John Fogerty – Centerfield (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Gary Moore – Run For Cover (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Eurythmics – Be Yourself Tonight (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Dokken – Under Lock and Key (Album Review)

Released in 1985, Dokken’s Under Lock And Key is a glam metal classic and a defining moment in the band’s career. Featuring the classic lineup of Don Dokken (vocals), George Lynch (guitar), Jeff Pilson (bass), and Mick Brown (drums), the album blends melodic hooks and killer rock licks with technical prowess. While there is no shortage of exceptional 80s glam metal releases, Under Lock And Key is one of the most impressive and timeless examples available to rock and rollers.

Turning our attention to the album artwork, it’s adequate. It’s far from the worst 80s album covers but it’s a little bland. Thankfully, the sonic prowess of this release steps things up and is thoroughly enjoyable. Yes, the Apple Music stream delivers the record as a CD-quality lossless stream, but that’s not necessarily a bad thing as it sounds exactly like one would expect. There’s no indication if this is a remaster. Still, based on the sonic cues, I would say that it’s likely that it’s the original CD mastering and, as such, turning the volume up will have you rocking out, rather than feeling fatigued by an overly hot master.

It may not be to everyone’s taste, but this is another prime example of how important tone controls are to music lovers. Some will lament their use, but I don’t share that perspective as I’d much rather tweak the sonic qualities of a record to suit my subjective taste. Regardless, the overall production quality strikes a perfect balance between polished sheen and raw power, ensuring a timeless appeal that will make any music lover happy. With that in mind, let’s take a look at the songs that make up this classic release.

Unchain The Night opens the album with a brooding, atmospheric guitar intro that sets the tone for the entire record. Following the exceptional introduction, the track transitions into a mid-tempo rocker with soaring vocals and intricate guitar work to accompany the killer rhythmic base of the song.

The Hunter was the first single released from the album and is a fantastic rocker, but as strong as it is, I’m not sure it was the best choice for a single release as Unchain The Night has that earworm quality that may have resulted in greater charts success. Nevertheless, The Hunter is a standout that balances intensity with an accessible rhythm.

In My Dreams is a melodic masterpiece. The infectious chorus, tight harmonies, and Lynch's flashy yet tasteful solo make it one of Dokken’s most memorable songs. Yes, it has an 80s sheen, but those of us who live with a nostalgic mindset will find it highly compelling and it’s amongst the greatest rock songs released in the era.

Slippin' Away slows the pace slightly with this reflective ballad that provides a lovely contrast amidst the harder-edged tracks. Don Dokken’s vocals are magnificent and are complemented perfectly by the understated instrumentation that is ideally mixed, thereby allowing the vocals, and guitar solo, to soar above the musical bed.

Lightnin' Strikes Again brings back the energy with this high-tempo number that showcases Lynch’s blistering guitar skills. The aggressive riffing and thunderous rhythm section drive the song, embodying the band’s heavier side, but it’s Don Dokken’s vocals that are the standout here, showcasing just how exceptional his vocal range is.

It's Not Love, with its groove-oriented riff, stands out as one of the album’s most distinctive tracks. Despite the song’s raw energy and gritty guitar work, It’s Not Love is a melodic pleasure to listen to.

Jaded Heart is another incredible ballad showcasing Don Dokken’s ability to convey deep emotion. While some reject ballads, I extoll their inclusion for it showcases just how exceptional the vocalists of our favourite metal bands are as it’s not always about driving the vocal to the very end of a vocalist’s capabilities. Add to that the lush arrangement and Jaded Heart becomes not only a standout on the record, but it’s one of the best songs Dokken ever recorded.

Don't Lie To Me is a catchy mid-tempo rocker with a driving rhythm that will see you head-bopping and toe-tapping along. It’s 80s glam rock at its very best!

Will The Sun Rise has an incredible interplay between the rhythm section while Lynch’s guitar textures create a rich sonic palette on this story-focused tune. The chorus is most certainly a highlight, as is the guitar solo, and as far as album-only tunes go, this is an absolute masterpiece.

Til The Livin' End closes the album out with a bang, delivering an all-out rocker. It is, however, sequenced poorly in that it sounds out of place following the melodic nature of Will The Sun Rise. Yes, the relentless guitar riffs and pounding drums make it a solid conclusion to Under Lock And Key, but it also sounds a little less produced than the other songs on the record. Nevertheless, Til The Livin' End will compel you to play the record again for Dokken can seldom be listened to once.

Under Lock And Key, ultimately, captures Dokken at their peak, blending hard rock grit with melodic finesse. George Lynch’s guitar work is a masterclass in 1980s metal, while Don Dokken’s vocal performances bring the songs’ emotional core to life. Under Lock And Key is, subsequently, not just another album; it’s a testament to an era blessed by glam metal’s dominance. As such, if you’re a fan of the band, era, or genre, Under Lock And Key is a must-listen for it showcased Dokken as a powerhouse amongst many glam metal acts.

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Dire Straits – Brothers In Arms (Album Review)

Released in 1985, Dire Straits’ Brothers In Arms was not only a defining moment in the band’s career, but it was a landmark release. With its blend of poignant songwriting, intricate guitar work, and state-of-the-art production, the album resonates as a timeless masterpiece with an equally compelling piece of cover art that blends perfectly with the music.

While the fanfare surrounding this record is absolutely justified, it’s an album that has long divided music lovers and audiophiles for there are so many different versions (masterings) that one needs to question if it is the sonic quality, or the music itself, that should be at the forefront when listening to Brothers In Arms.

Here at Subjective Sounds, you’ll get both perspectives, but I do lean towards the music rather than sonic prowess alone. Let’s start with the formats, and then discuss the music, shall we?

With over 500 versions of Brothers In Arms listed on Discogs, one would rightfully find selecting a definitive edition to be tricky, if not impossible. While I obviously can’t review every release, I’ll give you my thoughts based on the versions I’ve been fortunate to have listened to.

The releases include:

• The Mobile Fidelity Sound Lab 2015 release (MFSL 2-441)

• The 20th Anniversary Vertigo (9871498) Hybrid SACD edition

• The Apple Music 16-bit/44.1kHz ALAC lossless stream

What’s most interesting, however, is that the Hybrid SACD contains not only the CD version of the album but also the HDCD, SACD Stereo 2.0 mix, and the SACD 5.1 Surround Sound Mix. That single disc has so many different versions on it that it really showcases just how well the Hybrid SACD format could be utilised for a mass market release; a release that could appeal to all music lovers, rather than just audiophiles.

While multiple options are (usually) a good thing, sometimes there can be too much of a good thing and in this instance, less is more. Yes, dear reader, I drove myself to the point of insanity, listening to every version and the truth is that I couldn’t pick a winner for each exhibited their own uniqueness and none were what I would consider to be flawed. Certainly, I had my preferences, but I could never quite lock one in; until now.

So, which version did I prefer and why?

I chose to go with the lossless Apple Music stream. Blasphemy, I hear you say. The problem was I was listening for faults and minute elements rather than simply enjoying the music. Plus, when all else fails, sometimes good enough is…good enough.

Nevertheless, I’ll give a brief rundown on my experiences with the two physical versions, for those of you who may, or may not, wish to go through the torturous process of deciding which version you’d subjectively feel is better. And, yes, if you’ve put more money into your turntable setup than your SACD et al gear, that will be the one to go for, and vice versa.

Let’s start with the Mobile Fidelity Sound Lab (MOFI) edition; for it is magnificent. While I don’t condone MOFI’s deceit regarding the master tape sources they used, along with using a digital intermediary, the sonic reproduction, of this release, speaks for itself as you will be enveloped in the soundstage from the very first note to the last. Every musical element is positioned exactly where it should be and regardless of the volume you choose to play the album at, it’s going to sound incredible. While it isn’t necessarily affordable, although what is these days, if you’re after a record that will make your turntable sing, this is one you should certainly consider. You do have to deal with flipping the record over after two songs, however; a by-product of the album being pressed at 45rpm. Of course, original releases truncate some of the album’s greatest songs in order to have had it fit comfortably on a regular 33.3rpm release, so there will always be a tradeoff when it comes to vinyl editions.

As with all MOFI releases, the outer sleeve is thick, so much so that one would need to be determined to damage it before the sleeve would fall apart. It’s a lovely reproduction, even if the gatefold inner artwork is a little on the blander side.

Shifting our attention to the Hybrid SACD, the following summarises my thoughts on this all-inclusive release:

• 20th Anniversary CD is clean, perhaps a little too clean. By that, I mean that the bass response, while present, lacks a sense of emotive energy that is present in all other versions. It’s dynamic, yet a cohesion of musical elements is missing, thereby resulting in a lack of body and tonal warmth. Of course, many will point to the origins of the recording, being that it was one of the first albums to be recorded digitally, but it isn’t that; it simply lacks presence.

• 20th Anniversary HDCD sounds fantastic, especially compared to the CD version found on the Hybrid SACD; but it’s getting increasingly difficult to obtain players that can decode the HDCD layer. Nevertheless, the entire soundstage, bass elements, and treble range of the HDCD sparkles without being fatiguing and while it’s, arguably, not as smooth as the SACD Stereo Mix, it sounds right.

• 20th Anniversary SACD Stereo Mix is smoother than the HDCD version but arguably lacks detail as the treble range is rolled off considerably. While smoothness can also translate to warmth, the SACD Stereo Mix fails to impress me as much as the vinyl counterpart does as turning the volume up showcases its limitations in comparison to the aforementioned vinyl release. At higher volumes, it simply becomes less pleasurable to listen to. It’s my opinion that the 20th Anniversary SACD Stereo Mix is mastered a little too hot.

• 20th Anniversary SACD 5.1 Surround Sound Mix is a different beast entirely and if you’ve been listening to the stereo mix of Brothers In Arms for decades, the surround mix can take a little getting used to. While I appreciate the spectacle of it, with discrete sounds moving about my listening space, I still found myself preferring the stereo mix. It’s important to note, however, that I’m not a surround sound enthusiast, so I would recommend that you check out Mike’s Life In Surround YouTube channel and QuadraphonicQuad where the general consensus is highly positive.

If you’ve got this far I applaud your dedication as the testing and comparing, then writing and/or reading about it, can be about as interesting as watching grass grow. Nevertheless, as it pertains to the lossless Apple Music stream, derived from the 1996 CD remaster, I find myself at ease with its flexibility and convenience. Yes, I went there. Convenience is a must and if you have to flip a record too often, or find yourself constantly trying to decide which of the many versions on the SACD to listen to, then just like me you’ll find a breath of fresh air as it relates to the streamed edition. While it is not as resonant as the vinyl counterpart, nor as feature-rich as the Hybrid SACD, it is the simplicity that I appreciate.

As I mentioned earlier, sometimes less is more and, truthfully, I don’t feel as if I’m missing out on much, compared to the physical releases. The Apple Music stream is thoroughly enjoyable, and not at all fatiguing, ensuring that the core musical experience is maintained. Look, it won’t be for everyone, but as I subscribe to John Darko’s music-first audiophile mantra, it’s more than enough and listening to it, anywhere and everywhere, gives me immense joy without the constant nagging that comes along with comparing multiple editions.   

Hence, with all that in mind, let’s take a look at the music that makes up this legendary release.

So Far Away opens the album with a clean and steady rhythm that is largely unassuming but equally compelling. Setting the tone for the music to come, So Far Away is not only an enduring classic but its relaxed groove will appeal to just about any music lover as it sounds deceptively simple, yet its melodic sophistication ensures that it’s timeless.

Money For Nothing is, without a doubt, the most iconic track from the album with one of the most recognisable guitar riffs in rock history. This is pop-rock at its finest and despite being released in the mid-80s, no element pigeonholes it to that era. Much could be said about this landmark tune, including the often criticised controversial lyrics, but it’s in the listening that will determine one’s interest in Money For Nothing. So, take a listen and rock out for Dire Straits doesn’t get much better than this.

Walk Of Life lifts the tone of the album with its upbeat organ tuning and the song’s infectious rhythm. Providing a lighter, more playful counterpoint to much of the album’s introspective tone, Walk Of Life is a joyous track that has long been a fan favourite and a staple in Dire Straits’ live performances.

Your Latest Trick immediately sets itself apart from Walk Of Life, yet it doesn’t sound out-of-place in the album’s linear structure. Your Latest Trick is very much jazz meets soft rock, with lush instrumental arrangements and an intricate interplay between all musical elements. While it may not have set the charts on fire, when released as the final single from the album, it’s amongst Dire Straits’ greatest recordings and harkens back to their earlier releases, just with a tad more production and layered musicality.

Why Worry? is tender, meditative, and despite clocking in at eight minutes, I never tire of it and could listen to this song on repeat indefinitely. The soothing melody, combined with Knopfler’s gentle guitar work and delicate arrangement, makes this beautiful song a hidden gem.

Ride Across The River paints a vivid sonic landscape, one built on a foundation of Latin-inspired percussion and atmospheric synthesisers. The song is so immersive that it creates a cinematic listening experience and, despite being an album-only tune, is a core reason why Brothers In Arms is so respected.

The Man's Too Strong has a stark acoustic arrangement before delving into a more dramatic dynamic that will draw you in instantly. As it pertains to the various editions of this album, it’s songs such as this that can either make or break the record as the crescendo tends to be ear-piercing and shrill. In fairness, the Apple Music stream doesn’t deliver the low-end boldness that is heard on the vinyl release, but at the very least it doesn’t grind my senses.

One World injects a funky upbeat groove into the album. Its lively tempo and rhythmic interplay make it a refreshing change of pace; one that will find you toe-tapping and head-bopping along to this incredible tune.

Brothers In Arms is a hauntingly beautiful ballad that features one of Knopfler’s most emotive guitar performances and serves as a poignant closer to one of the greatest albums ever recorded.

Ultimately, Brothers In Arms is more than just a collection of songs, it’s an artistic statement that has stood the test of time; one that has sold more than 30 million copies worldwide. With its seamless blend of rock, jazz, and blues influences, there’s little doubt as to why this landmark release was not only so well received, but is amongst the greatest albums released in 1985.

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Bob Dylan – Empire Burlesque (Album Review)

Released in 1985, Bob Dylan’s Empire Burlesque is a fascinating entry in Dylan’s celebrated and extensive discography, yet it, much like Street-Legal and Slow Train Coming has its detractors; especially those who favour Dylan’s early to mid-70s output. While not quite the album that Oh Mercy would become four years later, Empire Burlesque showcases Dylan’s eagerness to experiment with evolving contemporary production styles. Produced by Dylan himself, the album features a polished, modern sound with an unmistakable 80s sheen; one that isn’t, however, dated to the era.

While the music may not be dated, the album artwork most certainly is. Granted, it isn’t as kitch as some of the other albums, from the 80s, but it’s unlikely that you’ll display this album artwork with pride. Of course, if you’re like me, you may not have had the privilege to have attained this classic release on the larger vinyl canvas and while it would be lovely to acquire a copy, the Lossless Apple Music Stream, a CD-quality counterpart, is mastered respectfully; with one notable caveat. Following the album’s opening track, there’s a considerable sonic shift when Seeing The Real You At Last comes into play and this change, subsequently, is less treble-focused and, therefore, more concealed than the album’s opener. It isn’t necessarily detrimental, but it’s an aspect that may irritate some as album experiences are generally more uniform in their production styles.

Tight Connection To My Heart (Has Anyone Seen My Love?) opens the album with a catchy melody and glossy production that is perfectly suited to the era; even if it’s slightly different to Dylan’s traditional trademark style. Nevertheless, the polished arrangement, backing vocals, and overall musicality of the song make it a memorable opener.

Seeing The Real You At Last is a solid rock-driven number but as alluded to before, the sonic shift when listening to the album's sequencing is interesting as one would assume a bold and rocking sound to emanate from one’s speakers. It’s as if the song has been reduced by several decibels, but has also been muddied as it pertains to the mix. It doesn’t diminish the song, a killer rock number in its own right, but the shift may irk those of us who listen to albums in their intended sequencing, rather than random songs or playlists. That all said, Seeing The Real You At Last balances raw energy with the era’s typical propulsion of sharp guitar riffs and a driving rhythm. The result is that Seeing The Real You At Last is one of the best songs from Empire Burlesque.

I'll Remember You is a beautifully tender ballad that showcases Dylan’s ability to convey deep emotion through lyrics. Add to that the gentle arrangement, featuring understated instrumentation, that highlights Dylan’s vocals, and what you’ve got is one of the greatest ballads Dylan ever recorded.

Clean Cut Kid has a killer rhythm with a brisk tempo that’s addictively good. As usual, Dylan’s biting sarcasm and criticism of modern life come through loud and clear for this satirical number contrasts perfectly with the blues rock edge heard throughout.

Never Gonna Be The Same Again is a smooth, mid-tempo number that maintains the album’s polished production with backing vocals that add to the song’s lush texture. Interestingly, when you listen to Never Gonna Be The Same Again, the lyrical delivery from the backing vocalists is somewhat offset to Dylan’s vocal delivery and while that would normally take away from the song itself, it works perfectly and the combination makes it one of the best tunes from the record.

Trust Yourself is a motivating and empowering anthem of self-reliance. The track’s dynamic instrumentation, with its jangly guitars and keyboards, adds depth without overshadowing Dylan’s lyrics thereby making it ideal for both those who appreciate music from a purely musical perspective, as well as those who listen for literal interpretation. Ultimately, Trust Yourself is a standout and is one of Dylan’s greatest recordings.

Emotionally Yours is a masterful tune, for this soulful ballad, with its beautiful arrangement, complements Dylan’s tender and delicate vocal style. It’s so impressive that I’d place it amongst Dylan’s greatest ballads and it would be fair to say that it could very well be the most remarkable ballad he’s ever recorded.

When The Night Comes Falling From The Sky is Dylan meets rock with a touch of dance. Yes, Dylan purists will likely dislike the slick production, and while it’s far from his greatest tune, it works exceedingly well for not only Dylan’s overall style but within the context and the flow of Empire Burlesque.

Something's Burning, Baby is driven by an ominous melody that works well with Dylan’s vocal delivery. The sparse yet atmospheric arrangement enhances the song, but it’s the culmination of all musical elements that set this song apart from the rest of the tunes on the record.

Dark Eyes closes the album on a stark and poetic note. It’s this kind of stripped-down simplicity that truly highlights Dylan’s exceptional vocal skill for his folk origins shine through and allows a level of intimacy that simply isn’t present throughout the rest of the record. Dark Eyes is, subsequently, a quintessential closing track as it allows time for reflection whilst also encouraging the listener to play the record again.

Overall, Empire Burlesque captures Dylan at a crossroads, blending his timeless songwriting with the contemporary production trends of the 1980s. While some fans may be critical of this further shift within Dylan’s legacy, the album offers a compelling mix of heartfelt ballads, biting social commentary, and his trademark poetic musings. Empire Burlesque is, subsequently, a compelling chapter in Dylan’s discography for it offers a unique blend of old and new and is subsequently one of his best albums from the 80s and one of the greatest albums released in 1985.

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