Joe Cocker – Civilized Man (Album Review)

Released in 1984, Civilized Man is Joe Cocker’s ninth studio album and is representative of a period of change in his career. During this era, which also includes his 1982 release, Sheffield Steel, Cocker transitioned from the raw, soulful blues-rock that defined his early years into a more polished, radio-friendly sound indicative of the 80s. Despite the shift, Cocker’s unmistakable gravelly voice remains paramount as he explores a range of styles, from heart-wrenching ballads to upbeat rock numbers, on this exceptional release.

One of the more interesting aspects of Civilized Man is that the two core recording sessions were undertaken by two different producers and a different lineup of musicians on both occasions. It’s as if two EPs were smashed together to make an album. However, if you were not aware of this fact, you’d likely not notice any difference as the album comes across as a single body of work. Achieving that result takes incredible skill, but it’s also important to acknowledge the variances as both lineups are amazing. It’s, therefore, somewhat disappointing that Civilized Man failed to set the charts on fire and has, subsequently, been all but forgotten.

While we’re incredibly fortunate to have this album readily available, thanks to streaming services, it hasn’t been reissued in any format for decades. Granted, for a reissue to be successful, the record label needs to know there’s an audience actively interested in getting their hands on the release and given it wasn’t the most successful of Cocker’s albums, possible hesitations are understandable. Of course, I’m the kind of music lover who would likely send a record label broke, for out-of-print is not something I’d ever let happen; particularly on such an exceptional release.

As already alluded to, in the absence of a physical release, the CD counterpart delivered via Apple Music is sonically beautiful. As the album has never been remastered, to my knowledge, it appears that this is the original mastering and it’s exceptional with a full-bodied sound that complements Cocker’s vocal styling perfectly. Every element can be heard in the mix and you’ll find yourself sitting back and relaxing to this outstanding release.

Civilized Man sets the tone for the album with its polished production and catchy melody. The blend of synthesisers and traditional rock elements gives the song a distinct 80s feel, while Cocker’s gravelly delivery ensures that it’s memorable.

There Goes My Baby is a cover of the classic Drifters’ hit, but Cocker delves deep into his soulful roots to pull off an extraordinary interpretation. His voice, rich with emotion, breathes new life into this timeless tune, making it one of the standout tracks on the album.

Come On In is a beautiful mid-tempo tune showcasing Cocker’s ability to seamlessly blend soul and pop. Cocker’s vocal performance here is reserved, yet effective, allowing the song's easygoing vibe, and smooth rhythm, to shine through.

Tempted is a sensational tune, originally recorded by the British rockers, Squeeze, but while this interpretation retains the song’s original groove, it’s Cocker’s gruff vocal that adds a layer of depth and maturity to the song. Add to that the slick radio-friendly sound and what you’ve got is one of the most enjoyable songs in all of recorded music history, with a touch of the legendary Joe Cocker.

Long Drag Off A Cigarette is a slower, acoustic bluesy number that brings out the best in Cocker’s voice thanks to the song’s minimal arrangement. It’s a simply beautiful song, but I do wish it was a little longer as it feels as if it ends prematurely. Of course, when music is this good, you always want more, so that could most certainly be a contributing factor to my prior thought.

I Love The Night takes things up a notch, but it isn’t the strongest song from the record. Nevertheless, it flows well within the album’s structure and holds the record together. Sometimes, that’s all that’s needed from album-only tunes, for each song need not be a standout for it to be successful.

Crazy In Love slows the tempo on what can best be described as a stunningly beautiful tune.

A Girl Like You is most certainly a song of the 80s and while there’s nothing wrong with that, particularly as it aligns with the era in which the album was released, the musical bed is a little too lively for Cocker’s style. It works, but only marginally. Let’s just say that I thoroughly enjoy the musical bed, separate from Cocker’s vocal, and vice versa. It’s as if there are two different songs, excellent in their own right, that have been combined to make a single tune.

Hold On (I Feel Our Love Is Changing) is a stirring ballad-styled number. Cocker’s vocal performance is both powerful and emotional and the lush production ensures that this song is not only one of the best from the album but is amongst Joe Cocker’s greatest recordings.

Even A Fool Would Let Go is a lovely soulful ballad and an ideal closing tune for it compels the listener to play the album again. With rich orchestration and Cocker’s heartfelt delivery, Even A Fool Would Let Go leaves a lasting impression and is somewhat of a hidden gem.

From start to finish, Civilized Man showcases Joe Cocker’s ability to adapt to the changing musical landscape of the 80s while staying true to his soulful roots. The album’s diverse range of songs highlights Cocker’s versatility as a vocalist, with each track offering something unique. Whether it’s the emotional depth of the ballads or the energy of the rock-infused tracks, Civilized Man is a testament to Cocker’s enduring talent and his ability to connect with listeners.

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Iron Maiden – Powerslave (Album Review)

Released in 1984, Powerslave is Iron Maiden’s fifth studio release and vocalist Bruce Dickinson’s third outing with the band. While opinions will differ, Powerslave is arguably the strongest, early-80s, release for Maiden as The Number Of The Beast and Piece Of Mind both have exceptional songs but aren’t quite the cohesive album experience that Powerslave is. If nothing else, Powerslave is the embodiment of the heavy metal genre featuring intricate compositions and powerful performances that marked a high point in the band’s career, both in terms of their musical evolution and global popularity.

As is always the case with Iron Maiden, the album artwork is exquisite. Of course, with a keen interest in Ancient Egypt, I may be a little biased, but Powerslave doesn’t disappoint in that regard for it is as bold as the music contained within. However, when you get down to the sonic elements of Maiden’s records, while the production and overall mix are generally superb, the mastering of their albums, particularly the remastered releases, has been a point of contention amongst fans. Some prefer the original releases, others the 1998 remasters. Add to that the 2015 remasters and you’ve got three quite different interpretations of the same music.

While I haven’t been fortunate enough to hear the original release, of Powerslave, those familiar with the 1998 remaster will likely agree that it’s thin, shrill, and fatiguing to listen to; particularly at higher volumes. In contrast, the 2015 remaster offers a smoother presentation with a boost to the mid and low-end while simultaneously dialling back the treble range slightly. It’s certainly an improvement, from my subjective perspective, and the good news is that this most current remaster is available not only via streaming but it has also been released on CD and Vinyl, meaning that there is consistency across the board.

Aces High opens the album superbly with an opening riff that’s not only iconic but sets the tone for the entire record. The relentless assault on the senses captures the intensity of fighter pilots during the Second World War (the subject matter of the song) and is, subsequently, musical storytelling at its very best. Add to that Bruce Dickinson’s soaring vocals and you’ve got an incredible song from start to finish.

2 Minutes To Midnight is an anti-war song that utilises the idea of the Doomsday Clock to formulate a message against hostility. While I rarely focus on literal intent and song meanings, instead preferring to appreciate the human vocal as an instrument within the mix, 2 Minutes To Midnight makes you sit up and pay attention. It also happens to be one of Maiden’s most enduring classics, one that balances melodic hooks with a heavy, ominous atmosphere. Most notable, however, is the instantly recognisable riff and duelling guitars between Adrian Smith and Dave Murray; pure genius.

Losfer Words (Big ‘Orra) may be the only instrumental track on the album, but as much as I love Dickinson’s vocal prowess, Losfer Words (Big ‘Orra) showcases Iron Maiden’s musical chops without the need for lyrics. There’s part of me that appreciates it so much that I’d love to see Maiden release a series of albums, or songs, sans lyrics for they truly offer a different perspective. As you listen to the song, you’ll no doubt appreciate the complex arrangement for each member’s contribution shines through the mix with the interplay between guitars, and Steve Harris' bass, creating a layered and intricate sound that is both powerful and melodic. It, truly, is one of Maiden’s greatest tunes.

Flash Of The Blade features a sharp, stabbing riff, with an almost frenzied tempo that is Maiden 101. While it was never going to be a highlight from the album, Flash Of The Blade is an example of a quintessential album-only tune; one that drives the album forward and ensures that it’s a memorable experience.

The Duellists, similarly to Flash Of The Blade, enhances the album but was never destined to be a standout. That said, there are some magical musical aspects to be heard throughout as the band is on fire. The Duellists, in my opinion, would have been another ideal instrumental tune as Dickinson’s vocal ultimately detracts from the performance of the band.

Back In The Village is frenetic and is one of the more aggressive songs on the album, but it isn’t great. Dickinson’s vocal performance on this number is unsuited to the song and while I can look the other way, when it comes to listening to the album in its linear structure, Back In The Village is one of the poorest songs Iron Maiden has ever recorded. That said, the duelling guitars and overall musical bed, particularly mid-song, are incredible.

Powerslave, as the title track, was always going to be the centrepiece of the album and it delivers. The instrumental section is a masterclass in Iron Maiden’s ability to build tension and atmosphere, culminating in a powerful crescendo, but it’s the guitar riff and interplay that is, again, a standout element.

Rime Of The Ancient Mariner is the album’s epic closer. Musically, it’s a journey in itself, shifting through various tempos and moods, from the eerie quiet of the middle section to the thunderous conclusion. Without a doubt, it is one of Maiden’s most ambitious compositions, but it’s a testament to their skill and creativity that they were able to pull it off. Yes, at over 13 minutes, it was never going to be released as a single, but it is single-worthy and deserving of more recognition than it often receives.

Overall, Powerslave is an incredible album that showcases Iron Maiden at the peak of their creative powers. Each track contributes to the record’s overarching sense of grandeur and adventure, making it a cohesive and immersive experience. For fans of heavy metal, Powerslave is an essential listen and it’s not only one of Maiden’s greatest releases, but it’s amongst the very best albums released in 1984.

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INXS – The Swing (Album Review)

Released in 1984, The Swing, INXS’s fourth studio album, was a pivotal release that propelled the Australian band into the international spotlight. Whilst similar, yet somewhat removed from their earlier releases, The Swing would ultimately shift INXS’s sound from their post-punk influences to a more polished, radio-friendly, groove-oriented rock; a sonic styling that would later culminate in their masterpiece, Kick. Encompassing a mix of infectious grooves, catchy melodies, and innovative production techniques, The Swing became not only a commercial success but a landmark release with such enduring appeal that it can still be appreciated to this day.

As already alluded to, the production quality of The Swing is superb. Every aspect, from the recording, to the mix, and the mastering of the album has been handled with care, for when you play the record, particularly via Apple Music, you won’t be disappointed with the sonic presentation. It’s so good that you’d be hard-pressed to find a better facsimile of the album than the Lossless Apple Digital Master. It’s bold, detailed, and thoroughly enjoyable to listen to. While I was fortunate to have owned the 2011 CD reissue, it just wasn’t as pleasing to the senses as the streaming counterpart is.

Technically, both editions should sound the same, as they’re derived from the same remaster series, but the Apple Digital Master is delivered as a 24-bit 44.1kHz ALAC file compared to the 16-bit 44.1kHz version found on the CD counterpart. It’s important to note that higher numbers don’t automatically correlate to greater quality, but to truncate the 24-bit 44.1kHz to the CD’s 16-bit 44.1kHz requirements, dithering is added to reduce distortion but that process also adds noise. It’s a minor detail, but the Apple Digital Master process manages to preserve all the dynamic range of the source file while eliminating the need to add dither. Granted, most music lovers won’t care about this aspect, but I mention it to only highlight that, in this case, the stream offers a much more pleasing sonic presentation than the equivalent CD release. So, with that in mind, let’s take a look at the songs that make up this landmark release.

Original Sin is a quintessential album opener. It not only sets the tone for the music that’s to come but has such a compelling and catchy rhythm that you’ll find yourself bopping along to this upbeat number. Produced by Nile Rodgers (co-founder of Chic), Original Sin has a funky bassline, dynamic horns, and layered vocals that create a powerful anthemic sound. Daryl Hall’s harmonic vocal inclusion with Michael Hutchence, in the chorus, is idealistic and further amplifies this timeless, and iconic, tune.

Melting In The Sun shifts the style slightly, with a more laid-back, rock-oriented vibe. There’s no doubt that Melting In The Sun is an 80s tune for it has all the signature cues, but for those of us who lived through the era, it’s highly nostalgic and the jangly elements are a feature rather than a deterrent.

I Send A Message picks the tempo up again and is the natural successor to Original Sin with its infectious funk-driven melody. While not as tight as the opening tune, I dare you to sit still as I Send A Message is playing. I know I can’t do it for the song’s blend of synthetic elements, the overall musical bed, and Kirk Pengilly’s saxophone reach into the soul and don’t let go until the very final note has been played.

Dancing On The Jetty is an interesting track as the introduction is considerably different to the styling of the songs that preceded it. The darker, more atmospheric, sonic signature with the brooding bassline and haunting synths create a sense of tension, while Hutchence’s vocals add a layer of emotional intensity. As it pertains to the chorus, however, I can’t help but hear a slight Midnight Oil influence. Nevertheless, the track's moody ambience and experimental production make it a fascinating listen, showcasing the band's willingness to push the boundaries of their sound.

The Swing may be the title track, but this album-only number is solid but not exceptional. It is doubtful that this song alone will compel you to listen to the album, but as connective tissue, holding the record together, it works perfectly well.

Johnson's Aeroplane is a sonic masterpiece that blends rock and new wave elements with a symphonic-influenced musical backing. The song's somewhat unusual structure, with its shifting tempos and varying dynamics, adds to its intrigue, but it’s songs such as this that offer a prime example of INXS’s ability to craft musically compelling songs.

Love Is (What I Say) returns the album to an upbeat, danceable sound, with this mid-tempo number. It’s catchy with a funky bassline and lively percussion and while it may not be the most innovative track from the record, its role as an album-only tune ensures that The Swing, as an album, is essential for fans of the band and the music that the era had to offer.

Face The Change has a great mid-tempo groove. The atmospheric production, combined with layered guitars and synth elements, creates a captivating and unconventional soundscape. While it was never going to be a chart-topping hit, even if it had been released as a single, there’s something extremely satisfying about Face The Change that I can’t quite put my finger on. What I do know is that each time I play the album, I unpack the musical elements of this song and appreciate it differently each time, meaning that even after all these years, Face The Change remains fresh.

Burn For You flows seamlessly from Face The Change and quickly becomes one of the album’s standout tracks; one that blends pop perfectly with a rock edge. The song's catchy melody, combined with its driving beat and lush production, makes it an irresistible listen. The 80s cues, throughout, don’t sound dated but are one reason why it performed so well on the singles charts, reaching #3 in Australia. Regardless, Burn For You is one of INXS’s greatest songs.

All The Voices is a compelling closing tune, but not in the way that you’d normally expect. Yes, I feel compelled to play the album again, as I listen to this track, but the overarching style is considerably different to the previous songs. Nevertheless, as with Face The Change, I find myself dissecting the song upon each listen and can appreciate it, thoroughly, for its layered production encapsulates all elements of the band.

The Swing is not only INXS’s most pivotal release, but it’s a masterpiece as it pertains to the recording, mix, mastering, songwriting, and overall performances. Yes, Kick will forever be their magnum opus, but The Swing is the origin of that release and all other INXS tunes that would be released post-1984. The album's blend of rock, new wave, and dance elements not only made it a commercial success but offered a unique musical presentation that ensures The Swing is a must-listen for fans of not only the 80s but of INXS.

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Bruce Springsteen – Born In the U.S.A. (Album Review)

Released in 1984, Born In The U.S.A. was not only a landmark release for Bruce Springsteen but it would rocket to the top of the charts and become an enduring classic 80s release that deserves all the praise bestowed upon it. With its anthemic title track and a series of hit singles, the album captured the zeitgeist of 1980s America, combining rock, pop, and heartland rock influences. It also marked a shift in Springsteen's sound, moving to a more polished, radio-friendly production; a style that suited Springsteen, perfectly.

As Springsteen’s seventh studio album, there’s no shortage of exceptional music, preceding this release, particularly the exceptional Darkness On The Edge Of Town, but Born In The U.S.A. is special. It plays akin to a greatest hits release and is amongst the greatest music in all of recorded music history. Truly, you don’t need this review or any other to appreciate Born In The U.S.A., for listening to this classic release allows it to speak for itself. That said, I’ll still offer my thoughts.

Incorporating pop elements into an established rocker’s toolkit can be a recipe for disaster, yet The Boss blended styles perfectly, thereby creating a far more accessible album than his previous releases had been capable of. No doubt there were detractors, but the stylistic shift was a masterstroke as Born In The U.S.A. is still a rocker through and through, it just incorporates the sounds of the era. Interestingly, as you listen to the record, you get a sense of the album’s timeless nature for despite the synthetic cues, commonly associated with the 80s, Born In The U.S.A. sounds as fresh today as when it was released some four decades ago.

Part of the longevity and appeal of the album can be attributed to the songs and production values, but that album cover is iconic. Even for those of us who are not American, you can’t help but feel a sense of pride and patriotism when looking at the cover. It was naturally destined to be a success stateside, but with international sales exceeding 13 million units, and total certified sales being in excess of 30 million, it’s an album that resonated with music lovers the world over and is not only Springsteen’s most successful, but is amongst the best selling albums of all time.

Aside from the songwriting and musical performances, where Born In The U.S.A. truly shines is in its recording, mix, and mastering. The songs contained within will reach into your soul and not let go until the final note has been played. Interestingly, in what can be considered uncommon for the time, Born In The U.S.A. had four producers, all with different perspectives, yet Springsteen and Co. managed to put together an incredibly cohesive album; with the help of behind-the-scenes legends, Bob Clearmountain (mixing) and Bob Ludwig (mastering). In the modern era, where production credits are an afterthought, it’s essential to acknowledge the creatives that helped to shape one of the most recognisable records of all time. While Springsteen and the E Street Band are exceptional musicians, Clearmountain’s and Ludwig’s contributions ensured they sounded their very best.

Keeping with the sonic prowess of the album, and as it pertains to the Lossless Apple Music stream, an Apple Digital Master, the sonic reproduction is stunning with a bold and bombastic rock-focused sound. The reproduction is crystal clear with a thoroughly enjoyable presentation across the entire audio spectrum. As you listen to the stream, you’ll likely find yourself reaching for the volume knob in order to crank the volume, and there’s plenty of headroom available thereby ensuring that the stream can be enjoyed at both modest and room-filling sound levels with no distortion or fatigue from the listener’s perspective. While Vinyl aficionados will be sharpening their pitchforks, the truth is that unless you’re interested in the larger artwork, and physical media ownership, there’s absolutely nothing missing, sonically, from the Apple Digital Master that would compel me to seek out a physical release. It, really, is that enjoyable!

Born In the U.S.A. launches the album with a vibrant rocker that has stadium-filling tune written all over it. While it, arguably, is Springsteen’s most well-known song, it’s also one of the most misinterpreted of all time. Not due to a mondegreen, but the catchy chorus that screams of patriotism; should you ignore the lyrics in each of the song’s verses, that is.

As long-time readers will note, I seldom appreciate music for its literal intent, instead appreciating the vocal as another musical element within the mix. In this case, it’s a benefit as Born In The U.S.A. is not a song of patriotism, but one criticising the treatment of Vietnam veterans post-deployment. Nevertheless, it’s easy to see how it can be appreciated by some as an unofficial national anthem and if you don’t look too deeply into the lyrics, you should feel no shame for misinterpreting this classic tune.

Cover Me with its driving rock rhythm and a touch of funk and pop ensures that it’s the perfect follow-up to the album’s explosive opener. If the tempo doesn’t get you toe-tapping and head-bopping along, you’ll find yourself playing the air guitar for Cover Me is an incredibly complex and pleasing tune.

Darlington County has plenty of Southern rock influences and the twang element shines throughout. Despite not being released as one of the album’s seven singles, Darlington County is addictively good and it’s album-only tunes such as this that make Born In The U.S.A. the classic it is today.

Working On the Highway shifts the tone slightly, particularly with regard to Springsteen’s vocal delivery. The song’s infectious energy, with its rockabilly rhythm and upbeat tempo, make it a quintessential album-only tune that continues to drive the record forward.

Downbound Train has a melancholic melody that perfectly reflects the despair of the protagonist’s life. While it may not be the first song that draws your attention to the album, Downbound Train remains essential to the flow of the record with a minimalist rock styling that prepares you for the music that’s about to come.

I'm On Fire is a further departure from the bombastic tunes that opened the album, but this minimalist, simmering ballad, is one of the most beautiful songs ever recorded. It not only encapsulates the sonic cues of the era, but the song's sparse arrangement creates an intimate atmosphere, allowing Springsteen’s hushed vocal to take centre stage in what could be his most defining moment as a vocalist.

No Surrender picks up the tempo and is a solid rocker. It’s unlikely to draw you to the album, but each song need not be a standout for an album to be exceptional.

Bobby Jean is a classic Springsteen tune, yet I’ve never been awed by it. I do, however, get drawn into Clarence Clemons’ saxophone performance, for that is the musical highlight of the song.

I'm Goin' Down is a playful rocker with a compelling sing-along chorus.

Glory Days has rock anthem written all over it, for the solid tempo, incredible percussion, and Springsteen’s powerful vocals ensure that this reflective number resonates with the universal experiences surrounding nostalgia.

Dancing In the Dark is a synth-driven pop-rock masterpiece. There’s little doubt as to why it’s become one of Springsteen’s biggest hits, for you simply can’t sit still while this song is playing.

My Hometown slows the tempo considerably, but the flow from Dancing In The Dark is so seamless that it needs to be mentioned for music is seldom tracked this perfectly. That aside, this synth-driven reflective ballad will leave you wanting more for Springsteen’s vocal dexterity, on this song, is amongst the very best of his career.

Born In the U.S.A. is, subsequently, a masterful blend of rock anthems, 80s synth-pop rockers, and introspective ballads that capture the complexities of American life during the era. Its enduring appeal, however, is a result of its combination of accessible, radio-friendly production values that are accompanied by deeply resonant lyrics that explore themes of disillusionment, resilience, and hope. With its mix of chart-topping singles and thought-provoking tracks, Born In the U.S.A. remains the defining work of Springsteen's career and a quintessential album of the 80s.

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Bruce Cockburn – Stealing Fire (Album Review)

There are singer/songwriters and then there is Bruce Cockburn; an artist that, in my opinion, has never truly received the recognition he deserved. Yes, he has been incredibly successful throughout his career, but as you listen to Stealing Fire I’ve no doubt you’ll be left speechless for not only is it one of the best albums from 1984, but it’s a hidden gem of the era.

Part of the album’s appeal is most certainly linked to the inclusion of musical influences from around the world as these elements merge perfectly with Cockburn’s overall style. Yes, Cockburn’s folk stylings remain, as do the classic rock and pop elements, but it’s in the intertwining of these elements where the album comes into its own for there isn’t a dull song to be heard. It’s also expertly suited to the era with plenty of 80s influences; none of which, however, detract from the album's eclectic style.

As part of the world influence, Stealing Fire’s lyrics are primarily related to a world in turmoil, reflecting on political unrest, human rights, and the transformative power of love and hope. This poignant lyricism will undoubtedly appeal to those who dissect music for its literal meaning, but the music, itself, is so strong that many of us will simply sit back, relax, and appreciate Cockburn’s vocal for its tonal qualities and sensational delivery.

The unconventional album artwork is compelling, so much so that I look forward to attaining a physical release, particularly on vinyl. Thankfully, Red Eye Records has the most recent LP reissues available to order. However, what’s limiting my interest in picking up a copy is in relation to just how well recorded, mixed, and mastered the Lossless Apple Music stream is. Yes, it is the CD counterpart to the Deluxe Edition from 2003, but Peter Moore did such an incredible remastering job that I feel no need to seek out a physical release, particularly on vinyl, as the digital stream is immersive, spacious, and tonally warm. It truly is a pleasure to listen to.

As it pertains to the bonus tracks that were issued on the Deluxe Edition; they’re lovely. However, here at Subjective Sounds, we try to focus on the album’s original sequencing, hence you’ll note a shared playlist below containing the album’s original nine tracks. If you’d like to hear Yanqui Go Home and Call It The Sundance, both songs are available, on Apple Music, by clicking here.

Lovers In A Dangerous Time is an ideal opener for this 80s-era release. It also happens to be one of Cockburn’s most memorable tunes and performed well on the charts when released as a single. With its driving beat, jangly guitars, and infectious melody, Lovers In A Dangerous Time will appeal to just about anyone who has a penchant for 80s-styled recordings.

Maybe The Poet continues the wondrous musical exploration with its upbeat tempo. Cockburn’s sharp, almost spoken-word delivery, is highly compelling, but it’s the musical bed as well as the choral backing that appeals most to this music lover.

Sahara Gold is an incredible tune; a true hidden gem. Cockburn’s evocative guitar work shines through, creating a soundscape that is both beautiful and slightly unsettling. It is, however, the haunting melody that amplifies the senses. Cockburn’s vocal styling is nothing short of exceptionally compelling thereby resulting in one of Cockburn’s all-time greatest recordings.

Making Contact picks up the tone to deliver a song that’s a little lighter than Sahara Gold. While it could be suggested that there’s a slight jolt to the senses between the two songs, it isn’t enough to break the flow of the album. Either way, Making Contact, with its laid-back groove and reggae-influenced rhythm is a thoroughly enjoyable tune that will have you toe-tapping and head-bopping throughout.

Peggy's Kitchen Wall is one of the more narrative-driven tracks on the album. It’s musically beautiful with an almost jaunty rhythm that borrows slightly from reggae music, the combination of which results in an interesting contrast to the song’s dark subject matter.

To Raise The Morning Star will have you turning the volume up, for the rhythmic vibe and layered musically will captivate your soul with its ethereal arrangement of chiming guitars and gentle percussion.

Nicaragua is a simply stunning tune. While I don’t always listen to music for literal intent, Nicaragua is one of the songs on the record that’s difficult to ignore for it’s one of the album’s most political. If nothing else, Nicaragua is Cockburn at his most poetic.

If I Had A Rocket Launcher is another highlight from Cockburn’s career, and is one of his most controversial songs. Depending on your perspective, different interpretations can be assigned to the song’s lyrical meaning, but from a musical perspective, If I Had A Rocket Launcher is one of his greatest tunes with a guitar performance to rival that of Mark Knopfler.

Dust And Diesel closes out the album in a more reflective mood. The song’s musical arrangement takes a back seat, thereby allowing Cockburn’s vocals to shine through. If nothing else, as you listen to Dust And Diesel, you’ll feel compelled to play the album again for Stealing Fire is an album that can seldom be listened to once.

From start to finish, Stealing Fire is a remarkable singer/songwriter release that will appeal to just about any music lover. Bruce Cockburn’s ability to combine powerful messages with compelling music makes this album a timeless classic, as relevant today as it was when released in 1984. If you haven’t yet added this masterpiece to your own music library, what are you waiting for? Music doesn’t get much better than this and Cockburn is a true, underrated, musical legend.

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Bon Jovi – Bon Jovi (Self-Titled) [Album Review]

As far as debuts go, Bon Jovi’s Self-Titled 1984 release is astonishingly good with core musical aspects that were not only unique at the time but would become the band’s trademark as they traversed the musical landscape over the next four decades. However, longevity in this case wasn’t known upon the release of Bon Jovi but with the safety net of reflection, it’s easy to hear the origins of a band that would become loved by millions. Combining elements of hard rock, glam metal, and pop, Bon Jovi laid the foundation that would eventually lead them to global stardom.

Speaking of superstardom, Bon Jovi went on to sell more than two million units; a very respectable number for a debut. Most recently, the album has been reissued for the 40th Anniversary on Vinyl and Cassette, but in a strange dichotomy, the reissue remains absent from the humble CD. It’s a frustrating omission for those who are interested in the bonus material that the Deluxe Edition has to offer. Thankfully it is available via Apple Music et al and the Deluxe Edition can be purchased on the iTunes Store and the Qobuz Download store. However, it’s an oversight for physical media collectors. Additionally, this bonus content isn’t available via the Vinyl or Cassette releases; even as an included download. Making matters even more complex, Qobuz only offers the 18-track Deluxe Edition that doesn’t include the bonus music videos for Runaway and She Don’t Know Me. That additional content, however, appears to be an Apple Music/iTunes exclusive.

Despite the confusion, one thing is for certain and that is that Vinyl collectors will thoroughly appreciate the exceptional cover art for it didn’t only stand out on record store shelves at the time of release, but it will look incredible in any music collection as it's bold and demanding of one’s visual attention. While purists of the Vinyl format will suggest that the stream cannot compare to the Vinyl release, and I have no intention of suggesting otherwise, the Hi-Res Lossless Apple Music stream is spectacularly good, so much so that I don’t feel compelled to pick up the reissue. Yes, the stream is audibly compressed, and the volume has been boosted overall, but it works well for the style of music as it gives the album a bombastic feel, one that will grip your soul from the very first note to the last.

Additionally, while I was fortunate to have owned the Special Edition from 2010, I found it almost unbearable to listen to as it was mastered with nothing but loudness in mind. The Apple Digital Master, by comparison, is far smoother and more enjoyable to listen to. Yes, the stream is mastered loud, but not in an obnoxious way that will make you want to turn the volume down or stop playing the album. That all said, trust your ears, dear reader, and give the stream a listen as we take a look at the songs that make up this classic record.

Runaway is a high-energy number with infectious hooks, a memorable guitar solo, and Jon Bon Jovi’s highly compelling vocal delivery. There’s nothing to dislike here for out of all the songs featured on this debut release, Runaway is the one that became a runaway success (pun intended) and is the truest example of the sound that Bon Jovi would ultimately lean into as their career progressed.

Roulette combines a pulsating rhythm with driving guitar riffs as Richie Sambora’s guitar work and Tico Torres’ drumming stand out on this edgy number. While it may not be the first song that everyone thinks of when putting the album on, Roulette is an exceptional album-only tune and has another killer Sambora solo that, when combined with Jon’s vocal, makes this a hidden gem.

She Don't Know Me is a masterpiece. Seriously, this mid-tempo ballad is utterly superb and if you’re like me, you’ll turn the volume up and rock out, particularly during the bridge and chorus. Interestingly, it’s the only song that no member of Bon Jovi had a part in writing. Yet, it’s ideally suited to the band and was a perfect choice for the debut.

Shot Through The Heart is a powerful rock anthem featuring rhythmically charged riffs and a soaring chorus. Based on the lyrics alone, it would be easy to confuse the song with their later hit You Give Love A Bad Name, but the two songs couldn’t be more different. Still, Shot Through The Heart continues to showcase the origins of the powerhouse that Bon Jovi would ultimately become for this is another hidden gem in the band’s back catalogue.

Love Lies slows things down a little with this fantastic ballad. It serves as a great example of Jon Bon Jovi’s vocal presence and his ability to deliver a highly compelling chorus. Yes, had this been released a few years later, Love Lies would have been a chart-topper, but it’s songs such as this that make the album experience so rewarding for Bon Jovi is an incredible album, not because of one or two hits, but because of a series of incredible songs that were recorded and sequenced perfectly.

Breakout is 80s 101 with synthesised elements, a driving rhythm, and an anthemic chorus.

Burning For Love is a fast-paced rocker that’s, arguably, a little off-tempo as it pertains to Jon Bon Jovi’s vocal style. Don’t get me wrong, it’s a great tune, with a killer musical bed, and one that I thoroughly enjoy, but if I’m looking at this in contrast with the other songs on the album, and against the headlining music Bon Jovi has released over the years, I can honestly say that I’m glad they didn’t pursue this musical direction.

Come Back is a solid album-only number, but in much the same way as Burning For Love doesn’t quite suit Bon Jovi, Come Back doesn’t adequately represent the band's talent at the time.

Get Ready has an infectious energy that makes it an ideal closer; one that will compel you to play the album again. Despite not being a standout, the song’s upbeat nature ensures the album experience, as a whole, is memorable.

Bon Jovi’s debut is a testament to the band’s potential and raw talent as it presents a glimpse into the sonic signature that would make them one of the biggest rock bands in the world. With a mix of high-energy rockers and heartfelt ballads, Bon Jovi remains not only a significant and influential album in the band’s discography but is amongst the greatest records released in 1984.

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Dan Fogelberg – Windows And Walls (Album Review)

There are hidden gems and then there is Windows And Walls; arguably a contender for the best singer-songwriter album of the 80s. Released in 1984, Windows And Walls is Dan Fogelberg’s eighth studio album and is one of his greatest releases for there isn’t a bad song to be heard, not even a B-side. Fogelberg is a master musician with a magical blend of folk, rock, and pop, all of which shine through clearly on this release. Whether it’s the ballads or the more up-tempo numbers, you won’t be able to fault this masterpiece; it’s that good!

While the album’s artwork may not appeal to some, the multidimensional aspect captivates me. It is with that in mind that, despite appreciating the Apple Music stream, I’d love to see Sony Music (Epic Records) reissue Windows And Walls, on Vinyl, for the cover art is magnificent. Unfortunately, this record hasn’t been reissued on any physical format since 1987, so unless you’re interested in picking up a secondhand copy, or are fortunate to already have one in your collection, the stream is your best bet.

Naturally, when music is recorded, mixed, and mastered this well, it’s going to sound incredible. While I haven’t been fortunate enough to hear an original release of this classic album, I can say with complete confidence that the 24-bit/44.1 kHz ALAC Lossless stream from Apple Music is flawless and perfectly suited to the era and Fogelberg’s overall style. Is it the final word in sonic quality for the record? Well, that’s subjective, of course, but if any aspect wasn’t quite right, one could rest assured that a minor tweak to an individual’s EQ settings would bring it in line with subjective expectations. For this listener, however, I consider it utterly perfect and hope that, even as much as I wish it would be reissued, they don’t remaster it for it doesn’t need it. The soundstage is wide and enveloping with adequate separation between all musical elements. There’s also next-to-no compression to deal with meaning that you can pump the volume to your preferred listening levels without experiencing any fatigue or harshness.

The Language Of Love is a lively, synth-driven number that is the perfect opener for Windows And Walls. While it also marks a slight departure from Fogelberg’s more acoustic roots, the song’s pop-rock sound captures the energetic vibe of the mid-80s and is perfectly suited to Fogelberg.

Windows And Walls is an incredibly beautiful ballad. Fogelberg’s vocal presentation and the delicate musicality are captivating, thereby creating an intimate atmosphere that ensures it's an ideal title track and one of Fogelberg’s greatest recordings.

The Loving Cup is a sensational multi-tempo tune. Like many of the songs on Windows And Walls, when The Loving Cup comes on, I just want to turn the volume up for music doesn’t get much better than this. That said, no matter how smooth the rich harmonies and musical bed are, the outro is a little too abrupt and a fade-out would have been perfect. However, the sharpness of the ending does flow masterfully into Tucson, Arizona (Gazette) so all is not lost.

Tucson, Arizona (Gazette) is a stunning narrative-driven piece. The arrangement combines country aspects with classic rock elements, resulting in a song that leaves me in awe each time I hear it for this masterful recording is akin to having Fogelberg and the band in the room with you for a private performance.

Let Her Go returns the album to an 80s pop-rock styling. I don’t know about you, dear reader, but I can’t listen to Let Her Go without head-bopping, toe-tapping, or dancing along to this incredibly addictive number. The guitar solo will similarly encourage the playing of the infamous air guitar and it’s these elements, all masterfully connected, that make me question why Let Her Go wasn’t a hit for it’s reminiscent of the most popular music of the era. Of course, it would have had to have been released as a single to be noticed. It is, nevertheless, an incredible hidden gem for anyone not familiar with Windows And Walls.

Sweet Magnolia And The Travelling Salesman slows the album’s tempo and can be best described as a masterpiece for it’s one of the greatest songs Fogelberg ever recorded.

Believe In Me is another beautiful tune for Windows And Walls simply keeps getting better as the album progresses. Fogelberg’s smooth and delicate vocal presentation, along with the lush arrangement, ensures this song is a standout that’s both compelling and memorable.

Gone Too Far is a perfect closing track with an 80s rock style that will get your body moving and will encourage you to listen to the record again.

Windows And Walls is a compelling album that showcases Dan Fogelberg’s lyrical and musical versatility. As an album that I can play on repeat indefinitely, for I never tire of listening to this exceptional release, it’s music such as this that reminds me why I love music as much as I do. The album's mix of folk, rock, and pop elements, along with Fogelberg's introspective storytelling, makes it a memorable addition to his discography and one of the very best albums released in the 80s; particularly in 1984.

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