music vinyl reissue, offer an even more compelling presentation? Yes, possibly, but in the absence of attaining that edition, you can rest assured knowing that there are no glaring omissions from the Apple Music stream.

Valotte opens the record with a sophisticated, melancholic ballad that sets the tone for the entire album. The piano-led arrangement is naturally reminiscent of some of John Lennon’s softer compositions, but it is Julian’s vocal delivery that is the standout element here for his performance is distinctly smooth. Add to that the polished production values and you’ve got not only an exceptional album opener but a track that is both radio-friendly and emotionally resonant. It’s, therefore, hardly surprising that Valotte became one of the album’s most successful singles and rose to the Top 10 in both Canada and the US.

O.K. For You shifts the tone into a more upbeat pop-rock rhythm. Featuring an infectious groove and bright instrumentation that contrasts nicely with Julian’s vocal style, O.K. For You is one of the most memorable numbers on the album, demonstrating Julian’s diversity as an artist. It’s a true hidden gem in every sense of the word and could have been a chart-topping hit of the 80s had it been released as a single.

On The Phone is a mellower mid-tempo track that features an enduring melody, supported by a jangly guitar and synth arrangement. As is the case throughout the entire album, Julian’s vocals are placed prominently within the mix and are allowed to shine without being overpowered by the accompanying musical bed. That said, we need to acknowledge just how exceptional the musicians are playing on this song for that mid-song solo ensemble, alone, is spectacular.

Space has a beautiful atmospheric arrangement with an ethereal approach that is somewhat of a trademark for Julian and it’s an aspect that works incredibly well with his vocal style. As the song progresses, the swirling synths and dreamlike production create a sense that the listener is drifting through space and time. Space is, subsequently, a spectacular tune and one of the most sonically pleasing from the album.

Well I Don't Know returns us to a more grounded, rock-oriented sound that is perfectly positioned within the era. It isn’t, however, as catchy as some of the other songs from the album, but its straightforward rock sound works well with the album’s structure. As a result, it’s a quintessential album-only tune; one that drives the record forward while ensuring that it doesn’t detract from the stronger compositions throughout.

Too Late For Goodbyes is an infectious pop song with a lively rhythm, driven by a snappy bassline and upbeat melody. As the lead single from the album, I don’t consider it to be single-worthy; particularly as there are far more compelling songs that could have been selected. Nevertheless, it charted well so let’s just say it’s probably a good thing that my subjective opinion isn’t a recommendation to artists looking to launch themselves on the world stage.

Lonely is a beautiful tune, even if its mood is sombre. It’s another exceptional hidden gem and it’s music like this that has me coming back for more as it enhances the album experience. Again, it’s songs such as this that highlight Julian’s uniqueness and the musical bed is so exceptional that I consider Lonely to be not only one of the best songs from the album, and Julian’s career, but one of the best songs ever recorded in all of music history.

Say You're Wrong returns us to an upbeat pop-rock sound that is filled with 80s cues. There’s nothing wrong with that, of course, but following Lonely, Say You’re Wrong is a slight jolt to the senses. Regardless, it’s a solid tune with a radio-friendly style that, while not setting the charts on fire, was worthy of being Valotte’s third single.

Jesse will see you toe-tapping and head-bopping to the addictively good 80s groove and while released as the fourth single, I honestly feel that it would have been better as the lead single for it leans more into the era’s sonic qualities than Too Late For Goodbyes does.

Let Me Be has an interesting, almost vaudeville musical styling that initially sounds out-of-place with the other songs on the album. As the song progresses, however, and you settle into the restrained composition, with its soft guitar strumming and gentle percussion, you’ll likely find yourself compelled by this slightly offbeat closing track as it will encourage you to play the album again, whilst simultaneously considering the music you’ve just heard.

Valotte is one of those special albums that is seldom replicated. While later records, such as Photograph Smile (1998) and Jude (2022), are exceptionally beautiful, none quite match the allure of this debut record; one that should be in every music lover’s collection and one that is amongst the very best the 80s had to offer.

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Joe Jackson – Body And Soul (Album Review)

There are albums and then there is Body And Soul; a masterpiece in every sense of the word.

Released in 1984, Joe Jackson’s Body And Soul is amongst his finest recordings and is one of the greatest albums ever released. With a blend of jazz, pop, and Latin influences, Body And Soul showcases Jackson’s continued evolution as a songwriter and arranger. The album’s sound is heavily inspired by big band jazz and classic pop orchestration, giving it a unique and compelling presentation. Body And Soul is, ultimately, so diverse that to pigeonhole it into a particular style or genre would be to do it a disservice for this is a timeless classic that sounds as fresh today as it did upon release.

Striking is one way to put it for the music isn’t the only aspect of this release to impress. Yes, I’m referring to the cover art and the boldness of the simple, yet utterly perfect design. Jazz fans will likely point out that the concept is hardly original as it emulates Sonny Rollins’ 1957 release, Sonny Rollins, Vol. 2, but imitation is the greatest form of flattery and Jackson pulls it off. Of course, had it not been for such an extraordinary collection of music, one could suggest that Body And Soul’s artwork wouldn’t be nearly as endearing, but when the music complements the artwork so well, the combination is the very embodiment of the album experience.

Of course, no matter how exceptional the artwork is, it is for nil if the recording, mix, and mastering of an album are lacking in any way. Body And Soul doesn’t disappoint, in that area, as it’s a textbook example of how to properly produce an album. Every element in the mix is perfectly positioned and the sonic reproduction is heavenly. Yet, I’m not referring to the numerous audiophile-grade editions that have been released, as I have not heard them, for I am simply referencing the Lossless Apple Music stream.

Yes, dear reader, the Apple Music stream is what I would consider to be perfect. So much so that when listening to this edition, I don’t feel that I’m missing out on anything, sonically, and therefore seeking out an SACD or Vinyl release seems quizzical, outside of the ownership and tactile aspects, of course. That isn’t to say that there aren’t sonic benefits, or differences, but it’s nice to know that the stock-standard CD-quality stream is exquisite. If nothing else, it ensures that all music lovers, regardless of how they wish to appreciate their music, can hear an exceptional version of this classic album.

The Verdict opens the album with flair and a dramatic brass section that sets the tone for the orchestral ambitions of Body And Soul. Jackson’s vocal is stunning, especially as it's positioned atop the piano backing before the lushness of the crescendo enters the mix. Subsequently, the verdict on The Verdict is that it’s a magnificent tune and an ideal opener for this legendary album.

Cha Cha Loco has a playful Latin element that is both lively and energetic. While different in style to The Verdict, the transition is seamless and the interplay between the musical bed and vocalists makes for a buoyant, danceable track.

Not Here, Not Now slows the tempo slightly with a ballad that is both reflective and melancholic in tone. The arrangement is subtle yet effective, with a soft piano, muted instrumentation, and a world-class brass solo that accompanies Jackson’s vocal delivery and can be best described as heavenly. Music doesn’t get much better than this and Not Here, Not Now is, without a doubt, one of Jackson’s greatest recordings.

You Can't Get What You Want (Till You Know What You Want) picks up the tempo with a jazz-funk vibe. The groove is infectious, driven by a punchy bass line and vibrant brass riffs, as well as some incredible vocal techniques that culminate in an irresistible song. Again, as is the case throughout the album, the sonic shift shouldn’t work but the album’s linear structure has been considered so thoroughly that this post-disco number is the perfect counterpart to the more sombre Not Here, Not Now.

Go For It continues the exploration of jazz with an upbeat frenetic energy, yet it’s the Motown-styled cues that are just as notable as the driving percussion and energetic brass. Add to this the urgency in Jackson’s lyrical delivery and you’ve got a song that is lively and a perfect album-only number that drives the record forward.

Loisaida stands out for its atmospheric qualities, with a moody, almost noir-like arrangement that is highly compelling. Yet, the absence of lyrics doesn't detract from Loisaida as the instrumental bed evokes imagery and emotions as only the greatest instrumental songs are capable of.

Happy Ending (feat. Elaine Caswell) offers a lighter, more pop-oriented sound with catchy hooks and upbeat rhythms. When you listen, in conjunction with the other songs on the record, Happy Ending feels like a departure from the album’s overall style, yet it’s the perfect tune at this point in the album’s sequencing. The bottom line is that it’s just a fun little duet with a killer chorus.

Be My Number Two is one of the greatest ballads that has ever been recorded. The stripped-back arrangement helps in this regard, allowing Jackson’s vocals to take centre stage for his voice is tender, heartfelt, and resonant throughout. While the entire album is flawless, when you have songs that are as beautiful as Be My Number Two, you know that you’re listening to something that can only be described as a masterpiece; an overused statement, granted, but one that most certainly applies to this magnificent tune.

Heart Of Ice starts delicately and slowly builds into a powerful orchestral arrangement that’s a perfect album closer; one that will either compel you to play the album again or contemplate the music you’ve just listened to. While much of the song is sans lyrics, once Jackson enters the mix, as almost an afterthought, it culminates in what, upon reflection, can only be described as pure perfection.

Overall, Body And Soul marks a high point in Joe Jackson’s career. The intricate arrangements, varied influences, and strong songwriting make it a standout release from the 80s. Jackson’s mastery in blending jazz, pop, and Latin styles results in an album that feels timeless, making it a compelling and rewarding listen. Not only is Body And Soul one of Joe Jackson’s most revered but it’s amongst the greatest records in all of recorded music history.

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