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Mötley Crüe – Dr. Feelgood (Album Review)

Mötley Crüe – Dr. Feelgood (Album Review)

Without a doubt, Dr. Feelgood is one of the greatest hard rock albums of the 80s. With sales exceeding 6 million units, fans were obviously drawn to it, as I was, roughly three decades ago. As soon as I heard the intro to Dr. Feelgood, I was hooked and a fan for life. While Mötley Crüe can fill numerous greatest hits releases with their extensive back catalogue, Dr. Feelgood is an album that plays like a compilation of the very best the band has to offer and should be in every hard rock collection. It’s arguably perfect! 

The vinyl release I’m fortunate enough to own is the 2008 Eleven Seven Music/Mötley Records reissue (cat: ESM/MR 342). The artwork is reprinted adequately, although there is a mottling effect that appears throughout when looking closely as if the artwork had been scanned for the reissue. It’s not a major issue, but one that collectors may wish to look out for. The inner-sleeve liner notes are presented clearly, for those of us interested in seeing who contributed to Dr. Feelgood from a production standpoint. The lyrics are also reprinted beautifully and while I’m not overly focused on lyrical meaning, it’s great that they’re reprinted here for those of you who are interested in singing along. 

The record label is simple, but that is really all you need. The record itself is flat but my edition is a little noisy in between tracks, with a couple of small dropouts in Slice Of Your Pie. That’s just something that you have to deal with when collecting vinyl, but the noise element isn’t an issue, of course, when the music kicks in. 

Mastering wise, it sounds great. The pressing has a truly analogue feel, even though I believe the album was recorded digitally. The soundstage is massive with a clear separation between all instrumental elements and vocals. If you’re interested in a rock and roll album that highlights each member of the band, then look no further for this is the album for you. For bass fans, you’ll also be pleasantly surprised. Given many of the hard rock/metal albums of the 80s lack a decent low end, Dr. Feelgood makes up for all those that sound too shrill with a drum and bass beat that will send you to heaven as the masterful Mick Mars riffs the hell out of his guitar. Subsequently, if you can track down a copy of this 2008 reissue, I don’t think you’ll be disappointed. I know I’m not. For comparison, albeit it not an ideal example, the Apple Music (non-Mastered for iTunes) release can’t even compare to the vinyl release. It sounds so flat and lifeless that I almost don’t like listening to it, but you can’t easily take vinyl everywhere with you; unless you’re into creating needle drops that is. It’s a time-consuming exercise, but one that purists swear by and yes the analogue-nature of vinyl does transfer to a digital file.  

It is important to note before venturing into the review of the individual songs, that the only editions available on Apple Music are the 20th Anniversary Expanded Edition and a standard 16-track reissue that I have no information about at all. Let’s just say that while the additional songs from the 16-track release may appeal to some fans, I find demos to be trivial additions and given that I feel the original 11-track lineup is approaching, if not reaching, pure perfection, I intend to ignore these additional tracks for this review and am thankful that I can exclude these additional demos when adding Dr. Feelgood to my digital library.  

SIDE ONE

T.n T. (Terror ‘n Tinseltown) is a great starter track. Short, to the point, but opens the album beautifully and is the perfect non-musical introduction for Dr. Feelgood. 

Dr. Feelgood needs no introduction. It is the reason I’m here and likely why you are too. Pump the volume and rock out to the incredibly rhythmic and catchy tune that is one of the very best songs Mötley Crüe has ever recorded.

While I suggested dismissing the additional demos, on the digital releases, Dr. Feelgood is one song that you may wish to take a listen to as the demo is sung from the doctor’s point-of-view. It isn’t great, but it isn’t bad either. It’s intriguing, but I’m glad it never made it to the original tracking of the album. 

The music video is a solid release but is arguably out-of-sync with the musicality and really all I want to see when I watch this music video is the band rocking out. We never really see Mick Mars do his thing properly. A shame considering what a magnificent guitarist he is. Think Slash’s solos in the Guns N’ Roses music videos, well, you aren’t getting that here. Despite that, the music video appealed to the audience of the era. I know it drew me in as I would wait patiently for it to come on TV. 

Slice Of Your Pie slows things down a little but is a great blues-based rock and roll song. Plus, if you’re a Beatles fan you may appreciate the closing elements that pay homage to I Want You (She’s So Heavy); one of my favourite Beatles tracks. Slice Of Your Pie is an all-round excellent song that is so multi-layered it needs to be heard to be believed. 

Rattlesnake Shake is hard and fast with a little rhythm thrown in for good measure; just the way I like it. 

Kickstart My Heart has another killer intro and the moment you hear it, you know exactly what you’re going to get. Perfect? I think so! 

The music video is rather solid and the intermingled adrenaline-based scenes shown while the band is playing is a nice effect but it would be an epileptic’s nightmare. Plus, the opening where the band are arriving for their own gig is simply lame.  

Without You is a beautiful power-ballad. The music video is, however, truly cringeworthy, but so few music videos from that era are timeless.

SIDE TWO

Same Ol’ Situation (S.O.S) is the perfect song to open side two with. What an incredible beat and rhythm. Rock and roll doesn’t get much better than this, does it? 

The music video is essentially a live tribute to the fans. I love it. It’s absolutely perfect and shows Mötley Crüe at arguably their very best, theatrics and all. It’s well edited and if you watch this music video sitting down, you’re watching it wrong. 

Sticky Sweet is a superb song and perfectly suited for Mötley Crüe. It may not be a song you’d write home about, but Dr. Feelgood wouldn’t be the same without it. Although, that ending is a little too sudden, especially if you’re rocking out to the groove. 

She Goes Down is a fun song and is another one that doesn’t let you take a breath as you rock out to this album. That drum and bass intertwining rhythm is off-the-charts. 

Don’t Go Away Mad (Just Go Away) is a great blues-based near-ballad tune with, again, some killer musicality. 

The music video attempts to tell a story but fails miserably in my opinion. It just isn’t good and only gets better when the band reach the rehearsal space and Mars shreds it up as only he can. 

Time For Change is epic and is one of the greatest closers of any rock and roll album in my collection. It absolutely encourages me to listen to the album again and stay within Mötley Crüe’s back catalogue. I don’t know about you, dear reader, but Time For Change would have been a perfect Beatles hit, or even a Lennon masterpiece; it is that good!

Nothing more really needs to be said other than if you don’t already have a copy, in your collection, you should go and pick one up. You won’t regret it, but your neighbours might as this is one album that you’ll want to pump the volume on.

Dr. Feelgood is available on Vinyl, CD, and iTunes (16-Track | 20th Anniversary Expanded Edition). 

Meat Loaf – Bat Out Of Hell II: Back Into Hell (Album Review)

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Meat Loaf – Bat Out Of Hell II: Back Into Hell (Album Review)

Some albums become instant classics, not requiring the usual time + nostalgia equation. Bat Out Of Hell II: Back Into Hell was most certainly an instant classic as there isn’t a bad song to be heard on this 1993 release while paying homage to the original Bat Out Of Hell album from 1977.

While one may suggest it was mere nostalgia that contributed to the success of this release, we have to remember that Bat Out Of Hell III: The Monster Is Loose was less than a stellar release and ultimately failed to captivate music lovers as Bat II did. Yes, there are many reasons for this, such as Jim Steinman’s absence during the album’s creation, even though a number of his songs were used. Of course, the legal dispute between Steinman and Meat Loaf, regarding the phrase Bat Out Of Hell, certainly didn’t help and one has to wonder how much of Bat III was really about closing out the trilogy and how much was driven by the obvious capitalisation of the brand. While I’d like to suggest the latter is not a factor, if there is money to be made, sadly the powers that be will milk a franchise for all it’s worth until they destroy it. As such, Bat III just doesn’t have the soul of the original album, nor Bat II; even though the second instalment is an album that I consider to be the pinnacle of Meat Loaf’s career and one which is, in my subjective opinion, better than the original masterpiece.

Yes, I acknowledge my aforementioned declaration of love for Bat II is likely to ruffle some feathers, but one must remember that Bat II was my first exposure to Meat Loaf and the moment I saw the music video for I’ll Do Anything For Love, (But I Won’t Do That), with its epic motorcycle revving introduction and the lustful Dana Patrick, I was hooked.

Of course, I’d go on to own Meat Loaf’s entire catalogue. Yes, even those albums that I’m sure Meat Loaf would regret having recorded and released. I am a collector, after all. Nevertheless, when I wanted my Meat Loaf fix, throughout the 90s, I’d turn to Bat II as it is a killer album from start to finish without a single B-Side to be found. Yes, Wasted Youth and Back Into Hell are minor distractions, but they ultimately suit the album’s styling adequately enough that they don’t feel too out-of-place.

Speaking of things being out-of-place, I even tried to woo a girl with this album as the teenage mind believed that music could be a great icebreaker. Well, it kind of was but truth is often stranger than fiction and this particular girl asked if she could borrow the CD after hearing me casually discuss it with another friend at the time. I said sure and took the CD from the portable CD player, placed it back into its case, and handed it across.

The golden brown locks and those hazel eyes captivated me and like many testosterone-driven teenage boys, I was sure this was going to be my foot in the door.

A couple of days later, I got the shock of my life, as she returned the CD to me and merely said thank you. Of course, being a massive music nerd, I couldn’t leave it at that, I had to enter the interrogation mode and find out what she thought of it. I quickly found out she didn’t even listen to it. Her father was a huge Meat Loaf fan and didn’t yet have the album. Of course, I was assured that he liked the album.

Yes, dear reader, I was rejected and my heart was broken and life as I knew it would never be the same again. Okay, maybe that is a little overdramatic, but it is truly amazing how rejection, for any reason, can impact the psyche of the teenage mind.

Of course, a quarter of a century later, I no longer feel rejected by it. In fact, I find it hilarious that I could have even pondered such a notion, although not much as changed as I’m fast approaching 40, getting ready for my midlife crisis, only imagining the ludicrous stories I will be able to tell you upon reflection in the years to come. That, however, is another lifetime away and until then, let’s take a look at the songs that make up Bat Out Of Hell II: Back Into Hell.

I’d Do Anything For Love (But I Won’t Do That) has an exceptional opening that is simply unmistakable. While some may lament the extensive radio play that this song has received, I still find that it’s fresh and the intro, if nothing else, is one of the greatest in the history of rock and roll. Nevertheless, I put I’d Do Anything For Love (But I Won’t Do That) in the same category as Paradise By The Dashboard Light; it is pure perfection and should be part of everyone’s power ballad playlist.

While, obviously, this is primarily a Meat Loaf review, credit must be given to Lorraine Crosby for the incredible vocal prowess she delivered on this track. Meat Loaf is good, but with Crosby, he and I’d Do Anything For Love (But I Won’t Do That) is great!

I’d Do Anything For Love (But I Won’t Do That) also won a Grammy Award for the Best Rock Vocal Performance, Solo in 1994 at the 36th Annual Grammy Awards, beating out Peter Gabriel’s Steam, Sting’s Demolition Man, Bob Dylan’s All Along The Watchtower, and perhaps most surprisingly Lenny Kravitz’s Are You Gonna Go My Way.

If you’d like to cross into an alternate reality, the symphonic metal band Xandria recorded an exceptional cover of I’d Do Anything For Love (But I Won’t Do That).

While I haven’t viewed the music video for a couple of decades, it’s still rather compelling. Although, I don’t find it as captivating and mystical as I did in my teenage years. Isn’t it interesting how as we age, our viewpoints change? In its heyday, I recall watching the music video back to back for hours at a time; that poor VHS tape. Of course, if I’m to be completely honest, I was most probably more captivated by the beauty of Dana Patrick than any other aspect of the music video. Nevertheless, it’s still worth checking out and hasn’t really aged despite drastic changes in filmmaking during the last couple of decades. Perhaps we could put that down to the vision of Michael Bay who directed all Meat Loaf’s music videos during this era. Of course, the music video, and associated radio mix is truncated as the original song is a 12-minute epic. It’s a shame as the shift is noticeable in the music video, especially if you’re familiar with the original album release.

Life Is A Lemon And I Want My Money Back is my all-time favourite Meat Loaf song. It is rock and roll 101 and the poetic delivery, mixed with the sarcastic and ironic has always appealed to my slightly left-of-the-centre mindset. I love it!

Rock And Roll Dreams Come Through is a great tune, but it has aged significantly and no longer feels as fresh as it once did. Nevertheless, it is one of my favourite songs on the album but may not appeal to modern fans of Meat Loaf.

Of course, you may be familiar with the Jim Steinman original, released on his 1981 release, Bad For Good and sung by Rory Dodd. Dodd is no Meat Loaf, from a vocal perspective, but I thoroughly enjoy this original and in this case, I consider it to be a published demo. There’s a music video for this original and it’s so bad that it’s good! Dodd doesn’t appear in the music video as Steinman delivers lead vocals via lip syncing that is surprisingly convincing.

The Meat Loaf music video isn’t bad, but it isn’t the greatest either. Of course, at the time, I thought it was wonderful. Hey, come on, it featured Angelina Jolie; what else was I to do as my teenage mind took control of my likes and dislikes. I know you’ve been there too, dear reader, there’s no use denying it.

It Just Won’t Quit shifts the flow of the album and while musically It Just Won’t Quit is glorious, I find the flow of the album is adversely affected by this song. Of course, once the song gets going, things start to pick up and therefore it has me wondering if we really needed the slow, near-acoustic, introduction or if the song could have started more promptly. Although, I do thoroughly enjoy the closing element that bookends the song in the same manner as the introduction, so you can’t necessarily have one without the other. Perhaps you could, but it wouldn’t be the same and there is certainly a balance that works with this edition.

It Just Won’t Quit is another cover for Meat Loaf as it was originally recorded and released by Pandora’s Box on their 1989 release, Original Sin. The Pandora’s Box original isn’t bad, but I do prefer Meat Loaf’s cover.

Out Of The Frying Pan (And Into The Fire) has a killer guitar track. Yes, dear reader, get your air guitar ready, you’re going to need it. In fact, the entire song is fantastic and one of the best on the album and in Meat Loaf’s catalogue.

Jim Steinman originally released Out of the Frying Pan (And into the Fire) on Bad For Good. Steinman’s version isn’t appealing, but one can certainly see the origins of what the song would become.

Objects In The Rear View Mirror May Appear Closer Than They Are is a beautiful song from start to finish. While I enjoy Meat Loaf’s louder, more rock-driven songs, the guy has an incredible vocal prowess that works brilliantly with Steinman’s near-symphonic songwriting style.

…and yes, every time I look at the bottom of the rear view mirrors on my car, and notice the safety message, I’m reminded that I should put this album on and rock out to Objects In The Rear View Mirror May Appear Closer Than They Are.

The music video is, as the song is, a rollercoaster ride of emotions that is true to the song and visually appealing. Yes, dear reader, once again as I was a teenager when this album and the subsequent video clip was released, the scene depicting an older woman teaching the younger man about the mystery and the muscle of love was likely at the forefront of my experience with this song. In fact, in my own life, I would gravitate to a beautiful woman some nine years older than myself. Well, will you look at that, life really does imitate art!

Wasted Youth is one track that I have a love/hate relationship with. I’m not sure I would call it a song. Although, if viewed in similar styling to Lou Reed’s work, then perhaps it could be classed as a song. That said, it isn’t a bad parable and flows well into Everything Louder Than Everything Else, but one must question if it adds any intrinsic value to the album.

Everything Louder Than Everything Else is a solid riff-driven rock and roll song that was never going to set the world on fire but is thoroughly enjoyable when it comes on. Of course, it could just be a welcome inclusion following Steinman’s spoken word Wasted Youth. Okay, maybe I’m being a little too harsh on Wasted Youth, it really isn’t that bad, but it does break the flow of the album.

Good Girls Go To Heaven (Bad Girls Go Everywhere) is jazzy rock and roll. I love it! Seriously, what’s not to like? Turn the volume up and enjoy!

As with It Just Won’t Quit, Good Girls Go To Heaven (Bad Girls Go Everywhere) is another Pandora’s Box cover. The original is solid, reminding me of many Bonnie Tyler songs. Yes, Meat Loaf’s version is the one to beat, but Pandora’s Box really recorded an exceptional original. Released as a single, the Pandora’s Box version also had a music video made which is rather good but seriously dated to the time. Seriously, check it out and you’ll see what I mean.

Back Into Hell is an interesting instrumental track that works well on its own, but does it really work well in the album format? Over the last couple of decades I’ve become familiar with it, so removing it now would not be an option. However, as with Wasted Youth, one can’t deny that it shifts the flow of the album.

Lost Boys And Golden Girls is pure Meat Loaf. His vocal tracking on Lost Boys And Golden Girls is superb and the song is a perfect classical-styled rock song, ensuring I remain in Meat Loaf’s catalogue and listen to the album again. In fact, as I think about it further, I would say Lost Boys And Golden Girls is the one song that links Bat Out Of Hell II: Back Into Hell to the original Bat Out Of Hell.

Lost Boys And Golden Girls was also originally recorded and released on Steinman’s Bad For Good. As much as I love Meat Loaf’s rendition, Steinman performs it masterfully.

Overall, Bat Out Of Hell II: Back Into Hell is one of the greatest rock and roll albums of all time. Yes, I know that praise is often given to the original Bat Out Of Hell, but the collaboration between Meat Loaf and Jim Steinman on this second instalment is beyond reproach. Rock and roll, truly, doesn’t get much better than this!

This review was based on listening to the Apple Music stream and the CD release. Sonically, both are sensational and you won’t be disappointed with the mastering on this release; a stark contrast to the original Bat Out Of Hell. However, sadly, the CD copy I own has very faded artwork that makes me wonder how it got past quality control checks. It’s tragic considering just how beautiful Michael Whelan’s artwork is.

I’m also fortunate enough to have a double cassette release of Bat II that was issued when Meat Loaf toured Australia. Unfortunately, I haven’t got a cassette deck anymore, so it sits staring at me in hope that the cassette revival will reach critical mass and I will come back to a format that I adore and grew up with. If money were no object, I’d likely buy a good Hi-Fi cassette deck on the secondhand market; cause I’ve gotta have the best hardware possible to play the four cassette tapes remaining in my collection. Nevertheless, will you just look at that cover. I thought the original cover was spectacular, but I love the darker, hell-inspired cover art of the limited edition release.

The cassette, of course, includes the entire album on Cassette 1, while the second cassette includes live editions of Bat Out Of Hell, You Took The Words Right Out Of My Mouth, and Everything Louder Than Everything Else; repeated on both sides. Liner notes, however, are not included, which is a shame, but not entirely unexpected given the change in format and limited nature of the release. I seem to recall there was also an outer cardboard slipcase when I first got the album, but if that were the case, the slipcase is long gone and likely would have got battered up from the various moves I’ve done throughout my life.

Speaking of the varied formats, I really need to pick up a copy of the 25th Anniversary vinyl re-issue. Let’s just hope it isn’t as flawed as my release of Bat Out Of Hell was.

Bat Out Of Hell II: Back Into Hell is available to own on Vinyl, CD, and iTunes.

Click here to read other Meat Loaf reviews by Subjective Sounds.

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Slash - Self-Titled (Album Review)

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Slash - Self-Titled (Album Review)

Slash really needs no introduction. Widely recognised as one of the greatest guitarists in rock and roll, Slash has played with a who’s who of the music industry and in 2009, it was only fitting that peers and idols collaborated with Slash on his first solo, non-band, outing entitled Slash. While the album is, of course, self-titled, I like to refer to it by its visual cover art moniker: R&FN’R.

The idea of Slash & Friends admittedly sounded campy from the outset as that style of album has been released ad nauseam, across various genres, and has a reputation that isn’t far removed from the cliche and utterly pointless Christmas album. However, Slash didn’t disappoint on this release, writing and co-writing the entire album of completely original recordings. Perhaps this is where other artists have come unstuck as they have a tendency to simply re-record their classics, with their friends, resulting in a less than stellar release.

Released in March, 2010, Slash would once again catapult the guitarist to international fame resulting in a World Tour with the incredibly talented Myles Kennedy on vocals – a match made in heaven and one that continues to exist to this very day when Kennedy isn’t busy with Alter Bridge and Slash isn’t touring with Guns N’ Roses. For this Self-Titled release, however, Kennedy would only perform two songs, Back From Cali and Starlight; both are exceptional and an indication of what was to come.

Ghost (feat. Ian Astbury) gets the album off to a rocking rhythmic start and is superb from start to finish. Astbury has an incredible vocal that is perfect for the tonality of Ghost. Such an incredible start to the album.

Crucify The Dead (feat. Ozzy Osbourne) flows seamlessly from Ghost and showcases Osbourne’s vocal prowess perfectly. I don’t know about you dear reader, but I like the slower, more methodical, Ozzy songs. Sure his fast and heavy stuff is good too, but the tempo of Crucify The Dead is absolutely perfect.

Beautiful Dangerous (feat. Fergie) is one of the greatest songs on the album and one of the most unexpected. Seriously, most of us know Fergie from the Black Eyed Peas and while her contribution to the Black Eyed Peas was extraordinary, she takes her skills as a vocalist to another level on this song. She really should be fronting a rock and roll band, if not undertaking her own solo hard rock album and associated tour. I’d buy tickets for that! The groove and guitar licks used here are sensational and I could literally listen to Beautiful Dangerous on repeat indefinitely. It is so good!

The music video is also quite entertaining with a well thought out story and connection with the song’s lyrical meaning. It is, however, let down when you see Slash taking a shot and then drinking a Monster Energy Drink. Talk about product placement! Truth-be-told, Monster probably paid for the music video, especially considering a Monster Energy Drink Edition, of this Self-Titled release, was released with the bonus track, Chains And Shackles (feat. Nick Oliveri).

Back From Cali (feat. Myles Kennedy) is the first of two masterful Myles Kennedy additions to this incredible Self-Titled album. Music doesn’t get much better than this!

The music video for Back To Cali is your classic interwoven scenes from a variety of live performances and random backstage and location shots. It works. It’s R&FN’R, but once you’ve seen it a couple of times, you’ll likely forget about it and simply enjoy the song.

Promise (feat. Chris Cornell) is sensational. I’ve adored Cornell’s vocals ever since I first heard Soundgarden’s Superunknown and Promise only intensifies my admiration.

By The Sword (feat. Andrew Stockdale) is a great tune. That semi-acoustic element is off-the-charts good! Plus, Stockdale’s vocal is so unique that I can’t help but be drawn in. It happened when I first heard Wolfmother’s Self-Titled debut and it continues here on this masterful performance.

Gotten (feat. Adam Levine) is a lovely tune and perfectly suited to the album. To be completely honest, I don’t know much about Levine, or his band Maroon 5, as they have remained off my radar over the years. Trust me, it isn’t intentional, there are just so many hours in the day and only so many albums I can listen to. Subsequently, some artists will naturally fall through the cracks. Given how good Levine is on this song, perhaps I should check out his other creative works. Nevertheless, Gotten is thoroughly enjoyable and if this is the only song of his I ever listen to, I can be satisfied.

Doctor Alibi (feat. Lemmy Kilmister) is hard and fast with an addictive rhythm that is perfect for Kilmister’s vocal prowess.

Watch This (feat. Dave Grohl and Duff McKagan) is the only instrumental track on the album and while Grohl and McKagan are legends that I admire, I feel this song is a little lacklustre and nothing more than filler. Given Grohl’s history as frontman for the Foo Fighters, one would have thought that a killer rock and roll tune with him on vocals and Duff on backing vocals would have been the perfect combination. Nevertheless, it wasn’t to be and while Watch This isn’t fundamentally bad, it feels like a missed opportunity to me.

I Hold On (feat. Kid Rock) is a solid song and as much as I enjoy anything that Kid Rock releases, I really feel that I Hold On could have been written and recorded with a harder rock element. Yes, it is in line with much of Rock’s catalogue, but for this particular collaboration, I would have been interested to see something heavier come out of the recording session. That isn’t to say that I dislike the song, or the performance, just that if I were sitting in the producer’s chair, I’d likely suggest trying a different style.

Nothing To Say (feat. M. Shadows) is perfectly suited to Shadows’ vocal style and is a much better collaboration than his inclusion on Device’s song Haze. It is reminiscent, to my ears, of Avenged Sevenfold’s Self-Titled 2007 release. Subsequently, I love this addition to the album.

Starlight (feat. Myles Kennedy) is incredible. It is one of the best songs on the album and you’d be hard pressed to find a song that Kennedy does any better than Starlight. You really need to turn the volume up on this one, you’ll thank me later. Superb!

Saint Is A Sinner Too (feat. Rocco DeLuca) is a lovely track with an acoustic approach that is not only perfectly suited to the album but fits masterfully into the tracking of the record.

We’re All Gonna Die (feat. Iggy Pop) is a song that only Iggy Pop could have sung. It’s the perfect way to close out the CD and Vinyl release of Slash’s eponymous album and one can’t help but agree with the sentiment expressed in We’re All Gonna Die; it’s priceless!

Bonus iTunes/Apple Music Track:

Paradise City (feat. Cypress Hill & Fergie) is a great mashup tune and it’s great to see it included on the streaming version of the album. It certainly pays homage to the original and while I adore the original edition on Appetite For Destruction, this is an incredible cover that will likely appeal to fans of this classic song.

Songs Not Included On Mainstream Releases:

As is often the case, different regions get an exclusive bonus song or edition of the album. The Japanese market got Sahara (feat. Koshi Inaba), a very different rock tune that upon reflection doesn’t match the rest of the music released on this eponymous release. It merely sounds disjointed as if the vocal element has been taken from another song and overlaid on an instrumental track. It isn’t inherently bad, but I am glad it didn’t make the final cut for the international release.

The now out-of-print Australian Deluxe edition includes an acoustic version of Back From Cali. As much as I love the integration of acoustic elements in the original studio recording, the acoustic version feels a tad lifeless by comparison and subsequently I’m glad a little more production was added to it. It is interesting to ponder, however, what my opinion would have been if the acoustic version was the only one ever released. Would I have loved it, loathed it, or been ambivalent towards it? We may never know, but the right version was selected for the international CD release.

Also on the Australian Deluxe edition is an acoustic version of Sweet Child Of Mine with Myles Kennedy on vocals and Izzy Stradlin on guitar, side-by-side with Slash once again. It is a beautiful rendition and I truly wish that I didn’t have to listen to it on YouTube, for it is unavailable physically, via digital downloads, or streaming services in Australia. Such a shame considering how good it is.

While we’re on the topic of Australian editions, those that pre-ordered the album on iTunes received the bonus track Chains And Shackles (feat. Nick Oliveri). It’s a killer rock and roll song and it’s ridiculous to think that it isn’t currently available for fans who didn’t pre-order.

Mother Maria (feat. Beth Hart), is an iTunes exclusive song that is not available to the Australian market. It’s your blues meets country meets rock song that is appealing if you enjoy Fleetwood Mac. I do, hence I like it, but it’s style is quite different from the entire album and wouldn’t have suited the international release.

I bet by now you’re thinking that I’ve covered all the bases. Well, there are several more editions that I won’t bore you with, other than to say the song, Baby Can’t Drive (feat. Alice Cooper, Nicole Scherzinger, Steven Adler, and Flea) is fantastic and should have never been excluded from the international standard release of the album.

Overall, Slash is the epitome of R&FN’R. While the CD generally sounds good, at lower volumes, due to a low dynamic range, it doesn’t scale well and subsequently can be disappointing. While I don’t have the vinyl release, a regret that has haunted me for years, I’d suggest looking for a copy as the dynamic range is certainly greater on the format and would likely result in a broader soundstage with greater separation throughout. Streamers, while getting the same mastering as the CD, will be happy to know that this eponymousrelease sounds excellent via Apple Music and Apple’s AirPods. It is quite frankly my preferred way to listen to this album as my main stereo setup is less forgiving when brickwalling is concerned. Either way, Slash is one album that just about every rock and roll fan will enjoy.

Slash (Self-Titled) is available to own on Vinyl, CD and iTunes.

Click here to read other Slash reviews by Subjective Sounds. 

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Legs Diamond – Self-Titled (Album Review)

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Legs Diamond – Self-Titled (Album Review)

If you’re into rock and roll, especially the sort that came out of the California music scene in the late 70s, then you’re going to love this eponymous debut album from Legs Diamond.

I often sit and wonder why one band is more prominent than the other. How did they connect with the social consciousness of the time? Was a band who didn’t receive the recognition they deserve merely out of time? Well, Legs Diamond failed to set the world on fire but would later gain a dedicated following that would result in them reforming and continuing to tour and record to this day; along with various breakups throughout the years. Subsequently, you can be forgiven for having never heard of the band, but thanks to the modern era of music streaming, we can all explore and enjoy the music that was merely out of time, for Legs Diamond is certainly no diamond in the rough and is one of the greatest 70s hard rock albums I have ever heard. How Legs Diamond is not a household name is beyond comprehension, but join me as we explore their eponymous debut. You can thank me later!

It’s Not The Music kicks the album off with a rhythm that is out of this world. If you’re not head bopping and toe tapping from the first note, you’re listening wrong. With numerous influences, including Pink Floyd and Deep Purple, Legs Diamond’s It’s Not The Music is not only a song that should go down in history as one of the grooviest 70s rock anthems, but it is the perfect song to open the album with. So good!

Stage Fright has a killer guitar riff and flows perfectly from It’s Not The Music. It’s full-on 70s west coast rock and roll that will require you to dust off your air guitar. I love it!

Satin Peacock is your classic blues-based rock and roll tune. Turn that volume up and enjoy, I know I am.

Rock And Roll Man is an epic song that reminds me fondly of Black Sabbath’s Ozzy era. This is one seriously good album!

Deadly Dancer is another great song that is very much inspired by Deep Purple and as a Purple fan, that isn’t a bad thing.

Rat Race is full of groove. Yes, you can again hear the influence of Deep Purple, but Legs Diamond creates a sound that is so unique and perfect that it is only reminiscent of Deep Purple in spirit. Regardless, Rat Race will have you head bopping and toe tapping to the addictive rhythm. 70s hard rock doesn’t get much better than this!

Can’t Find Love is a little over-produced at the beginning of the song and really doesn’t start until almost two minutes have elapsed. However, once the song gets going, it’s a riff and vocal driven masterpiece and is literally one of the best songs on the album.

Come With Me closes the record out with the same energy that has permeated throughout the entire album; although I’m not fond of the fade out as I feel commencing the fade on the vocal was a mistake. Nevertheless, there is absolutely no doubt that I will listen to Legs Diamond again and stay within Legs Diamond’s rather extensive catalogue.

Overall, Legs Diamond is not only an exceptional eponymous debut, but it is one of the greatest 70s hard rock albums to have ever been recorded and released. How I wish I could have been a fly on the wall during these recording sessions as the album is mixed and mastered beautifully. So well, in fact, that I’m blown away by the dynamics and soundstage present via the Apple Music stream. While I’d love to track down a vinyl copy, and likely will at some time, this digital release is absolutely amazing and will showcase the very best your speakers or headphones have to offer. It also provides further validation that lossy music can sound exceptional if it has been recorded, mixed, and mastered properly. An incredible album from start-to-finish!

Legs Diamond is available to own on CD and iTunes.

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Apocalyptica – 7th Symphony (Album Review)

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Apocalyptica – 7th Symphony (Album Review)

It’s cello-metal time!

Yes, the world has collided and those of you who are die-hard classical music fans may wish to look away. Similarly, the metal heads may also have a difficult time coming to terms with just how perfect metal and classical overtures and instrumentation work together. Certainly, Metallica proved just how well the mix could be applied when they performed their exceptional live concert, S&M, with the San Francisco Symphony, in 1999. It’s a classic performance and one of the best recordings Metallica has ever released. It’s certainly better than their latest live effort, Helping Hands...Live & Acoustic At The Masonic. I love Metallica, but this album is only slightly better than their Lou Reed collaboration, LuLu. Regardless, Metallica has been an inspiration for the Finnish cello-metal band Apocalyptica and you should really check out their 1996 release, Plays Metallica By Four Cellos. It’s exceptional and one can only wonder if upon hearing this album, Metallica decided to test the waters with their own classical interpretation three years later. Whether or not this was the case, S&M is one of the greatest live albums and performances of all time and Apocalyptica has grown beyond covering their idols, becoming a band that has not only stood the test of time but commands the respect of the classical music lover and metal head alike.

Released in 2010, 7th Symphony is Apocalyptica’s seventh studio release and fast became one of my all-time favourite albums. This review is based on the iTunes/Apple Music standard edition as that is the one that I’ve been enjoying for years. Interestingly, however, as much as I adore this album I’ve yet to add it to my physical collection. Given it was released on various formats, it amazes me that I’ve never taken it to the next level. My only reasoning is that I thoroughly enjoy the digital edition that I purchased so many years ago and as such it makes me wonder if obtaining the vinyl release, amongst other possibilities, is really that important. The music collector within says it most certainly is, but the music lover says if you like the way it sounds, don’t buy another copy. I don’t know about you, dear reader, but I have countless examples of different formats sounding at odds with each other, as if you’re listening to an entirely different album. Sometimes it is subjectively better, other times it is just different. Yes, I’m aware of how different masterings can sound and that each format has its own unique sonic elements, but that doesn’t always mean that vinyl is better than digital or vice versa. Subsequently, I say, enjoy the music you have and if you’re not grooving with the sound, then perhaps you should look for an alternative format/mastering to see if a subjectively better release is available. Of course, as I say that, I’m looking at the cello-shaped USB edition of the album...I want it! Yes, I know I contradicted myself. It isn’t the first time and it certainly won’t be the last. It is the bane of the music collector and as much as one can enjoy the process, it is an addiction just like any other hobby.

Addicted is certainly one way to describe my love of 7th Symphony. By and large, the album as a coherent piece of musical art is superbly crafted and I welcome you to join me as I take a look at the songs that make up Apocalyptica’s 7th Symphony.

At The Gates Of Manala is a sonic wonderland and is the perfect song to open the album with as you know exactly what to expect from the rest of the album when you listen to this song. That isn’t to say that Apocalyptica repeats themselves, for they are certainly diverse, but what is immediately apparent is that this record, in particular, is going to be a little more on the symphonic heavy side than some may assume. That isn’t necessarily a bad thing and there are more mellow tunes throughout 7th Symphony, but At The Gates Of Manala, and the entire album, is one that takes no prisoners and if you’ve never heard anything by Apocalyptica, up until now, I’ve no doubt you’ll be hooked listening to this instrumental song. I certainly was!

End Of Me (feat. Gavin Rossdale) has incredible rhythm and while I’m not overly familiar with Bush, Rossdale performs this song beautifully. However, as good as he sounds, I’d love to hear Corey Taylor on vocals here. Yes, I may well have a man crush on Taylor, but the guy epitomises the lifestyle and genres he performs in. Nevertheless, Rossdale should be congratulated on a stellar performance and the backing musicality is off-the-charts. A great song and a wise choice for the first single from 7th Symphony.

However, Not Strong Enough (feat. Brent Smith), is the best song on the album. Smith has an incredible vocal range that is perfectly suited to the album. Interestingly, however, due to frivolous music industry practices, the Brent Smith original was unable to be released stateside and subsequently another version of the song was recorded with Doug Robb of Hoobastank. To be completely honest, both versions are spectacular but if I had to pick one, it would be the rendition with Brent Smith as I feel his vocal is more suited to the style of the song and backing musicality. Either way, Not Strong Enough is one of the greatest songs in Apocalyptica’s catalogue and I can only recommend you turn the volume up and enjoy. It has an attitude that will make you feel invincible; a positive confidence building element that is exclusive to the listening and appreciation of music.

2010 (feat. Dave Lombardo) is another killer instrumental and Lombardo delivers an exceptional drum track. Its speed metal meets rhythmic metal but performed with symphonic overtones. What’s not to like?

Beautiful is certainly more mellow but is absolutely stunning. I hope you haven’t turned the volume down for Beautiful needs to be heard as loud as you can play it without causing hearing damage or inducing audible distortion.

Broken Pieces (feat. Lacey Sturm) is a lovely song and Sturm delivers an exceptional vocal performance that in some ways reminds me of Avril Lavigne. Perhaps the only disappointment I have when listening to Broken Pieces is the crushed percussion elements as a result of brickwalling. This is quite a shame as all other songs sound dynamic with a broad soundstage, despite the album’s overall low dynamic range. That said, according to the Dynamic Range Database, Broken Pieces has the greater dynamic range in comparison to the rest of the album, almost double the other songs, yet when you listen to it, you wouldn’t agree with that finding

On The Rooftop With Quasimodo begins in a mellow tone, but that doesn’t last as this instrumental track grows in boldness before returning to its original mellow state mid-song, then returning to a heavier symphonic sound. The sonic shifts are done extraordinarily well and you won’t feel they’re disjointed as they blend masterfully together resulting in a song that tells a story through instrumentation alone.

Bring Them To Light (feat. Joseph Duplantier) picks up the pace and it’s a killer scream/speed metal track. The rhythm on Bring Them To Light really directs the song beautifully and Duplantier’s vocals are spot on. A sensational track!

Sacra is absolutely mind-blowing. The moodiness of the cello certainly comes out in this song and I couldn’t imagine a metal-infused cello track being more textbook accurate than this one. If you want to let someone here just what symphonic metal and the cello can sound like, this is most certainly the song to play for them. Perfect would be an understatement as Sacra really is beyond adequate description and has to be heard to be believed. Although, I’m not fond of how it transitions into Rage Of Poseidon.

Rage Of Poseidon has an opening that doesn’t compel me, but as the song progresses, the grinding rhythm takes hold and it becomes a valued addition to the album, ensuring that I’ll certainly play thestandard 10-track edition of 7th Symphony again and stay within Apocalyptica’s diverse and extensive catalogue.

Overall, 7th Symphony is an album that should be in everyone’s collection, be it digital or physical. It is compelling and while on the surface it may seem a little mismatched to the newcomer, it is absolutely perfect to those of us who believe the merging of musical genres is not only a good thing but is an essential element in the continuous evolution of music as a form of art.

As for the tracks not included on the standard edition, but present on varied releases in different regions, I have this to say:

Return Game is simply stunning and brings the cello right to the front of the mix, an element that I thoroughly appreciate. I really wish this song was included on the standard 10-track album.

Through Paris In A Sportscar is a solid tune. Nothing to write home about, but adequate nonetheless.

The Shadow Of Venus is a lovely song, but it does have the tendency to sound a little repetitive.

Spiral Architect is a Black Sabbath cover, first appearing on Sabbath’s Sabbath Bloody Sabbath from 1973. Let me be completely honest, just listen to the original Sabbath version of the song.

These additional four tracks, along with a DVD featuring performances from the Sibelius Academy, are all included on the Deluxe Edition. Thankfully, this additional content has also been made available on iTunes, as well as Apple Music, for those who wish to download or stream the content. The additional performances included are for the songs Beautiful, Not Strong Enough, End Of Me (if you’d like to see the official music video (feat. Gavin Rossdale), click here), I Don’t Care (an incredible song originally released on Apocalyptica’s 2007 release, Worlds Collide), Sacra, and Bittersweet. Yes, these additional elements can often be seen as bonus material that you’re unlikely to consume more than once, but I would encourage you to check it out as the songs are performed in an acoustic manner, showcasing just how seriously talented these musicians are. Tipe Johnson of the Finnish rock band, Leningrad Cowboys, provides the vocals on these acoustic performances and does a simply incredible job.

Apocalyptica’s 7th Symphony is available to own on CD and iTunes. A Deluxe Edition is also available on CD/DVD and iTunes.

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Device – Self-Titled (Album Review)

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Device – Self-Titled (Album Review)

David Draiman is a man with few peers and with such a unique vocal presentation it can be difficult to separate the man from Disturbed; a band that would catapult him to international fame. Fortunately, or unfortunately, depending on your philosophical bent, Disturbed entered a hiatus between 2011 and 2015, resulting in a series of side projects by the various band members. Bassist, John Moyer, would join Adrenaline Mob and form Art Of Anarchy, while Dan Donegan and Mike Wengren formed Fight Or Flight. Draiman, of course, went on to form Device with former Filter guitarist, Geno Lenardo. Device, while not completely dissimilar to Disturbed, in part due to Draiman’s unique vocal presentation, does have a greater electro-industrial sound than Disturbed that fans will undoubtedly adore.

You Think You Know is a hard-hitting start to the album and in some ways is reminiscent of Disturbed’s Believe era. Despite that, You Think You Know sounds fresh and unencumbered by the link to Disturbed. The rhythm elements are fantastic, but the drums are sadly a little flat, especially in the high-hat region. This is due, in part, to the over-compressed nature of the album whereby the dynamic range is brick-walled rather badly. When you listen to this song, and much of this Self-Titled album, it becomes apparent that the music is screaming to be heard with more separation and depth. Yes, the highly compressed nature of this style of music is somewhat of a trademark, but I feel it was taken a few steps too far and could have been dialled back a little to allow a greater sense of scope, rather than the wall of sound that is currently present. Nevertheless, I love You Think You Know and believe it is the perfect song to commence the album with.

Penance is stadium worthy as that rhythm will get you moving. Perhaps the only questionable aspect is the tempo. The chorus and overall musicality are perfectly timed, but I do wonder how Penance would have sounded if the vocal delivery was sped up a little.

Vilify is a great song, but the electro-industrial elements are a bit too in your face and sound as if they were added as an afterthought. Yes, I understand this is the style Device was aiming for, it just feels as though there are two songs here, instead of one coherent one.

Close My Eyes Forever (feat. Lzzy Hale) is amazing! I love it and could listen to it indefinitely. This is most certainly a song for my lost on a deserted island playlist. Lzzy Hale is one of the greatest rock/metal vocalists in the world today and the duet with Draiman has a sense of purity that could only have been made in heaven. As much as I love the Ozzy Osbourne and Lita Ford original, this edition takes the song to a new level while simultaneously paying homage to the original.

Out Of Line (feat. Serj Tankian & Terry “Geezer” Butler) is a raw and riff-driven song full of attitude. Seriously, turn this song up to 11, you’ll thank me later.

Hunted started out promising, but I don’t like Draiman’s lyrical presentation on this song. Subsequently, I’ve got to call Hunted a B-Side.

Opinion (feat. Tom Morello) is a great left-of-the-centre song. The rhythm is disjointed, but that is where the magic happens proving that order and chaos can coexist.

War Of Lies is a solid track, but it’s nothing to write home about.

Haze (feat. M. Shadows) is enjoyable and while there are moments of brilliance, I don’t feel Shadows is presented as prominently as he should have been on this track as his input sounds a little lost in the mix. A shame considering just how exceptional he is as a vocalist. In all honesty, if you didn’t know Shadows contributed to this track, you’d be forgiven in missing his addition as there is very little sign of the vocal prowess the Avenged Sevenfold frontman is known for.

Through It All (feat. Glenn Hughes) is a sensational closing track that encourages me, like all good closing songs should, to listen to the album again.

While there are no major disappointments on this album, it is frustrating that this self-titled release was never issued on vinyl. The cover art alone demands a larger canvas and the greater dynamic range, provided by the vinyl mastering process, would be a welcome addition. Similarly, it frustrates me that the edition available to Australian audiences, via digital downloads, streaming, and CD, are limited to 10 songs. There are, however, three additional songs that have been made available on various editions of the album. A Deluxe Edition that includes a cover of Nine Inch Nails’ Wish and A Part Of Me. The Best Buy Exclusive also includes the track titled Recover. Are these additional songs any good? Well, I have reluctantly taken to YouTube to check out the tracks, despite the poor audio quality, and one can understand why they weren’t included on the core album. That doesn’t change the fact that in the era of streaming, these songs should easily, and legally, be available to fans the world over.

Overall, Device’s Self-Titled album is exceptional and while Draiman has stated that there is no intention to release more music under this moniker, I hope he reconsiders this position as this work complements his work with Disturbed in much the same way that Corey Taylor’s Stone Sour complements Slipknot.

Device’s Self-Titled album is available to own on CD and iTunes.

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Alice Cooper – Pretties For You (Album Review)

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Alice Cooper – Pretties For You (Album Review)

I doubt anyone would proclaim the Alice Cooper band’s debut release, Pretties For You, as their favourite album, yet it is strangely compelling. The psychedelic styling mixed with a high level of experimentation results in Pretties For You being located somewhere sonically between a garage band jam session and a demo recording. Yes, by conventional standards and that of the later Alice Cooper band records, Pretties For You is just bad, but as an album on its own, it showcases the era and origins of a band that would go on to have a successful career until, of course, Alice Cooper went solo and created an even larger monster, similar to Rob Zombie's move away from White Zombie. While Cooper was no doubt the pioneer, Zombie’s path a couple of decades later was not all that different to his idol’s as the early White Zombie recordings are also very raw and experimental.

Raw is perhaps the best way to describe Pretties For You and the vinyl re-issue I have is so badly mastered and pressed that it sounds like a beaten-up second-hand edition from 1969. That isn't necessarily a bad thing and the TIDAL Hi-Fi and Apple Music streams aren't much better, they just lack the noisy vinyl pressing, one that is also pressed off centre and has audible drift in the first song where one channel of audio is heard in a ghostly manner for the first few rotations of the record. There is even a broken groove on Swing Low, Sweet Cheerio, causing the album to play like a broken record, akin to a repetitive run-out groove. Nevertheless, I have contemplated replacing the 2009 Warner Bros. pressing with the newer 2017 re-issue, but as strange as it may sound, I kind of like the problems this pressing has as it has a character of its own. When the inoperative run-out groove presents itself, the softest of taps on my Pro-jet Debut Carbon’s plinth gets the needle tracking into the correct groove. Yes, it is a ritual, that's one reason why I love vinyl. Needless to say, it’s an imperfect format. Each and every play of an album will yield a different result, not unlike attending a concert where the performance, for any multitude of reasons, cannot be the same as the night before. No doubt some of you by now are questioning my sanity and wondering why I don’t simply get rid of this album considering it isn’t a favourite. Well, I can’t argue with that thought process, but as a life-long Alice Cooper fan, I find that I do enjoy the album, when in the mood, but I also acknowledge its flaws. Yet, I have been known to play the album on repeat for hours on end as it grows on you. 

SIDE ONE

Titanic Overture is a garbled mess but is an interesting start to the album that really goes nowhere until the piano element comes into the mix. That's a shame as I’ve always wondered what would have been if the piano track didn’t fade out. Seems like we’ll never know unless there are unheard recordings floating around that I'm unaware of.

10 Minutes Before The Worm is just weird. Still, it’s interesting but you wouldn't play it outside of the album format. It also is the first time we hear Cooper's vocal and as you may notice he has remained true to that styling throughout the years.

Swing Low, Sweet Cheerio is a great tune with a divine introduction. However, that high pitch vocal, in places, really takes a solid song and turns it into an experience that isn't quite as memorable as one would have hoped for. Nevertheless, it is one of the best songs on the album and one that I would love to see Cooper rerecord. Interestingly, and as a side note, when listening via Apple Music, the high pitch of Cooper's vocal, that I mentioned earlier, is much more reserved and subsequently less ear piercing. It’s interesting because digital music is normally fatiguing, in that regard, not vinyl. It just goes to show that lossy music alternatives do have their place in a music-first audiophile setup. Plus, for those who don’t appreciate the risk of possibly receiving a broken record pressing, the digital counterpart, of course, plays seamlessly.

Today Mueller is similar to Ten Minutes Before The Worm. Weird, yet strangely compelling. I like it!

Living is a solid rock tune from the era and a valued addition to the album.

Fields Of Regret is a song I thoroughly enjoy. However, I’d love to see Cooper rerecord Fields Of Regret with Bob Ezrin, in the production, chair as there is a solid song hidden here, begging to be brought out into the open.  

SIDE TWO

No Longer Umpire is short but enjoyable.

Levity Ball (Live At The Cheetah) is a great song but it's even more sonically compromised, than the rest of the album, as it's a live recording. Yes, dear reader, this is another song I would love to see Cooper rerecord.

B.B. On Mars is pure filler but works well within the album format.

Reflected is brilliant! Yes, the Alice Cooper band would rewrite and rerecord Reflected and release it as Elected on Billion Dollar Babies. However, I must say as much as I enjoy Elected, I prefer Reflected. Yes, there is a fanbase ready to Lynch me for that comment, but Reflected is, in my opinion, the one song that makes Pretties For You worth owning. Seriously, give it a listen.

Apple Bush is a quirky, but enjoyable, song.

Earwigs To Eternity is rather left of the centre but remains compelling and fits the experimental style of the album perfectly.

Changing Arranging is the final song on the album and is good enough to encourage me to listen to the album again and stay within the Alice Cooper catalogue.

Overall, Pretties For You is a solid debut by a band that had yet to find their sound and synergy. But, is it worth owning? For Alice Cooper fans I would say yes, but it isn't a landmark album and therefore will likely only appeal to the most dedicated fans and collectors. Hence, this is one album that you should consider streaming prior to outlaying the cash to buy Pretties For You on Vinyl, CD, the TIDAL Store (16/44.1kHz FLAC), or iTunes.

You can stream Pretties For You on TIDAL Hi-Fi and Apple Music.

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Alice Cooper – Muscle Of Love (Album Review)

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Alice Cooper – Muscle Of Love (Album Review)

Despite being an album focused on juvenile sexual innuendos, Muscle Of Love is one of the greatest Alice Cooper albums to ever be released. This would also be the last album featuring the original Alice Cooper band lineup and would not include the master, Bob Ezrin, in the Producer's chair. Nevertheless, Jack Douglas and Jack Richardson did a wonderful job of guiding the album, while allowing creative artistry to flourish.

Yes, many of the songs on Muscle Of Love have never been part of Cooper's live set, at least for many years, but I've always found that with Alice Cooper, the best albums, songs, and performances are not the compilation filling or concert played fan favourites. Therefore, I implore you to give Muscle Of Love, as an album, a shot. I have a feeling you won't regret it.

I know I haven't regretted picking up the Friday Music vinyl re-issue from 2013. While the reissue isn't a perfect replica, sonically it is beautiful with a full analogue sound that will impress even the most hardened critic. I have listened to both the TIDAL Hi-Fi and Apple Music streams and I have to be completely frank when I say the TIDAL Hi-Fi edition makes me want to cancel my subscription. It sounds incredibly flat and shrill, much like really early CD pressings did, and perhaps TIDAL is using the same master that has yet to be remastered. Yes, Steve Hoffman and Stephen Marsh worked their mastering magic on the Audio Fidelity quadraphonic reissued SACD, but that mastering is not available outside the now increasingly rare and costly SACD pressing. Truth-be-told, I've lusted over that SACD release for some time, as it also includes a standard stereo mix for both SACD and CD layers from the aforementioned mastering engineers, but I get so much enjoyment from the Friday Music vinyl release that I don't feel the need to check it out. While I may have daggers out for the CD-quality TIDAL Hi-Fi edition, the Apple Music stream is beautiful, with a similar mastering to the vinyl record. If there is a difference to report, it would be that the Apple Music stream sounds a little concealed by direct comparison to the vinyl release. What it does show, however, is just because something is portrayed as being lossless, and at CD-quality, that doesn't automatically mean it will be better. Mastering really makes a far more significant difference than higher resolutions.

SIDE I

Big Apple Dreamin' (Hippo) not only has a great groove, but that psychedelic undertone is superb. I dare you to sit still, without moving a muscle, during this song, I can't do it. The guitar tracking is divine and the inclusion of the violins perfectly suits the song. Plus, that outro = extraordinary!

Never Been Sold Before is your meat and potatoes rock and roll track. I love it! If I had one complaint, it would be that I'd like to hear a 1 to 2-decibel increase in the bass guitar. Just as the addition of strings to Big Apple Dreamin' (Hippo) enhanced that song, the horn element in Never Been Sold Before is fantastic and has a similar effect.

Hard Hearted Alice is a song that slowly builds with a beautiful atmospheric introduction. This is one song where the quadraphonic mix would likely be astonishing, but the vinyl counterpart is no slouch with a soundstage that removes the speakers, creating a spacious sound that has to be heard to be believed.

Crazy Little Child is a fun song. I absolutely adore the piano element and I love the overall New Orleans Jazz feel. I'd love to see Cooper do an entire jazz album, even one full of standards would do. He certainly has the vocal chops for it.

SIDE II

Working Up A Sweat continues the lighthearted approach to the overall theme of the album. It's a solid song, but not one to write home about as I find Cooper’s vocals are a little distant in the mix, although, the music has an addictive and thoroughly enjoyable rhythm.

Muscle Of Love is a killer tune. The guitar intro and drum beat is superb and I find myself playing the air guitar and drums for hours after listening to this song. Exceptional!

Man With The Golden Gun was originally written and recorded for the associated James Bond film but was sadly never used. When you listen to the song, armed with that knowledge, you can immediately hear the James Bond undertones and one can only wonder how the Man With The Golden Gun’s introduction would have differed with this song. Nevertheless, it’s a solid addition to Muscle Of Love and I'm just glad it was released and not shelved as it really is quite enjoyable, even if it’s not the strongest song on the album.

Teenage Lament '74 has remained somewhat of a fan favourite and while I thoroughly enjoy the song, I feel bemused as to its popularity. I guess it just proves that I should never be asked by an artist, or record label, which songs should be released as a single or be played live.

Woman Machine is an interesting song to close the album on. Yes, it encourages me to listen to the album again and stay within Cooper's catalogue, but I find Woman Machine to be a little repetitive and the outro is a little too much, in my opinion, although I can see the approach Cooper and the band were going for.

Overall, Muscle Of Love is exceptional and is truly one of the best Alice Cooper albums ever recorded. Yes, it helps to have a good mastering of an album and this Friday Music release, that is a prized possession of mine, is said to have been mastered from the original Warner Bros. tapes by Joe Reagoso. After hearing it countless times, I have no reason to doubt Friday Music's claims. It really is THAT good!

Muscle Of Love is available on Vinyl, Quadraphonic SACD, CD, the TIDAL Store (16/44.1kHz FLAC) and iTunes.

If you prefer streaming, Muscle Of Love is available on TIDAL Hi-Fi, Apple Music, and Spotify.

Click here to read other Alice Cooper reviews by Subjective Sounds.

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