I share new music that I’ve discovered during the week on AeschTunes’ social media channels (Bluesky, Mastodon, Tumblr, and YouTube), and each Sunday I post a “New Music Discoveries” post to the AeschTunes website that collects all of the songs that were shared on the socials each week.

This is what I discovered over the past week. Check the songs out and see what you think.

Galantis recently released “Stay Alive,” a collaboration with The Devil’s Tax Return.

Musically, this is a slow-to-midtempo EDM track that has a bit of a “late summer” vibe to its arrangement. “Stay Alive” may be an EDM song, but it also has a calming feel to its sound.

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Jonas Blue recently released “Girl.”

Musically, it’s an uptempo EDM track with a celebratory vibe to its musical arrangement and lyrics from the point of view of a speaker who’s grateful for their significant other. I’m hoping that dance radio and club play will help make this a summer hit.

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Singer-songwriter Hayla recently released “Enough.”

Musically, this is a pensive electronic track with lyrics about feeling like you’re not enough for your partner and falling into feelings of inadequacy. Hayla’s vocal performance perfectly captures the song’s emotional intent.

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Indie singer/songwriter Adam Rodway recently released “Matter Of Fact.”

Musically, this uptempo track has a bit of an alternative flair to it. Lyrically, the song is from the point of view of a speaker who’s been trying to keep a relationship alive realizing that it’s likely already over.

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Musical project Lia Lefay has released “Champagne Trouble.”

This is a unique track for the modern era, which combines elements of swing and jazz with the current dance sound. The uncredited female vocalist’s delivery evokes a feeling from the big band era. It’s different, but I like it.

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St. Catherine’s Child is the moniker for singer-songwriter Ilana Zsigmond.

This is a unique take on the pop classic “Fly Me to the Moon,” which is most closely associated with Frank Sinatra. This version has a dreamy vibe to it, and Ilana’s vocal performance perfectly complements it.

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Prince’s “Stone” was recently released from the vaults to promote the forthcoming release, Timeless.

I really liked the vibe of this song, and I’m actually a little surprised that Prince left this in the vault. I think this could have been a hit for him if he had released it.

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In 2025, Foreigner released a reissue of their 1981 album, 4. The reissue included an LP release, a digital release, a CD release, and a 4-CD/1-Blu-ray Disc release. This review focuses on the 4-CD/1 Blu-ray Disc version of the reissue.

As the title implies, 4 was the fourth album that Foreigner released, and it spawned two Top 5 hits on the Billboard Hot 100: “Urgent” and “Waiting for a Girl Like You.” The album itself was a number one hit on the Billboard 200 chart.

Before I go on to talk about the music and material that appears on the set, I want to take a moment to bring up the packaging. It’s a clamshell hardcover book-style package that includes a 60-page booklet that has an interview with the band about the album, as well as credits and a producer’s note. This is the best part about the packaging, though, because how they placed the discs in here is horrendous.  They stacked three discs on one side and two on the other side of the book, and they’re so snug in the packaging that they’re hard to get out. There are some tabs at the bottom for each disc, but they’re not easy to figure out. We ended up scratching the second disc of our set when we tried to get the discs out and had to reach out for a replacement. As our experience shows, this packaging for the discs carries a very high risk of scratching the discs when you try to take them out, which means you need to carefully get them out and transfer them to different packaging immediately, as this packaging isn’t safe to take the discs in and out of repeatedly. Record labels, take note: this style of packaging is terrible for your product and the consumers, so never use it again.

Ahem. With that rant out of the way, let’s talk about the music.

The first disc of this set is a 2025 stereo remix of the 10 songs that made up the original 4 album. Unfortunately, the original mix of the album wasn’t included on this release, so you only get this stereo remix on Disc One and the Blu-ray Disc, in addition to the Atmos Remix on the Blu-ray. When it comes to the 2025 stereo remix, I have to say that it sounds OK, but it wasn’t anything that really blew me away.

The album opens with “Night Life,” a straight-ahead early 80’s AOR rocker. This upbeat and catchy track is from the point of view of a speaker who prefers the energy and action of what the night life has to offer and looking for some action. Lou Gramm’s vocal performance perfectly fits with the vibe that the musical arrangement is going for, and he sells what the song is saying. “Night Life” has the right sound for the opening track of an album, and it gets 4 off on the right foot.

Next is “Juke Box Hero,” which was released as a single from the album. In the United States, it peaked at number 26 on the Billboard Hot 100. “Juke Box Hero” is another rocker, and it tells the story of a young man who hears a sold-out concert from outside, which leads him to buy a guitar and learn to play it. He becomes a star and struggles to stay on top of the charts and ends with an almost full-circle moment of our protagonist encountering a fan outside the stage door at one of his performances and is reminded of how his career began. Lou’s vocals are fantastic on this song, and his performance gets the song’s story across in a powerful away. “Juke Box Hero” is among my favorite songs on 4, between the story in its lyrics, Lou’s vocals, and its musical arrangement because everything perfectly converges together to create a strong song.

This is followed by “Break It Up,” which was also released as a single from the album. Like “Juke Box Hero,” this song also peaked at number 26 on the Billboard Hot 100. Musically, this song is more of a midtempo rock track, but it incorporates very noticeable keyboards at points in its arrangement. In some respects, I can kind of hear some similarities with their earlier song, “Cold As Ice,” but I’m not willing to say that the band was trying to recreate it. Lyrically, “Break It Up” is from the point of view of a speaker who’s beginning their significant other not to break off their relationship, and Lou’s vocal performance truly captures the intense emotions that the speaker is feeling. Personally, I really enjoy “Break It Up,” and I find it a little surprising that this song wasn’t a bigger hit when it was promoted as a single.

“Waiting For a Girl Like You” was the big hit on the album, peaking at number two on the Billboard Hot 100. This power ballad includes a distinctive synthesizer theme, which was performed by the then-little-known Thomas Dolby. Honestly, I think that synthesizer theme, along with Lou’s stirring vocal delivery, is what made this song stand out and become such a hit. For me, personally, “Waiting For a Girl Like You” is easily the standout track on 4, and that it’s among the classic songs from Foreigner’s career.

Next is “Luanne,” which was released as the final single from 4, but it only managed to peak at number 75 on the Billboard Hot 100. Musically, this is a catchy AOR track with a focus on melodically twangy guitar hooks that really should have helped this be both an AOR and a pop hit. Lyrically, it’s a song about a high school crush, with the speaker dealing with the frustration of unrequited love. Lou’s vocal performance perfectly captures the speaker’s feelings and emotions, in addition to complementing this musical arrangement. “Luanne” is another song that I really enjoy on this album, and it surprises me that it wasn’t a bigger hit.

This is followed by “Urgent,” which was released as the lead-off single and peaked at number four on the Billboard Hot 100. Musically, it almost sounds like a combo of rock and soul, which gives it a very unique vibe. This is another track that utilizes synthesizers played by Thomas Dolby, but it also has a rhythmic sax thrown into the mix that was performed by Junior Walker. All of this comes together to create a seductive feel that works perfectly with the song’s lyrical theme. The cherry on top is Lou’s vocal performance. Listening to this, I can hear why it was such a hit when it was released in 1981. It was catchy and brought something new to the table with this arrangement.

Next is “I’m Gonna Win,” an AOR rocker. However, unlike most of the material on 4, there really isn’t a strong hook to it, either musically or lyrically. It has a great lyrical message about having determination to succeed despite difficult circumstances, and Lou’s vocals capture the speaker’s voice, but I wish the arrangement had more of an “anthemic” feel to it. As it is, “I’m Gonna Win” didn’t leave a strong impression on me by the time it finished. It’s not a bad song, but I don’t think it’s among the strongest material on the album.

This is followed by “Woman In Black,” a mid-to-uptempo rock track with a catchy chorus that grabs the listener. Lyrically, the song seems to be from the point of view of a speaker who’s fallen hard for someone on a physical level but nothing has gone beyond fantasizing what it would be like to be with them. I really like the almost “mysterious” vibe that the musical arrangement has, especially as the speaker keeps referring to the “woman in black” as being a mystery to them. In my opinion, this is among the standout tracks on 4.

“Girl on the Moon” is the penultimate track in the album’s sequence. It’s a slower song which includes keyboard textures and slide guitar in its arrangement. I love what these elements add to this song, as they help to give the track a bit of a “dream-like” quality. There’s a sense of longing and unattainability in the lyrics, and Lou’s vocal performance helps to bring this across to the listener. I think this is a great song on the album, and I think sequencing it at this point in the album makes perfect sense. It really wouldn’t have worked anywhere else, and it gives the listener a chance to catch their breath before finishing the release.

The album closes with “Don’t Let Go,” a midtempo rocker from the point of view of a speaker who’s pleading with their partner to not give up on their relationship even though there’s friction between them, although we do see in the lyrics that they seem to “call it quits every other day.” The speaker obviously doesn’t want to stay in this “on again off again” pattern, and you can hear this come through in Lou’s vocal performance. “Don’t Let Go” was the right track to end the album with, and it’s one of the songs that I enjoy on this release.

Overall, 4 is a rather strong rock album from the early 1980’s. While it may not be a perfect release, it includes a lot of strong material that helped to define the AOR sound of the era. Some of the musical elements that appeared here would go on to help define the sound of Foreigner’s next album, Agent Provocateur.

The second disc in this reissue of 4 is labeled as “Unreleased Songs & Alternative Versions.” It opens with “Fool If You Love Him,” a song that was originally recorded during the sessions for the album but wasn’t completed at the time. It sat in the vaults until this set was released, but the vocals you hear on here were newly recorded by Lou Gramm in 2025. Members of Foreigner’s current lineup also added new parts. What is heard here also adds a new verse that Lou had written for the song. Listening to this song, you can hear that it includes elements that would have been expected for songs from the early 80’s, but the track’s production sounds too modern to be a song from the era. Listening to Lou, you can tell that they’re newly recorded, but his voice still sounds good all these years later. “Fool If You Love Him” is a good song, though, and I’m glad that it was finally made available to the public after being locked away in the vault for decades.

The next unreleased track is “Love So Much Better,” which has a slinky feel to its musical arrangement. With the sound quality, I assume that this is an actual outtake from the era. I like the sound of this song, but it wouldn’t have fit with the musical direction that 4 went in.

“Knockout Power” is another unreleased track from the era, which is midtempo rocker. It’s a catchy song, especially the chorus, but I think I can hear why this ultimately didn’t make the cut for 4. It’s a good song, but it wouldn’t have quite fit with the direction that the album ultimately went in.

The final unreleased track is “Jealous Lover.” Musically, it’s exactly the same song as “Knockout Power,” but the lyrics are completely different. I think I like these lyrics a little better, but it still has the sonic issue of not fitting in with the material that made it to the 4 album.

The rest of Disc Two is made up of alternate versions of nine out of the 10 songs on 4. The only song not represented is “Break It Up.”

“Don’t Let Go” has two versions: one is labeled as “Don’t Let Go [Early Version]” and the other is “Don’t Say No [“Don’t Let Go” Early Version].”  As the title indicates, “Don’t Say No” changes the chorus line from “Don’t let go” to “Don’t say no.” As far as I can tell, most of the rest of the lyrics are the same, but the sound quality is such on this recording that the vocals are further down in the mix than the music. The other early version of “Don’t Let Go” is still a rougher recording than the released studio version, but the mixing of the vocals and music is much better on it.

“Juke Box Hero” is represented by to versions: “Juke Box Hero [Early Version]” and “Take One Guitar [“Juke Box Hero” Early Version].” However, it should be noted that the labeling on the versions are flipped. “Juke Box Hero [Early Version]” is actually the first of the two tracks instead of “Take One Guitar.” When you listen “Take One Guitar,” you can hear that the chorus from this carried over to “Juke Box Hero,” but the rest of the lyrics are completely different. To be honest, I think the lyrics as we know them are much stronger. “Juke Box Hero [Early Version]” is a lot closer to the released version, but it has a rougher sound to it than what made it onto the album.

“Waiting For a Girl Like You” is also represented by two versions: “Waiting For a Girl Like You [Vocal & Piano]” and “Waiting For a Girl Like You [Early Version].” The Vocal & Piano version is a little under a minute-and-a-half in length, and it’s simply Lou singing some of the lyrics while a piano is playing. It’s a very rough recording, but it’s a nice record of hearing some of the work that went into creating the song. The Early Version has a similar sound to the final version, but the synth flourishes that are associated with the song aren’t here. It was interesting to hear this song in an earlier version, and even here, you can hear that it’s a strong song.

There are also two versions of “I’m Gonna Win”: “I’m Gonna Win [A Cappella Vocal]” and “I’m Gonna Win [Early Version].” The a cappella version is only 23 seconds in length, and all that’s in it is “ooh”s and “aah”s. Honestly, I’m not really sure that it was worth including on here. The Early Version is essentially a rougher-sounding version of the song before it was finalized for the album.

“Woman In Black” also has two versions on this disc: “Woman In Black [Early Version 1]” and “Woman In Black [Early Version 2].” The first early version has a rougher feel and some similarities with the final version of the track, but the lyrics are quite different. The second early version sounds a little more polished and closer in sound to the final version, but the lyrics are the same as the first early version.

This disc also has two versions of “Girl on the Moon”: “Alone Again [“Girl on the Moon Early Version”]” and “Girl on the Moon [Early Version].” “Alone Again [“Girl on the Moon Early Version”]” is a rough recording that sounds pretty close musically to the final product, but the lyrics are completely different. The Early Version has the lyrics that appear on the album version, and the recording is noticeably more polished than the “Alone Again” version.

Disc Two also includes early versions of “Night Life” and “Luanne,” as well as a version of “Urgent” that only has vocals on the chorus. As expected, the early versions of “Night Life” and “Luanne” are rougher versions of their respective songs.

The third CD in this reissue of 4 is labeled as “Instrumental Rough Mixes 1980,” and every song on the album is represented. However, three of the songs have more than one instrumental on here: “Urgent,” “I’m Gonna Win,” and “Woman In Black.” Also, there are instrumental rough mixes for “Fool If You Love Him” and “Love So Much Better.” Of the four CDs included in this release, this one was the least interesting to me, since all it contained was instrumental versions. To be honest, this is the CD in the set that I’m the least likely to go out of my way to listen to.

The final CD in this release is labeled as “Foreigner 4 Live Tour 1981-1982.” This is a collection of various live recordings instead of including a full concert. Tracks from three shows appear on this disc: Anaheim Stadium in California on July 17, 1982, Odeon in Birmingham, England on August 25, 1981, and Westfalenhalle in Dortmund, Germany on December 19, 1981. While these are from concerts to promote the 4 album, there’s a combination of songs from the album and material from the band’s previous three releases. Overall, the audio quality is pretty good on these live recordings.

When it comes to the Blu-ray, I really don’t have anything to say since I haven’t actually listened to it. I’m personally not a fan of Blu-ray audio, and I prefer Blu-rays in these kinds of sets to have video content. We didn’t buy this set for the Blu-ray audio portion, because we were more interested in what was included on the CDs.

I’m glad to have gotten a hold of this box set reissue of 4, but I think this could have been a stronger product. The packaging needed to be completely different, and I would have included a disc with the original mix of the album instead of the Instrumental Rough Mixes, because I think there would be more interest from fans in having a remastered version of the original album mix instead of instrumental versions of the songs.

To be honest, I would only recommend this reissue box set of Foreigner’s 4 to fans of the band who want to own the new mixes of the album (the 2025 Stereo Mix and the Atmos Mix), or fans who have an interested in acquiring unreleased songs, alternate versions, and live recordings from this era of their career.

(reviewed by Lesley Aeschliman on June 20, 2026)

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Musically, “Very Good Year” is a mid-to-uptempo power pop track. There’s a guitar part that appears a few times in the arrangement that reminds me of similar guitar parts that are part of some of the rock songs from the 1970’s. This guitar part adds an interesting texture to this power pop tune. This song has a very catchy feel to it, with a memorable melody that becomes an earworm in a good way.

Lyrically, the song seems to be from the point of view of a speaker who’s talking to an ex-lover, lamenting how it appeared that this was going to be a very good year, but things have happened that caused them to split. The song’s lyrics are relatable for listeners who have gone through similar circumstances. The vocals really sell these lyrics, as you can hear the sincerity in the lead vocalist’s delivery. The backing vocals add a nice texture to the arrangement, while perfectly complementing the lead singer.

The song is a little on the shorter side, clocking in at just under three minutes in length. However, The Greenberry Woods effectively use this runtime to convey the lyrics’ message and sell them to the listener. To me, this is the perfect length: it’s long enough to get the message across, but it’s short enough that the song doesn’t overstay its welcome.

I think that “Very Good Year” is a very enjoyable track, and fans of The Greenberry Woods and their music will likely have an appreciation for it as well. I could also see this song appealing to fans of power pop and indie rock.

(reviewed by Lesley Aeschliman on June 19, 2026)

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“It’s Too Late” is one of the songs that really grabbed my interest. The relatable lyrics, combined with the simpler musical arrangement and Carole’s vocal performance, sold the song to me. This is one of those songs that I could better appreciate in my later teens and early 20’s, as I had the life experience to better understand what the lyrics really meant. To this day, “It’s Too Late” is among my favorite songs by Carole King.

From what I’ve learned about the American pop music scene of the early 1970’s, it really makes sense that “It’s Too Late” hit number one on the Billboard Hot 100 on June 19, 1971 and spend five weeks at the top spot. Not only was “It’s Too Late” a strong song on its own, but being billed as a double A-side single with “I Feel the Earth Move” would have certainly helped propel this single to number one. Coming out of the 1960’s, it seemed music audiences were resonating with the more laid-back and simplistic arrangements that Carole King and other singer-songwriters of the era were releasing during this era.

In addition to hitting number one on the Billboard Hot 100, “It’s Too Late” also won the Grammy for Record of the Year in 1972. Over the years, the song has been featured in some Hollywood films, as well as in a sixth season episode of the television series, Glee.

“It’s Too Late” has also been covered by several artists since its release in 1971: Quartz featuring Dina Carroll, Gloria Estefan, The Isley Brothers, The Stylistics, Mike James Kirkland, John Paul Young, David Lasley, and Lucy Dacus.

Unfortunately for Carole King, the double A-side of “It’s Too Late” and “I Feel the Earth Move” was her only number one single on the Billboard Hot 100. She would have a Top 5 hit in 1974 with “Jazzman,” Top 10 hits with “Sweet Seasons,” “Nightingale,” and “One Fine Day,” a Top 20 hit with the “So Far Away / Smackwater Jack” single in 1971, a handful of Top 30 hits in the 1970’s, as well as a Top 40 hit with “Hard Rock Café”  in 1977. Carole’s most recent release is the “One” single in 2018.

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Musically, “Hate That I Made You Love Me” is a slow-to-midtempo pop track, with some hints of R&B and alt-pop in its arrangement. As I listened to this, I could hear that some of the electronic elements used in the music add a bit of an “atmospheric” feel at times to the song’s sound. And there’s also something about the production of the track that gives it a lighter and “airy” feel that reminded me of some of the pop material I was listening to in the early 2000’s. Apparently, the song was co-produced by Max Martin, known for his work in the late 1990’s and early 2000’s with acts like Backstreet Boys, Robyn, and Britney Spears, which could explain some of that early 2000’s vibe I’m picking up on. Ariana’s subdued vocal performance on this song perfectly complements the feel that the musical arrangement is going for, and her delivery helps to sell the song to the listener.

Lyrically, “Hate That I Made You Love Me” has a theme of expressing regret over a relationship. Reading through the lyrics, I also pick up on an underlying theme of conflicted feelings about fame and public scrutiny.

I think that “Hate That I Made You Love Me” is an interesting track, but at least on first listen, I’m not entirely sure how big of a mainstream pop hit this will be. But then again, Ariana has enough of a name with modern audiences that she might be able to make a song like this a hit and help pave the way for similar sounding material to gain attention. Even saying this, I still enjoyed the song, and I’m curious to hear what else Ariana will have to offer during this era of her career.

(reviewed by Lesley Aeschliman on June 19, 2026)

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Musically, “Hikari” is a J-pop ballad with a musical arrangement that focuses on piano that’s enhanced with acoustic guitar, strings, and percussion. Sonically, the song is very beautiful, but at times it has a bit of a wistful vibe to it. One thing that stood out to me was the extended final note from the piano, because I thought this added a nice touch to the arrangement. Knowing that the anime it’s being used for focuses on characters attending an opera school, having a track with this kind of a dramatic feel to it makes sense for its ending theme. Mika Nakashima has a great voice, and her performance on this song both complements and enhances the mood that the music is going for.

I listened to “Hikari” on Spotify, so I didn’t have easy access to an English translation of the lyrics. However, I managed to locate an English translation of the lyrics that’s been posted onto the internet. Reading through the translation, the lyrics seem to be from the point of view of a speaker looking back at the person they were in the past and also accepting the person that they’re now becoming.

I may not be watching the simulcast for the A Hundred Scenes of AWAJIMA anime, but if I was, this is a song that I would look forward to hearing each week.

Fans of Mika Nakashima and of the A Hundred Scenes of AWAJIMA anime will likely have the greatest appreciation for “Hikari,” but I think J-pop listeners may find something to enjoy here as well. As for western music audiences, I believe the song could potentially appeal to pop music listeners who don’t mind hearing a song that’s being performed in a foreign language.

(reviewed by Lesley Aeschliman on June 18, 2026)

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NOW: Yearbook 1985-1989 The Final Chapter Extra is part of a series of compilation CDs being released in the United Kingdom by Sony Music / EMI, which features songs that were hits in the U.K. between 1985 and 1989. This set is a companion to NOW: Yearbook 1985-1989 The Final Chapter, and it was released to highlight 60 more of the songs that charted in the U.K. during this time period.

The first new discovery on this disc for me was The Communards’ “You Are My World.” While I have familiarity with the Red album, the only material I know from their self-titled album prior to this is “Don’t Leave Me This Way” and “So Cold the Night.” Musically, I like how prominent the keyboards and piano are early on the arrangement, and the inclusion of the horns and strings later on add a nice texture to the track. I have to admit, though, that Jimmy Somerville’s vocals on the chorus aren’t as strong as they are on the rest of the song. Jimmy’s falsettos usually sound fantastic, but at times in the chorus, it sounds like he’s having to strain to hit some of those really high notes. Unfortunately, those strained vocals affect my enjoyment of the song. If it wasn’t for those strained notes, I would have really loved “You Are My World.”

Disc One introduced me to Nik Kershaw’s “When a Heart Beats.” Prior to collecting the NOW: Yearbook releases, the only songs I knew by him were “Wouldn’t It Be Good” and “The Riddle.” In addition to the tracks I’ve discovered prior to this, I can now add “What a Heart Beats” to the list of songs I know by Nik Kershaw. From doing some research, it appears this song wasn’t promoted as a single in the United States, which would explain why I’d never heard it before. “When a Heart Beats” is a midtempo new wave/pop track that’s enjoyable, although its musical arrangement isn’t as catchy as either “Wouldn’t It Be Good” or “The Riddle.” Nik gives a great performance on this song, though, which helps make up for the arrangement not being quite as catchy as it could be. It’s a pretty good song, though, and I’m glad that I discovered it while listening to NOW: Yearbook 1985-1989 The Final Chapter Extra.

Before now, the only song I knew by Arcadia was “Election Day.” This compilation introduced me to “The Promise,” a song that features uncredited backing vocals by Sting. From what I can tell, this song was never promoted as a single in the United States, which would likely explain why I’d never heard it before. After hearing the song on here, though, I understand why this song didn’t receive a single release in the United States. There’s not much of a vocal hook here, and the musical arrangement is a little on the boring side, and it wouldn’t have fit in with what was performing well at American pop radio in the mid-80’s. However, I do have to mention that Sting’s background vocals add a nice texture to the track. This isn’t necessarily a bad song, but there just wasn’t anything here to really grab my interest and keep it.

The second disc of NOW: Yearbook 1985-1989 The Final Chapter Extra introduced me to “Sun Street” by Katrina & the Waves. This was the second single from the album the group released after the success they gained with “Walking On Sunshine,” and I have to admit that I have no memory of hearing another song the radio by them until 1989’s “That’s The Way.” From what I can tell, “Sun Street” was promoted as a single in the United States, but I’m guessing that my local Top 40 station chose not to play it. Musically, this is a catchy pop track, but it’s got a sonic feel that never would have gotten it airplay on American pop radio in the mid-1980’s. I thought it was pretty catchy, thought, and the “na na na”s that appear in the chorus have a singalong quality to them. Personally, I enjoyed “Sun Street,” and it’s among my favorite new discoveries on this compilation.

Before listening to the NOW: Yearbook compilations, the only song I knew by Dexys Midnight Runners was “Come On Eileen.” This series has introduced me to more of the band’s material, and listening to this release marks the first time that I heard “Because Of You.” While doing research on this song, I discovered that this was theme song for a British sitcom titled, Brush Strokes. I think that between this and the fact that the musical arrangement has a strong emphasis on fiddle, this song never would have been a hit in the United States if it had been promoted here. From my research, it appears that it wasn’t issued as a single here, which really isn’t that surprising. I have to say that “Because Of You” is a good song, and I’m glad that I finally got the opportunity to hear it.

Disc Two also introduced me to “Riding on a Train” by The Pasadenas. While it may not have been a pop hit in the United States, it appears that it charted on Billboard’s R&B chart and peaked at number 73. The NOW: Yearbook series previously introduced me to “Tribute (Right On)” and this act’s version of “I’m Doing Fine Now.” I enjoyed the previous two songs I’d heard by The Pasadenas, so I had high hopes for “Riding on a Train.” Musically, this is a catchy late-80’s R&B track, with vocal harmonies that perfectly complement the song’s arrangement. I really enjoyed this, but I can hear why American pop radio would have passed on it at the time. Sonically, this just wouldn’t have fit in with what was performing at the American pop format in 1988. Even saying that, “Ridin on a Train” is another song I’m glad that I discovered while listening to this release.

Prior to listening to NOW: Yearbook 1985-1989 The Final Chapter Extra, I was familiar with Kylie Minogue’s rendition of “Turn It Into Love.” However, I hadn’t heard Hazell Dean’s version until now. Hazell’s version seems to have a little more depth and character to its musical arrangement when compared with the Kylie recording, and the inclusion of the guitar solo adds a nice touch that’s missing from Kylie’s version. Don’t get me wrong, I like Kylie Minogue’s version of “Turn It Into Love,” but I think the Hazell Dean rendition is a little stronger. I’m glad I finally got to hear this song by Hazell, as it’s another new discovery of her material that I’ve enjoyed hearing on the NOW: Yearbook compilations.

Disc Three of this release introduced me to “Sold” by Boy George. After doing some research, it appears this song wasn’t promoted as a single in the United States, which likely explains why I’d never heard it before now. Musically, I love the sound of this one. However, after listening to the lyrics, I picked up on at least one British reference, which would have made this song a hard sell to American listeners. Boy George’s vocal performance is a mixed bag on this track, where he sounds fine on the chorus, but the verses can be hit or miss. It’s not a bad song, but I don’t think it’s necessarily among the stronger tracks in his catalog.

Hue & Cry is an act I picked up on thanks to the NOW: Yearbook releases, as I really have no memory of hearing anything by them on American pop radio back in the 1980’s. As far as I can tell, the act was never promoted here at the time. Musically, this is a song that has a feel that would have worked at American adult contemporary radio when it was released in 1989, thanks to its laid-back musical arrangement. The vocal performance sounds good on this, and it perfectly complements the vibe that the music is going for. I enjoyed “Looking For Linda,” and it’s a song that I’m glad I discovered while listening to NOW: Yearbook 1985-1989 The Final Chapter Extra.

Disc Three of this compilation also introduced me to “Don’t Go” by Hothouse Flowers. From my research, it appears that this song was released as a single in the United States in the late 1980’s, but as I’m listening to the track, I can’t hear this being promoted at American pop radio at that time because folk rock wasn’t exactly happening in the mainstream back then. It appears that the song had success on Billboard’s Album Rock Tracks chart and Billboard’s Modern Rock Tracks chart, but as I wasn’t listening to those formats back then, it makes sense why I never heard “Don’t Go.” It’s a good song, though, and I love how the Celtic feel is melded with some rock and soul on here. This is another track I was glad to discover while listening to this release.

I’d never heard of Labi Siffre before listening to this disc, and it introduced to the song “(Something Inside) So Strong.” From what I can tell, this particular song by Labi Siffre made to number 49 on Billboard’s R&B chart but didn’t make it onto the Billboard Hot 100. From what I’ve read, Labi was inspired by a television documentary on apartheid in South Africa, as well as by his experience as a homosexual. I loved this song when I heard it, and you can hear how beautiful and powerful it is from both its musical arrangement and Labi’s vocal performance. I loved this song, and “(Something Inside) So Strong” is easily the strongest of the new music discoveries that I made when I listened to this compilation.

Here’s a breakdown of the artists that appear on NOW: Yearbook 1985-1989 The Final Chapter Extra: George Michael, Pet Shop Boys, a-ha, Eurythmics, Alison Moyet, The Communards, Nik Kershaw, Howard Jones, Arcadia featuring Sting, Orchestral Manoeuvres in the dark, The Colourfield, The Cure, The Darling Buds, Simple Minds, Paul McCartney, Sting, Swing Out Sister, Sade, Go West. Suzanne Vega, Bruce Springsteen, Electric Light Orchestra, Tina Turner, Heart, Europe, Bon Jovi, Huey Lewis & The News, Katrina & The Waves, Dexys Midnight Runners, The Pasadenas, The Four Tops, Five Star, Bananarama, Hazell Dean, Laura Branigan, Gloria Estefan, The Beatmasters featuring Merlin, Rene & Angela, Ray Parker Jr., Mica Paris & Will Downing, New Order, The Mission, Boy George, King, Transvision Vamp, Tiffany, Bros, Wet Wet Wet, Rick Astley, Level 42, Kim Wilde, Waterfront, Hue & Cry, Hothouse Flowers, The Christians, Debbie Gibson, Whitney Houston, and Labi Siffre.

NOW: Yearbook 1985-1989 The Final Chapter Extra included a lot of material that I was already familiar with, but I still managed to discover a good amount of new songs on this release as well. Even though these tracks didn’t make the cut for their respective years for the NOW: Yearbook and NOW: Yearbook Extra releases, many of them are just as strong as the songs that did make those initial compilations.

(reviewed by Lesley Aeschliman on June 18, 2026)

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NOW: Yearbook 1985-1989 The Final Chapter is part of a series of compilation CDs being released in the United Kingdom by Sony Music / EMI, which feature songs that were hits in the U.K. between 1985 and 1989. Like with other releases in this series, this set includes a mixture of songs I’m familiar with and songs that I’d never heard of before listening to this compilation.

The first track on Disc One that I wasn’t already familiar with before listening to this release was Five Star’s “Find The Time.” As far as I’ve been able to tell since I started listening to the NOW: Yearbook releases, Five Star wasn’t really being promoted in the United States, so it makes perfect sense why I’ve never heard any of their material before now. I have to say, that overall, I personally haven’t been very impressed with their music, and there’s only one song of theirs I’ve heard prior to now that I enjoyed hearing. Unfortunately, “Find The Time” continues the overall trend of my not being impressed by most of their material. To me, this track is just kind of “there,” because there’s not much here to make it stand out from similar material that was being released the same era.

Another song on this release that I’d never heard prior to listening to it is “To Be with You Again” by Level 42. As an American, the only song I’ve ever heard by them on the radio is “Something About You,” so any of the group’s material that appears on the NOW: Yearbook releases are new for me. I really like the sound of this one, and I think it’s just as strong as “Something About You.” As far as I can tell, this was never promoted as a single in the United States, which is a shame. “To Be with You Again” is among the gems that I discovered while listening to NOW: Yearbook 1985-1989 The Final Chapter.

This compilation also introduced me to Bryan Ferry’s “The Right Stuff.” Musically, this is a catchy track, and Bryan’s vocals sound good on this. If Wikipedia is to be believed, the song only made it onto an Italian chart. If that’s true, then I’m fascinated to hear it included on NOW: Yearbook 1985-1989 The Final Chapter, because these compilations tend to focus on songs that made it onto the UK’s official chart. I confirmed that “The Right Stuff” was released as a single in the U.K., so I’m very surprised it didn’t make it. While looking up information on this song, I also learned that it’s adapted from The Smiths’ instrumental B-side, “Money Changes Everything.” I’m not familiar with the original version by The Smiths, so I don’t know how the two tracks compare. But I enjoyed “The Right Sutff,” and I’m glad it was included on this release.

When I listened to Disc Two, I heard “Dominion” by The Sisters of Mercy for the first time. My knowledge of The Sisters of Mercy is rather limited, so I appreciate when they make an appearance on one of the NOW: Yearbook compilations. I was surprised to learn that this song made it onto Billboard’s Dance Club Songs chart, because as far as I can tell, there wasn’t a dance remix on the single. Sonically, it’s a new wave track with a gothic feel to its musical arrangement, and I like how this sounds. The inclusion of the saxophone during a musical break adds a nice texture to it. The vocal performances are fantastic on it, and they perfectly complement the vibe that the musical arrangement is going for. This is another song I’m glad that I discovered while listening to this release.

King’s “Alone Without You” was another new discovery I made while listening to NOW: Yearbook 1985-1989 The Final Chapter. This is a catchy mid-80’s new wave track and the vocals do a great job emphasizing the vibe that the music is going for. The “na na na na na”s that appear in the song are a great vocal hook. From what I’m seeing, it appears that “Alone Without You” was released and promoted as a single in the United States, but it didn’t go anywhere. I’d never heard of Kings before listening to the NOW: Yearbook compilations, and it’s a little disappointing that this act didn’t really make much of an impact in the U.S. “Alone Without You” is another song I enjoyed discovering on this release.

Another song on this compilation that I’d never heard before was “Excitable” by Amazulu. This is the second song I’ve heard from Amazulu, both of which came to my attention through the NOW: Yearbook compilation albums. “Excitable” is such a fun, exuberant, and bouncy pop track, and Amazulu’s performance enhances the song’s vibe. It appears that “Excitable” was promoted as a single in the United States, but after hearing this song, I think I can hear why it didn’t go anywhere here. It’s a great track, but sonically, it wouldn’t have fit in with what was performing well at American pop radio in the mid-1980’s. I’m glad to finally hear “Excitable,” and it’s among my favorite new discoveries on this release.

While I’ve heard some material by Aswad before, listening to NOW: Yearbook 1985-1989 The Final Chapter marked the first time that I ever heard “Give a Little Love.” I was surprised to learn that this was a cover, with the original version being performed by Hammond and West. I’m not familiar with the original, so I have no idea how Aswad’s version compares with it. This version of “Give a Little Love” is a reggae-pop track, and this style works so well with the song’s lyrical message. I love the catchy vibe of this arrangement, and the vocal performance sounds fantastic. This is another song that I’m glad I discovered on this compilation.

Disc Three introduced me to “Out in the Fields” by Gary Moore & Phil Lynott, two former members of the band Thin Lizzy. After a slow intro, the song suddenly explodes into a rocker. Lyrically the track is about the Troubles in Northern Ireland, and the vocal performance does a great job of getting this theme across in addition to complementing this powerful musical arrangement. This song also has the distinction of being one of the last recordings made by Phil Lynott before his death on January 4, 1986. I thought this was a strong track, and it’s another song that ranks among my favorite discoveries on NOW: Yearbook 1985-1989 The Final Chapter.

Listening to release marked the first time that I heard Status Quo’s “Burning Bridges (On and Off and On Again).” According to what I’ve read, the song is based on the traditional English folk song, “Darby Kelly.” It’s a pop rock track with a catchy vibe to its arrangement. However, with an English folk song being used as the basis for its sound, it’s not surprising that this song wasn’t promoted as a single the United States. This wouldn’t have fit in with what was going on with pop music in the U.S. in the later 1980’s. It’s not a bad song, but I have to admit that it doesn’t grab me quite as much as a lot of the other new material that I was exposed to on this compilation.

For years, the only song I knew by Cameo was “Word Up.” This disc introduced me to “Back And Forth.” I just learned that this song was sampled for Aaliyah’s 1994 hit, “Back & Forth,” so I’ve actually kind of heard this in a way through the Aaliyah track. This is a catchy track, and I can hear why it was a Top 5 hit on Billboard’s R&B/Hip-Hop Songs chart and a Top 10 hit on Billboard’s Dance Club Songs chart. It only managed to peak at number 50 on the Billboard Hot 100, but this wouldn’t have been a pop friendly track in 1987. I really enjoyed this song, though, and I think it’s a stronger track than “Word Up.” This is another song that I’m glad that I discovered while listening to NOW: Yearbook 1985-1989 The Final Chapter.

Disc Four provided me with my introduction to The Reynolds Girls’ “I’d Rather Jack.” It’s a Stock Aitken Waterman production, and this is easily one of the most annoying songs that they produced due to how they try to ape the Chicago house sound while still having the trademark SAW elements included in the arrangement. I understand that the idea of the song was supposed to be a response to music critics who ignored younger pop acts in the UK and to the radio DJs who continued to play older bands rather than Stock Aitken Waterman material, but the way the lyrics are written is rather annoying. The song has been referred to as “the beginning of the end of Stock Aitken Waterman,” and in a lot of ways, I think that’s true for the U.K. charts. “I’d Rather Jack” is a song I’d rather forget, and it’s something I won’t go out of my way to listen to again.

When I heard “Cross My Heart” by Eighth Wonder on this compilation, I was taken aback because I already knew the song… by another artist. Martika recorded a version of this song and included it on her self-titled debut album, and I’ve been familiar with that version for years. Maybe it’s because I’m so used to the Martika recording, but this version sounds a little on the flat side to me. This is especially true of the vocal performance, because Martika’s vocals blow this away. This isn’t a bad version, but I think I would have liked it more if I wasn’t already so intimately familiar with the Martika recording.

Thanks to the NOW: Yearbook compilations, I’ve been exposed to songs by Living in A Box other than “Living in a Box.” This particular release introduced me to “Blow the House Down.” This is a very catchy late 80’s synthpop-leaning track, and from what I’ve seen, it appears that this was promoted as a single in the United States. It’s too bad that I never heard this song back in 1989, because I think 14-year-old me would have really enjoyed it. This is one of those songs that American pop radio missed out on because the format chose not to play it for whatever reason, and I think that’s a real shame. “Blow the House Down” is another song that I’m glad I discovered while listening to NOW: Yearbook 1985-1989 The Final Chapter.

Another track I was introduced to when I listened to this compilation was Jimmy Nail’s cover of “Love Don’t Live Here Anymore.” The version I know the best is Madonna’s cover, although I have since heard the original by Rose Royce. Jimmy’s version turns the song into a rock track with a haunting vibe to its musical arrangement. I think this is a great interpretation of the song, and I almost like it as much as Madonna’s cover of the Rose Royce track. Madonna’s version just edges this one out, and I think that’s due to the fact that her cover is the first version of the song that I ever heard. I’m glad I discovered this rendition by Jimmy Nail, and it ranks up there among my favorite discoveries on this release.

Here’s a breakdown of the artists that appear on NOW: Yearbook 1985-1989 The Final Chapter: Queen; Pet Shop Boys; Eurythmics; Thompson Twins; a-ha; Go West; Bananarama; Taylor Dayne; Gloria Estefan; Chaka Khan; Michael Jackson with The Jackson 5; Bill Withers; Bobby Brown; De La Soul; Five Star; Terence Trent D’Arby; Level 42; Bryan Ferry; Sade; Freddie Mercury; Heart; Chicago; T’Pau; Tina Turner; Texas; The Stranglers; Deacon Blue; Big Country; Simple Minds; R.E.M.; The Cure; New Order; The Sisters of Mercy; Dead Or Alive; China Crisis; King; We’ve Got a Fuzzbox and We’re Gonna Use It!!; Amazulu; Aswad; UB40; Bruce Springsteen; Bon Jovi; Gary Moore & Phil Lynott; Paul McCartney; Mike + The Mechanics; Belinda Carlisle; Bangles; The Proclaimers; Status Quo; The Art of Noise featuring Tom Jones; D-Mob featuring Gary Haisman; Bomb The Bass; Cameo; Midnight Star; Jaki Graham; The Christians; Alexander O’Neal; Natalie Cole; Whitney Houston; The Communards; Bronski Beat; Trans-X; The Reynolds Girls; Samantha Fox; Sinitta; Sonia; Eighth Wonder; Wet Wet Wet; Johnny Hates Jazz; Swing Out Sister; Hollywood Beyond; Living In A Box; Bros; Tiffany; Debbie Gibson; Jimmy Nail; Rick Astley; and Cliff Richard, Hank Marvin & The Young Ones.

NOW: Yearbook 1985-1989 includes an interesting mix of material. While I knew a lot of the material, there was still a significant amount of songs that I’d never heard before. Of the new material I was exposed to on this compilation, there wasn’t much that didn’t appeal to me. Even though these tracks didn’t make the cut for their respective years for the NOW: Yearbook and NOW: Yearbook Extra releases, many of them are just as strong as the songs that did make those initial compilations.

(reviewed by Lesley Aeschliman on June 17, 2026)

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R&B group Atlantic Starr released its seventh album, All in the Name of Love, on March 31, 1987. The album peaked at number 18 on the Billboard 200 album chart and has been certified platinum by RIAA. All in the Name of Love is best-known for the number one single, “Always.”

My husband and I found a used copy of this album a few years back and decided to pick it up to have a copy of the song “Always.” It’s been a while since I’ve listened to All in the Name of Love in its entirety, so I decided to take the opportunity to listen to it again in order to write this review.

The album opens with “One Lover at a Time,” an R&B track with hints of a mid-80’s freestyle sound to its arrangement. Vocalist Barbara Weathers shines on this track, and her vocal delivery perfectly complements the vibe that the arrangement is going for. I can hear why this song was released as a single from All in the Name of Love, because it has the right sound for one, especially for the R&B and dance scene of the era. “One Lover at a Time” was a great choice to open the album with, and it’s among my favorite songs on this release.

Next is “You Belong With Me,” an R&B track with some slight hints of dance elements in its musical arrangement. At one point during a musical break, you can hear a guitar appearing in the mix, and this adds a nice touch to the sound of the track. Lyrically, the song is from the point of view of a man who’s been in a long-term relationship with a woman and has come to discover that his significant other is showing interest in other men. The speaker is trying to make their significant other see that they belong together. Unfortunately, the latter part of the song can get a little redundant, both musically and with the lyrics. It’s not a bad song, but I think it would be a little stronger if it was tightened up. The nearly five-minute runtime is just a little too long for what could have been a stronger track if it was around a minute shorter.

This is followed by “Females,” a straight-ahead mid-80’s R&B track. While it’s a song you can dance to, it doesn’t have much in the way of dance elements in its arrangement. Lyrically, the song is basically from the point of men talking about women and how much they like them. The vocal performances, both the singing and the rapping/spoken parts, are good on here, but the lyrics just don’t do much for me personally. Then again, I don’t think I’m really the target audience for this song, so it’s not surprising that it doesn’t grab me as much as it might have.

“Don’t Take Me for Granted” is an R&B ballad that features Barbara Weathers on lead vocals. The song’s lyrics are from the point of view of a speaker telling their significant other to not take them or their love for granted. Barbara’s vocal performance captures the speaker’s emotion and sells the song’s lyrics to the listener. This is pretty good for a mid-to-late 80’s R&B ballad, and it’s relatable to listeners who are having to say the same thing in their relationships. To me, “Don’t Take Me Granted” is among the standouts on All in the Name of Love.

Next is “Always,” Atlantic Starr’s first and only number one hit on the AeschTunes Top 40. While this is an R&B ballad, it has a sound that was more pop-leaning than a lot of the other material on the album. The lyrics were also very relatable, and the vocal performances really sell them. “Always” had the right combination of elements to help it appeal to a pop audience, and that combination worked so well that it became a number one hit. In my opinion, “Always” is the strongest track on the album, and it’s among my favorite songs by the act.

This is followed by “Armed And Dangerous,” which only appeared on the CD version of the album. The song was originally released on the soundtrack for the film of the same name and was issued as a single from the soundtrack. This is an uptempo R&B track with some hints of dance elements in its musical arrangement, and the appearance of the guitar near the end of the song adds a nice texture to its sound. It’s a catchy track, and both the male and female vocalists sound great on this. Lyrically, the song is from the point of view of a speaker who’s experiencing infatuation for another person, which is a pretty relatable message. I find “Armed And Dangerous” to be another standout on All in the Name of Love.

“Let the Sun In” is a catchy to mid-to-uptempo R&B track, with a great lyrical message of positivity and helping others. Both the musical arrangement and the lyrics are uplifting in nature, which is the song’s strength. The vocal performances do a great job of capturing the positivity that the lyrics convey, and they perfectly complement the track’s musical arrangement. In my opinion, “Let the Sun In” is another great track that’s included on this release.

Next is “Thankful,” a slow-to-midtempo R&B track with a lyrical message about being thankful for life and the things that we have. The vocal performances on this song sound so genuine that you believe that the vocalists mean the words that he’s singing. Admittedly, the arrangement for this track has an obviously mid-to-late 80’s sound to it, but the song’s strong message overcomes this “dated” sound. “Thankful” is another song that I enjoy on All in the Name of Love.

This is followed by “I’m In Love,” a midtempo R&B track. It’s another song on the album that was only available on the CD release. This might be a midtempo song, but it still has a catchy sound to it. Barbara Weathers provides the lead vocal on this track, and her vocal performance is a highlight. Lyrically, this may be a rather straightforward song from the point of view of someone who’s fallen in love, but Barbara’s vocals add depth and dimension to lyrics that can be seen as being on the simple side. I enjoy this song, and for me, it’s another standout on the album.

The album’s title song is the longest on the album, clocking in at five minutes and 26 seconds. This R&B ballad features lead vocals from Wayne Lewis and Barbara Weathers, and they sound so good when the sing individually or together. “All in the Name of Love” is a beautiful love song, with the speaker committing their love to their significant other. While the song is over five minutes in length, it doesn’t feel like it’s that long. This is another song that I enjoy listening to on All in the Name of Love.

Next is “My Mistake,” another slower song that breaks the five-minute mark. This R&B ballad also has some obvious strings and horns in its arrangement, which adds a nice texture to it. And the guitar that shows up right near the end is also a nice touch. For a mid-to-late 80’s R&B track, it has a bit of an epic feel to it. The lyrics have a sense of regret and longing to them, and the vocal deliveries truly capture the emotional beats that they’re going for. Like with “All in the Name of Love,” this song doesn’t feel like it’s in the five-minute range, and it’s a song that really needed to be a little on the longer side.

The album concludes with “Interlude,” which clocks in at one minute and 32 seconds. There are four lines of lyrics that are accompanied by a minimal arrangement that includes some noticeable horns. It’s not a bad track, but it doesn’t really feel like an album closer. Honestly, I think “My Mistake” was a strong note to end on, and to me, it sounds like something that would be an album closer. “Interlude” kind of feels like it was tacked on to the end of the tracklist for no real reason.

While I did have a couple of small complaints regarding All in the Name of Love, I think that overall, it’s a pretty strong mid-to-late 80’s R&B album. To me, it’s a good representation of the R&B material that was coming out during that era. If you have an interest in 80’s R&B, especially songs from the genre in the latter part of the decade, I would recommend giving Atlantic Starr’s All in the Name of Love a listen.

(reviewed by Lesley Aeschliman on June 16, 2026)

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Musically, “Shot in the Chevy” is a slower track with a strong focus on keyboards for its musical arrangement. While this wasn’t the kind of sound that I expected to hear from Jesus Jones, I found that I enjoyed this song. The slower tempo captures the vibe that the track’s lyrics are going for, and the track’s overall sound captures the atmosphere of the times that we’re living through at the time I’m writing this review. Lead vocalist Mike Edwards still sounds great after all these years, and his vocal performance does a fantastic job of complementing the song’s overall vibe.

Lyrically, “Shot in the Chevy” seems to have a theme of losing friends and loved ones over divisive and extreme political opinions. Sadly, I think a lot of listeners can relate to this theme, regardless of where in the world they live. The melancholic vibe of the musical arrangement, as well as Mike’s vocal performances, enhances the wistfulness and sadness that I pick up on in the lyrics.

After listening to “Shot in the Chevy,” I believe that this was the right song to release at this moment in time. Its theme is both topical and relatable, and its atmosphere captures emotions that I see people expressing on social media about the world we live in today.

I’m quite impressed with “Shot in the Chevy,” and it’s already got me looking forward to the release of the Twilight album. I’m looking forward to hearing what else Jesus Jones has to offer fans and listeners for this era of their career.

(reviewed by Lesley Aeschliman on June 15, 2026)

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