Van Morrison – Moondance (Album Review)

No matter which way you look at it, Van Morrison’s Moondance may well be the most relaxingly intimate album experience of all time.

Released in 1970, Moondance is Morrison’s third studio album, and while many may disagree, citing 1968’s Astral Weeks as a far more essential release in Morrison’s celebrated catalogue, I’d argue that Moondance is his magnum opus. The higher production values, alone, make this a much stronger release, for Astral Weeks is akin to a demo by comparison; a bold statement, yes, but a valid perspective nonetheless. Morrison’s signature sound, and uniquely compelling vocals, also ring out greater on Moondance, thereby making it not only a timeless classic, but a release that appeals to a broad range of music lovers.

Blending rhythmic blues rock with jazz and pop elements, along with singer/songwriter sensibilities, Moondance has taken on a life of its own and is not only amongst the greatest albums in all of recorded music history, but is delivered with one of the most iconic album artwork designs of the 20th Century. Thankfully, the sonic presentation is right in line with the compelling artwork, and as it pertains to the Hi-Res Lossless Apple Digital Master, as heard via Apple Music, that edition has a delicate clarity that doesn’t detract, but enhances the overall smoothness of the recording.

Being one of the most iconic releases of the 70s, Moondance has seen numerous reissues, but the stream, which is based on the highly regarded 2013 remaster, can be best described as detailed, sultry, and lush. While I’ve not heard an original release, and cannot categorically declare this as the pinnacle of sonic quality, the most telling statement I can offer is that it simply sounds right. There’s no need to consider EQ adjustments, and it plays beautifully at all volume levels, thereby leading to a thoroughly pleasing musical experience.

Despite being recorded over five decades ago, Moondance has a modern feel to it, and while the stereo recording is extraordinarily pleasing, in its own right, the Dolby Atmos mix takes the album to another level of enjoyment for those who are fortunate enough to have a surround sound setup. Thankfully, streaming has given everyone the ability to sample multi-channel music, but provenance is still a problem.

If we look at the most recent Blu-ray Audio reissue, from 2023, it becomes clear that the stream must be from the Steven Wilson remastered Atmos remix from 2023, rather than the 2013 5.1 surround mix as the publishing date on Apple Music would otherwise indicate. Interestingly, Wilson also did a 2023 stereo remix that is included on the disc but absent from Apple Music et al. Confusing, yes, but one advantage of the Blu-ray Audio release is that particular edition features both the newest Dolby Atmos mix and the 2013 5.1 surround mix for those who would like to appreciate both interpretations. I could digress further, but may I suggest you check out Life In Surround, as Mike not only delves far deeper into the surround options than I do, but as it’s his primary focus, he’s far more qualified to offer an opinion.

What I will say about the Dolby Atmos stream on Apple Music, however, is that it’s highly appealing, so much so that it will make you sit up and question which edition, stereo or surround, you prefer. Morrison’s vocals are smack bang in the middle, while the musical elements are delivered in a spacious manner that makes you further appreciate the layered musicality of the recording. The presentation is also smoother, fuller, and more relaxed, compared to the stereo mix; a remarkable aspect given just how laid-back the album is in general. So, which version do I prefer? Well, let’s just say that when listening back via my Atmos-compatible setup, I’ll be listening to the surround sound version moving forward, but for all other times, the stereo mix and presentation are simply stunning.

And It Stoned Me launches the album with a sense of storytelling wonderment set atop a simply beautiful musical bed that immediately sets the tone for the entire album. The saxophone elements are of particular note, as the song would be significantly lacking had it not been for Jack Schroer and Collin Tilton’s inclusion; for as solid as the rest of the music is, and as exceptional as Morrison’s vocal is, it is the culmination of all aspects that truly make “And It Stoned Me” the song that it is.

Moondance is one of the most incredible jazz-styled numbers you’re ever likely to hear. It’s accessible, smooth, and knows few peers. You’ll be toe-tapping, head-bopping, or gliding across the floor, perhaps with your significant other, as this masterpiece plays, for it’s impossible to listen to and not jazz along to (pun, most certainly, intended).

Crazy Love is a gorgeous romantic ballad. For fans of the Motown sound, you’ll most certainly enjoy “Crazy Love”, for the composition and backing vocals are perfectly suited to the style, the era, and Morrison’s vocal presentation.

Caravan sees Morrison deliver a bolder vocal than that heard on “Crazy Love”, but that isn’t a detrimental aspect, as his somewhat strained vocals, certainly by comparison to the previous track, are the ideal delivery method for an otherwise exceptional tune. While it may not be a standout, “Caravan” is, as many of the songs are on this release, an ideal album-only number that ensures Moondance is an album experience first and foremost.

Into The Mystic is amongst the album’s most well-known tracks, and for good reason, as its laid-back, free-flowing style, similar to that of many John Denver tunes, offers a highly rewarding listening experience for those seeking a more subtle Van Morrison recording.

Come Running would have been the first song on side two of the album, but as digital delivery methods, from the CD onwards, allow for a more fluid musical experience, it can be suggested that “Come Running’ presents a jolt to the system. While I believe that to be true, once you’ve settled into the song, it too sets the tone for the second half of Moondance, as despite being a cohesive album experience, it can most certainly be appreciated in two parts.

These Dreams Of You is another compelling musical exploration that is not only perfectly suited to Morrison and the album, but also to the era in which it was released. The subtle musical backing allows Morrison’s vocals to soar, but the playful instrumentation ultimately makes the song what it is.

Brand New Day is one of those songs that remind me of why there’s so much appreciation for singer/songwriters. Yes, it’s one of many exceptional tunes, particularly from this release, that could be highlighted as such, but each time “Brand New Day” plays, I sit in contemplation and ponder just how extraordinarily creative the human mind can be and how some individuals are so blessed as to create something so beautiful, from seemingly nothing.

Everyone is the black sheep of the song selection from Moondance as it shifts its tone significantly and is, unfortunately, the weakest song from the album. It isn’t so bad as to tarnish the record, but it also doesn’t quite fit the flow and overall feel.

Glad Tidings is a quintessential closing tune that not only compels me to spin the album again, but also allows for contemplation of the music that’s just been heard, as it offers a culmination of musical elements from across the entire record.

Moondance is one of those rare albums that not only meets expectations but, upon repeat listens, exceeds them. While some may have been perturbed by Morrison’s stylistic shift, from his earlier releases, Moondance is the album that he was meant to make; certainly from a music lover’s perspective. While the timeless masterpiece statement is thrown around too easily, particularly here at Subjective Sounds (given the site’s positive approach), Moondance certainly qualifies for that statement, as few albums, of any era, are as transformative as Moondance was to Morrison and the music-loving public.    

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Uriah Heep – Very 'Eavy, Very ‘Umble (Album Review)

Released in 1970, this debut is amongst the greatest the English rockers ever recorded, and more than five decades later, the production, recording, and overall sonic presentation remain fresh and compelling. With its signature blend of rock, and what is now considered classic heavy metal, Very 'Eavy, Very ‘Umble can not only be seen as a pioneering progressive rock release within the heavy metal music genre but as nothing less than an impressive debut.

Similarly compelling is the album’s artwork, but, as with most digital offerings, it is inadequately represented. While not as restricted as many counterparts, the original cover art design makes use of the vinyl gatefold to portray the entire photograph, including frontman David Byron’s hands, covered in webs. It’s a disturbing image, especially amongst those of us with arachnophobia, but it isn’t quite as bad, in some respects, as the US releases which don a nightmare-inducing centipede-meets-serpent-like creature.

What isn’t traumatising, however, is Andy Pearce’s 2016 remaster. As many music-loving audiophiles will note, remasters are not always the be-all and end-all as it pertains to the sonic quality of a record, but this one is done extraordinarily well. Listening to the CD-quality Lossless editions, via Apple Music, one can’t find much to criticise, as every element is balanced beautifully in the mix with plenty of room between musical elements. My only complaint is that I have yet to pick up this particular edition on CD. Yes, it’s mastered to modern standards, but it’s not overly loud either and can be thoroughly enjoyed at both moderate and ear-bleeding volume levels. So, hit play and join me as we take a look at the songs that make up this classic release.

Gypsy is a killer opener with a funky vibe that sets the tone for the entire record. The riffs are out of this world, as is the percussive backing, but the most compelling aspect is the song’s overall progressive composition that will encourage you to pump the volume. Of course, all would be for nil had Byron’s vocals missed the mark, but that wasn’t to be, as he was one of the finest singers to have ever stepped in front of the microphone.

Walking In Your Shadow is a little less mystical than Gypsy, but it sees Uriah Heep deliver a blues-based hard rock number that is thoroughly pleasing, with a tonne of attitude, that will appeal to just about any rock and rolling air guitarist. Mick Box’s guitar tracking, here and throughout the entire record, is masterful.   

Come Away Melinda is a cover of the 1963 anti-war song, penned by Fred Hellerman and Fran Minkoff, and first recorded by Harry Belafonte. While I’m not overly familiar with the original, Byron shows just how incredible he was as a vocalist, for the true worth of a hard rock vocalist is how they can perform a ballad-style piece, and in this case, Come Away Melinda is Byron’s magnum opus.

Lucy Blues is absent from US editions due to the inclusion of an early rendition of “Bird Of Prey”, and in some respects, I can see why the shift was made stateside, for Lucy Blues delves, perhaps a little too far, into the blues. Think Gary Moore, it’s brilliant, undoubtedly, but it’s different enough to the other songs on the album that some may suggest the record lacks focus as a result of its inclusion. Regardless, what Lucy Blues does showcase is the continued broad musical range of the band, even if “Bird Of Prey” may have been a better option.

Dreammare is the only song on the record that irritates me, and not because of the mastering but due to the chosen mix as there’s an out-of-phase aspect that is particularly noticeable when listening via headphones as the vocals are present in the right channel, with percussion in the left, but the vocals have also bled into the left channel, making it sound as it someone is whispering in your left ear. Granted, at this stage in music history, many artists were still testing the waters with what could be done with stereo panning and balancing, but this is one killer song that they got wrong in the recording and mixing process. That said, if you’re not a headphone listener, you’ll likely be unaware, for Dreammare is thoroughly enjoyable when listening via speakers.

Real Turned On has a killer bass lick opening this classic rock and roller. While it may be a more basic composition, especially when positioned against the more progressive numbers on the record, sometimes a solid hard rock tune is all that’s required and while not, necessarily, a standout, Real Turned On will likely be one of those tracks that will compel you to play the record time and time again, for once you’ve allowed Very 'Eavy, Very ‘Umble into your soul, it’s difficult to ignore.

I'll Keep On Trying is a progressive rock masterpiece.

Wake Up (Set Your Sights) flows well from I'll Keep On Trying, but the jazz-styled approach is a little too far removed from the rest of the album’s tunes. If we remember, however, that this is a progressive rock release, then this song makes perfect sense as the culmination of styles is a testing ground to see what ultimately works and what doesn’t. There’s little doubt that the first half of the song is representative of the weakest aspects of the album, but as you listen to the second half, you can’t help but appreciate the tune as you reflect on the music that you’ve just heard.

Very 'Eavy, Very ‘Umble is nothing if not an impressive debut. While Uriah Heep may not have reached the heights of their contemporaries, overlooking such an incredible band, and particularly this release, is shortsighted, as Very 'Eavy, Very ‘Umble is amongst the best albums released in 1970 and is one of the greatest records the band ever released.

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Trapeze – Medusa (Album Review)

While there is no shortage of hidden gems from the 70s, Medusa, by Trapeze, is one of the most impressive, underscoring the importance of seeking out music that goes beyond mainstream appreciation and acceptance.

Released in 1970, this is the second album by the British rockers, and while their entire catalogue is worth checking out, Medusa is their magnum opus, even though it was overlooked during its initial run, remaining only noteworthy amongst the most ardent music lovers. With a classic rock meets blues-based style, and elements of hard rock and touches of heavy metal, Medusa will appeal to a broad audience, so share this review, and Trapeze’s music, with anyone who has an appreciation for the aforementioned genres, as it’s about time Trapeze received the recognition they’ve always deserved.

Compared to their self-titled debut, Medusa is considerably different, as the band’s first outing has a greater focus on psychedelic soft rock. Some may find that more compelling, but it’s not nearly as engaging as this second release; an album showcasing their signature sound, despite only being separated by six months.

Visually, Medusa is spectacular and is amongst the most captivating artworks of the era. Unfortunately, modern streaming platforms don’t present it adequately for the face trapped within the trapeze-styled optical illusion is poetically suited to the band’s name and provides a perfect visual accompaniment to the music. One can only imagine how it would have been to have picked up this album upon launch and lose oneself in the mystical nature of the album’s artwork as the record played.

While my only experience of Medusa has been via streaming services, Apple Music offers various masterings, allowing fans to choose the edition that best aligns with their personal sonic tastes. As it pertains to the sonic presentation of the album, the lossless Apple Music stream that I find myself listening to most often is the Ork Records 2008/2010 remastered reissue, as shown below, as it’s highly engaging. There’s also the 2020 Cherry Red Records (Deluxe Edition) to consider, but I find that particular mastering to be a little too reserved in its presentation. Some may prefer that relaxed mastering style, one which is not as loud, with cymbals that ring out beautifully within a nicely positioned soundstage, but I find it’s also lost a little of its sparkle as the presentation is akin to a sheet being placed over one’s speakers, by comparison. As to which ultimately sounds better, that will be up to your subjective interpretation. For me, however, I’m sticking with the older remastered reissue.

Black Cloud is a bold rock and roller to launch the album on, one that sets the tone for the entire record with some incredible vocals and a musical presentation that lights up, particularly as the chorus enters the mix. It’s ideally suited to the early '70s, but despite being of the time, it remains fresh and compelling in the modern era; a testament to the talent of the three master musicians at the helm.

Jury initially slows down the tempo to that of a ballad, yet it’s one of the most stunningly beautiful tunes you’re ever likely to hear. As the song builds, one can’t help but appreciate the performance and intricate nature of this rock and roller, for it remains reined in while also having a level of attitude that one would expect from some of Black Sabbath’s most memorable tunes. Even the false ending will blow your mind, for the composition is well thought out and is nothing short of masterful. No, Jury was never released as a single; a shame considering just how extraordinary it is and how in tune it was to the musical zeitgeist. The bottom line is, if you’re not listening to Jury at ear-bleeding levels, you’re listening wrong, for this is one legendary tune.

Your Love Is Alright shifts the tone of the album with a livelier and more upbeat tempo. It’s a solid song, with some killer riffs and an impressive vocal performance, especially during the bridge and chorus, but it’s far from a standout and is, subsequently, an album-only tune that is unlikely to compel you to return to the record. That said, as part of the album’s linear structure, “Your Love Is Alright” works well enough that any shift in styling isn’t so apparent that it detracts from the overall album experience.

My Life is toe-tapping, head-bopping, gold. As a rhythmic wonderland, “My Life” encompasses a sonic middle ground that Trapeze was brilliant at achieving. It’s classic rock at its very best!

Seafull is a magical experience, one that must be heard to be fully understood. The guitar licks are out of this world, as are the backing percussive elements, while the vocal delivery is amongst the greatest in all of recorded music history.

Makes You Wanna Cry is a funk-infused rock number with a slight off-beat rhythm that works remarkably well for the song and the album’s overall flow. While not necessarily a standout, “Makes You Wanna Cry” is one of seven core reasons as to why Medusa is such an incredible album experience.

Medusa is a stunning title track and an ideal album closer, one that allows for not only contemplation of the music that’s just been heard, but one which will encourage you to play the album again for Medusa, both the song and the album, can seldom be listened to once.

No matter which way you look at it, Medusa remains one of the most underrated rock albums of the 1970s. While Trapeze never achieved the recognition they deserved, Mel Galley, Dave Holland, and Glenn Hughes would each go on to leave their mark with Whitesnake, Judas Priest, and Deep Purple, respectively, with Hughes also forging a successful solo career. In hindsight, this release, and the band, in general, feels like the birth of a future supergroup, capturing three exceptional musicians at the very moment their careers were about to explode. More than fifty years later, it remains one of the finest hard rock albums of its era.

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Ricky Nelson – Rick Sings Nelson (Album Review)

The adage of “they don’t make music like that anymore” certainly applies to this classic 1970 release. Ricky Nelson may not be a household name, certainly in the modern era, and outside of the United States, but when listening to this rockabilly meets pop release with a touch of country rock, you’ll be left speechless for the song selection, recording, and overall mix of the album is extraordinarily good. Its Southern California styling is reminiscent of the Eagles' early recordings and Crosby, Stills, and Nash, but without the slightly more driven rock edge. About the only lacklustre aspects of this release are the cover art and the album title. Seriously, Rick Sings Nelson, what were they thinking? While we can give it a pass, given the era, it hardly compels you to pick up the record; a shame considering just how good the music is.

Rick Sings Nelson is, remarkably, the artist’s eighteenth studio album, and it could be suggested that his multi-talented creative output, having appeared successfully in film and television, limited his appeal within the music industry. Few artists have been able to cross-pollinate the creative arts successfully, and in Ricky Nelson’s case, his musical endeavours up to this point were considered to be bubblegum music. Yet, to pigeonhole Rick Sings Nelson is to do a disservice to the artist himself, as well as to artificially limit one’s own musical scope, for this selection of original songs deserves far more acclaim than they often receive. Many could have become chart-topping classics, had they been released as singles, but that wasn’t to be, as Rick Sings Nelson has gone largely forgotten outside of the few music fanatics who keep tabs on underrated releases.

As for availability, that is where streaming comes in, for this release is somewhat rare aside from the original LP pressings. While never released on Compact Cassette, there have been occasional CD reissues, but only a single standalone reissue, from Germany, in 1993. Rick Sings Nelson / Rudy The Fifth and the 7-CD compilation, The Last Time Around 1970-82, are the only other releases on the format, and neither has been reissued for several years.

While another physical reissue is highly unlikely at this stage, the CD-quality lossless Apple Music stream is more than adequate in representing the recording. The mastering is pleasant and will appeal to just about everyone, as the softer tunes meld perfectly with the more upbeat, thereby making it a highly enjoyable listen. While it could be suggested that a remaster would further amplify this classic record, a shift to one’s EQ settings will likely achieve a subjectively desired result, as the existing presentation isn’t far from perfect. Yes, a vinyl edition may offer a little more smoothness, due to the format’s technical limitations, but it isn’t a guarantee. Regardless, given the obscurity of this release, one needs to be satisfied with the versions readily available, so take a moment and hit play on the stream below as we take a look at the music that makes up this 70s hidden gem.

We've Got Such A Long Way To Go is a beautiful opening number with a poetic-styled vocal that is highly captivating. Setting the tone for the entire album, “We've Got Such A Long Way To Go” has a touch of every element you’re likely to hear throughout, and I can’t help but wonder if there was a little influence from this tune for Lynyrd Skynyrd, for as I listen to this masterful tune, I can’t help but hear elements of Free Bird.

California is a great follow-up, and in a similar manner to “We've Got Such A Long Way To Go”, I can hear how this song could have inspired, either directly or indirectly, the Australian band Skyhooks, for that guitar tuning is exceptionally similar to some of their licks. Nevertheless, California is thoroughly enjoyable and further showcases the musical prowess of Nelson, particularly at this point in his career.

Anytime slows the tempo down slightly with a more mellow tune that is a hidden gem and one of the greatest songs from the album. It’s songs such as this that make my project, “Exploring the history of recorded music; one album at a time”, such a worthwhile undertaking, for there’s so much incredible music that has been forgotten, and overlooked, throughout the years. When listening to “Anytime”, the first thing that becomes apparent besides the incredible musical bed is Nelson’s exceptional vocal.“Anytime”, really, could have been a chart-topping success as it remains one of the greatest songs ever recorded, by anyone.

Down Along The Bayou Country is a rockabilly number that will see you toe-tapping and head-bopping along. It isn’t the greatest, or most memorable, tune, but it’s a solid album-only number that is thoroughly enjoyable each time it’s played in the album’s linear structure.

Sweet Mary has a killer guitar lick and that country twang, Nelson’s vocal presentation, and the overall feel of the tune, following “Down Along The Bayou Country”, ensures this is another great album-only number, one that will compel you to come back to the album time and time again.

Look At Mary is a little too upbeat for Nelson’s style, but the catchiness of the chorus is the song’s saving grace.

Can't You See The Reason Why once again slows the tempo. Backed by the piano, Nelson’s vocal, throughout the introduction, is simply beautiful, and as the song builds, one can’t help but wonder how exceptional this song would have been had Billy Joel covered it, for Nelson sang it in a manner that reminds me of Joel’s later works.

Mr. Dolphin picks up the pace, yet the shift isn’t distracting, proving just how good Rick Sings Nelson was tracked. Mr. Dolphin very well could have come out of the Creedence Clearwater Revival stable, but instead, it’s a hidden gem; one that needs to be heard by more music lovers, so make sure you share this album with those who will appreciate it.

How Long is one of the most beautiful songs you’re ever likely to hear. The delicate nature of the track and the harmonious backing vocal, amidst a minimalistic song structure, make “How Long” a standout.

My Woman is a magnificent closing track. You’ll find yourself head-bopping and toe-tapping as you sing along, thereby encouraging you to listen to the album again. That is, if an earworm doesn’t fill your soul, thereby allowing you to reflect on what can best be described as a musical masterpiece long after the final note has been played.

While Rick Sings Nelson may have never received the recognition it deserves, this is one exceptionally good album. Here, at Subjective Sounds, an album’s value is determined by the cohesive nature of the songs, rather than one or two standout hits. As such, Rick Sings Nelson is amongst the greatest album experiences of 1970 and is deserving of being included in every music lover’s collection, as it really is a timeless classic, without the associated reputation.

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Black Sabbath – Paranoid (Album Review)

Released in 1970, Paranoid is Black Sabbath’s second studio album, and while their self-titled debut landed in record stores in February of the same year, this September release saw the British Heavy Metal rockers expand upon their origins with a heavier, more bombastic, yet seductively succulent musical style. Yes, its themes are darker, more demonic, and apocalyptic in nature, but don’t let that deter you, as listening to this kind of music will most certainly not open a doorway to hell. It will, however, expand your horizon as the down-tuned musical style melds with your soul in a hypnotic manner that won’t let up until the final note has rung out.

It isn’t all about the music, however, as Paranoid’s album artwork is a thing of beauty, yet it wasn’t always intended to be that way. It’s said that War Pigs was to be the album’s title, yet during the final stages of the record’s release, a decision was made to change the title but keep the existing artwork. As such, you can see where the pig-inspired faux warrior, wielding the sword, would have made sense, but in an interesting dichotomy, the album’s cover art works perfectly with the title Paranoid, for it screams of paranoid delusions. Either way, as is the case with much of Black Sabbath’s extraordinary catalogue, it’s the perfect visual counterpart to the exceptional music contained within.

Speaking of the music, when listening to the 2009 Hi-Res Lossless Apple Digital Master, one can’t help but be impressed by the depth, clarity, and overall tonality of the record, which permits listening at higher volumes, just as an album like this should be listened to, without introducing listening fatigue. It also remains thoroughly enjoyable to those who prefer their volume at less than ear-bleeding levels, meaning that the 2009 edition is ideally suited to a broad audience. Yes, the 2012 remaster is also available via Apple Music, but it’s more shrill and contains known dropouts from the master recording. Plus, I admit that I much prefer the darker mastering of the 2009 remaster as it really highlights Ozzy Osbourne’s vocals, while ensuring the musical bed retains its layered complexity and overall mystique. Yes, there is a case to be made that the 2009 remaster has a noise reduction feel to it (think Dolby NR from the Compact Cassette era), but, in my experience, it makes for a far more enjoyable listening experience. 

The good news is that both remasters are available on Apple Music, and you can decide for yourself. So, hit play, turn the volume to 11, and let’s take a look at the songs that make up this legendary release.

War Pigs is an ideal album opener, as it sets the tone for the entire record and serves as a warning, particularly via the air-raid siren, for the upcoming musical experience that one has to hear to fully appreciate. Not only are the band on fire, but Osbourne’s vocals are amongst the greatest he has ever recorded, the culmination of which leaves no room for one to question Paranoid’s impact on the Heavy Metal genre.

Paranoid has a killer guitar lick that is as raw and forward-driving as the band’s overarching style during these early years. The guitar riff, pounding rhythm, and Osbourne’s near-spoken lyrical approach made “Paranoid” a favourite amongst fans. It isn’t, however, without its controversies as the final verse delivers the lyric: “I tell you to enjoy life”, which is often misheard as “I tell you to end your life”. You’ve got to love a good mondegreen, and this is one of the greatest in all of recorded music history.

Planet Caravan proves Black Sabbath were far more than riff-driven rockers, for this jazzy blues-filled psychedelic number has an ethereal aspect to it that offers a direct, yet ideally positioned and complementary, contrast to Black Sabbath’s heavier hitters. Bill Ward replaces his drum kit with congas, proving just how musically talented he is, and as you listen, you’ll be captivated by the soundstage and layered musicality.

Iron Man is a Tony Iommi masterpiece, for there are memorable licks and then there is “Iron Man’s”; a gift from the gods! That said, the entire band is on fire here, and the chosen mix, recording, and vocal style have made this one of Black Sabbath’s most memorable tunes; one that goes beyond the core fan base, having become part of the social consciousness; it’s that good!

Electric Funeral is a moody attitude-infused number that, while not a standout per se, is a core reason why Paranoid is so revered, for as strong as the album’s first half is, it would be for nil if the back end of the record wasn’t up to par. The only negative aspect of “Electric Funeral” that I can’t stand is the backing vocal aspect mid-song. It really doesn’t work and momentarily takes you out of the song as it’s different enough to be distracting.

Hand Of Doom starts akin to “Planet Caravan”, with a more relaxed styling. That quickly changes as the song ebbs and flows between the mellow and heavier aspects throughout the introduction, prior to the song’s explosive element a third of the way in. “Hand Of Doom” may be an album-only number, but it should never be overlooked as it’s a standout song that just isn’t as well-known as the record’s other landmark tunes.

Rat Salad is short and sweet, with some killer riffs, pounding rhythmic beats, and not a lyric to be heard, as this musical interlude not only shows off the musical prowess and cohesion of the band, particularly Ward’s drumming, but also provides a perfect bridge between “Hand Of Doom” and “Fairies Wear Boots”.

Fairies Wear Boots is an interesting closer. It isn’t the strongest song from the album, but there are moments throughout that are simply wondrous and remind you of the music that has come before it, thereby making it a perfect reflective tune to end the record on.

Paranoid is not only one of the greatest Black Sabbath releases, it’s also amongst the very best albums released in the 70s and includes some of the band’s most revered tracks. Yet, it is the culmination of all songs that ensure this second outing is a top-tier release that can be measured against the best music, from any genre and era, as Paranoid is the very definition of a masterpiece.

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Alice Cooper – Killer (Album Review)

Released in November 1971, eight months after Love It To Death, Killer not only built upon the success of that breakout album but also became a defining statement of early-‘70s hard rock along with the Alice Cooper band’s musical, theatrical, and conceptual ambitions. Despite the short timeframe between releases, Killer presents a considerably different Alice Cooper as this, their fourth studio album, feels like a more deliberate and darker collection of songs that remain fan favourites to this day.

Bob Ezrin once again proved his worth in the production chair, encouraging even greater tightness and songwriting while ensuring a production standard that has defined the band, the era, and his career. He is, in many respects, the most influential person as it pertains to Alice Cooper’s metamorphosis and subsequent growth in popularity. Yes, the band was extraordinary, but Ezrin made them legendary.

Speaking of things that are legendary, Killer’s cover art is one of the most striking from the era. While not laced in controversy, as Love It To Death was, the inner gatefold, depicting Alice’s hanging, has often received varied opinions. When you contrast it to Alice Cooper’s shock rock approach, however, it’s perfectly aligned with the band’s theatrics. While many of these aspects are lost in modern streaming and digital solutions, given the lack of detailed liner notes, Killer is from an era when the visual accompaniment was often as important, if not more so, than the music contained within the record.

Alongside the striking album artwork, and the incredible song selection, is a mature-sounding record. As you listen to the mix, you’ll come to appreciate the delicate nature of the recording, for this wasn’t merely a thrown-together rock and roll album, but a finely tuned audible spectacle. Despite being remastered for the album’s 50th Anniversary (but released in 2023), I still maintain that the 2004 CD-quality lossless Apple Music stream is the go-to edition, over the newer release.

Warner Music has, thankfully, kept the legacy release alongside the remaster on Apple Music, thereby allowing fans to choose their preferred edition. This is, naturally, a good thing as both releases are notably different to each other. We’re not talking about a remix, but upon initial listens, I feel the 2023 remaster is a little less dynamic and a tad more bloated in the mid to low-end of the audible spectrum. Some may naturally appreciate this boost, for it’s aligned with modern mastering techniques, but tone controls can achieve the same result and can be dialled in, specifically, to one’s subjective preference.

The bottom line, as it pertains to sound quality, is that I implore you to listen for yourself as both versions are readily available. It really is a subjective preference, and one isn’t “better” than the other. So, dear reader, take a listen to the 2023 remaster, or the legacy 2004 CD-quality stream, as we take a look at the songs that make up this classic release.

Under My Wheels sets the tone for the record with a screeching rock and roll vibe from the very first note. Perfectly suited to the era, and Alice Cooper’s style, the brass instrumentation sets it apart in a memorable manner. The only negative aspect is it’s too darn short; punk rock, anyone?

Be My Lover is a spectacular glam rock number, one that is semi-autobiographical as it talks of the groupies that associate themselves with musicians. Ah, what it would be like to be a rock and roll star. While most of us will never know, we can live vicariously through this killer tune; thank you, Michael Bruce!

Halo Of Flies is filled with an eerie musical bed that ideally positions itself as a prog rock masterpiece. Despite its length and ambitious composition, “Halo Of Flies” remains unruly and is one of the best songs that the Alice Cooper band ever composed.

Desperado was perfectly tracked and is the ideal song to follow “Halo Of Flies” for it, too, is one of the greatest songs Alice Cooper (band, or solo) has ever recorded. Despite being written as a homage to Jim Morrison, the correlation simply escapes me. Yes, I prefer listening to vocals as another instrument within the mix, rather than a storytelling device, but even when perusing the lyrics, I fail to see the association. Nevertheless, it’s a great tune and is even greater when performed live.

You Drive Me Nervous picks up the tempo, and as the song progresses, there are moments when you’ll hear the influence the Alice Cooper band had on the legendary Australian rockers Skyhooks. That correlation aside, “You Drive Me Nervous” is short, punchy, and playful; a hallmark of a perfect opening tune for the second half of the record.

Yeah, Yeah, Yeah has a charm to it, and while it flows perfectly from “You Drive Me Nervous”, this album-only tune is unlikely to be anyone’s favourite. Still, Killer wouldn’t be the same without it, and every song does not need to be an elaborate composition for an album to be considered top-tier.

Dead Babies adds a little controversy to the record; that is, if you only focus on the song’s title and fail to comprehend the lyrics. Despite that, this song remains one of the most compelling and heart-wrenching tales told via music. The musical bed is haunting, as are the sound effects, but Cooper’s vocal delivery, in particular, is one of the greatest in his entire career.

Killer flows seamlessly from “Dead Babies” with a similar tonality that closes the album perfectly by permitting reflection as well as encouraging you to spin the record again. Its multilayered experimental nature, with a touch of prog-rock, results in a musical dreamscape that is amongst the most creative of the era and genre. A minor quibble, however, is that closing sci-fi element. It adds no value to the song and, at best, is grating to the senses.

Overall, Killer is (pun intended) a killer record that has not only stood the test of time, but remains one of Alice Cooper’s most beloved. As a fan favourite, it has endured because it has a little bit of everything. From the ballad-styled approach of “Desperado” to the theatrical and progressive styling of songs such as “Halo Of Flies” and “Dead Babies”, Killer showcases a band on the precipice of greatness, for this is a highly enticing album experience and one of the very best from 1971.

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Alice Cooper – Love It To Death (Album Review)

When thinking of the origins of Alice Cooper, one’s mind naturally turns to Love It To Death, as it’s arguably the one release, early in their career, that most aligns with the Alice Cooper band’s renowned musical style. No, for newcomers to Alice Cooper, this wasn’t their first or even second release, and while Pretties For You and Easy Action are compelling in their own right, neither had the perfect amount of balance and cohesion necessary to be a landmark release.

Released in 1971, Love It To Death was the first of two Alice Cooper albums released that year. While Killer built further upon the tightness that producer Bob Ezrin and the band would achieve on Love It To Death, there’s an experimental edge to this release that is difficult to ignore. Fans of the band’s first two albums will hear correlations, but the stylistic shift signified a type of music that, up until this point, had yet to be conceived, thereby making it, for the time, at least, extraordinarily unique.

Many classic albums launch with impressive album artwork, and Love It To Death is no exception. Featuring a striking black and white photograph of the band, the album’s artwork is far from controversial as the original uncensored cover art shows Alice with his thumb sticking out of his pants. It was deemed obscene at the time, and reissues, from 1972 to approximately the mid-2000s, contained the edited version sans the controversial thumb. Thankfully, as it pertains to modern reissues, including those on streaming platforms, the album artwork has been returned to its core origins. While one may ponder what the big deal was, for there are many more disturbing album artworks that can be discussed, the outrage undoubtedly added to the mystique of the band. While I usually prefer artwork, in all forms, to be free of censorship, I must admit that I prefer the artwork minus the thumb as I feel it’s less visually distracting.

From an audible perspective, while the recording and mix are done rather nicely, the mastered edition, on Apple Music, is a little muffled in places. Yes, it adds a patina and character to the overall recording, and is anything but shrill; however, there’s a greater sonic presentation to be heard, should the veil be lifted.

While there are different masterings of this classic release, two of the core ones have been limited to singular releases thus far. Steve Hoffman’s Audio Fidelity mastering has been limited to a numbered edition CD (HDCD, more specifically) release and the latest vinyl reissue, mastered by Kevin Gray, has similarly been restricted to that of a singular 2025 reissue and has yet to make it to any digital format, as the stream indicates a publishing date of 2004.

While it goes beyond the scope of this review, I’ve never understood artificially limiting reissues, especially when done by some of the most respected remastering engineers. If they’re that good, and many times they are, then why not permit it to be heard by a broader audience? While I have no answers to that question, it does compel me to pick up the 2025 vinyl reissue as it’s receiving significant praise from fans who have already added it to their collection. Until then, however, the Dolby NR-sounding digital stream will have to suffice.

Caught In A Dream opens the album in a lively manner, with a rock and roll energy that is not only highly compelling but utterly addictive. You’ll find yourself grabbing an air guitar and rocking out to this killer tune. Despite being released as a single, it failed to set the charts on fire following the success of “I’m Eighteen”, and despite being one of the best songs from the Alice Cooper band era, “Caught In A Dream” has, unfortunately, never quite received the accolades it deserves.

I'm Eighteen is, without a doubt, the album’s most notable track as it’s a mainstay of Cooper’s live performances and continues to be admired by fans the world over. For a song that was first released over five decades ago, it has most certainly come of age like a fine wine and appeals to each new generation, longing for independence, amidst internal conflict, as one attempts to carve out their own legacy of non-conformity within societal expectations.

In many respects, it was “I’m Eighteen” that put Alice Cooper on the map, as the single performed well enough on the charts to garner confidence from their record label (Straight Records | Warner Bros.) in relation to releasing a full album. Naturally, it helps if the band and the production team act as fans and request airplay via radio stations, but had that not been done, there’s a possibility that Alice Cooper would have been a mere footnote in the history of recorded music.

Long Way To Go is a high-energy number in a similar vein to the album’s opener. It sees the Alice Cooper band incorporate Ezrin’s tight song structure, and while there are bound to be those that dislike this approach, preferring the jam-style and overall looseness of their early recordings, “Long Way To Go” proves that sometimes less is more…that is, until the epic that is “Black Juju” comes along.

Black Juju is a true masterpiece in every sense of the word. Despite its extended length, and being a throwback to the albums that came before this one, “Black Juju” remains tight, somewhat haunting, and highly compelling. No, it was never going to be released as a single, for it isn’t the kind of song that could have been truncated, but it’s a piece of audible art that is amongst the greatest exploration of musical talent you’re ever likely to hear. Whether it’s the layers of instrumental wonder or Cooper’s divinely emotive vocals, “Black Juju” is amongst the greatest the band ever recorded, and while it does act as somewhat of a detour to the album’s linear structure, it is an extraordinary composition nonetheless.

Is It My Body returns the album to its core rock and roll vibe, with a touch of hard rock. It may not be a standout, unlike some of the other songs from Love It To Death, but it doesn’t need to be because this tune is quintessentially Alice Cooper; one that will see you toe-tapping and head-bopping along.

Hallowed Be My Name is a killer tune with a haunting introduction that creates the backbone of the song. It’s succinct, fun, and is another that ensures Love It To Death is an exceptional album experience whilst simultaneously helping to further define Alice Cooper’s signature sound.

Second Coming is one of my all-time favourite Alice Cooper band tunes. Its style reminds me fondly of Cooper’s solo-era recordings from around 1978’s From The Inside. “Second Coming”, however, is one of the songs that I feel is too short. Yes, it leaves you wanting more and can be seen as more of a lead-in for “Ballad Of Dwight Fry”, but it’s moments like this that I really wish the two songs had been connected as one. Yes, if listening via the album’s linear structure, as one would do more often than not on vinyl, the blend is seamless, but if one wishes to put “Second Coming” on repeat, for instance, in the digital era, it’s a little more problematic. First world problems, I know, but the two songs in conjunction form a masterful composition and lead into the closing track in an utterly perfect manner that showcases just how extraordinary Ezrin was in the production chair.

Sun Arise is a cover of the Rolf Harris original, but this interpretation by the Alice Cooper band breathes new life into the song and is a wonderful closing number for Love It To Death, as it permits contemplation and will likely encourage you to spin the record again.

From start to finish, Love It To Death is a quintessential Alice Cooper band release that laid the groundwork for their renowned hard rock style. While it escapes much of the psychedelic experimental stylings heard on their original releases, the amalgamation of styles delivers a uniqueness that has been inspirational for countless musicians. It, subsequently, wouldn’t be far-fetched to suggest that had it not been for Love It To Death, the Punk, Hard Rock, and Heavy Metal scenes would be considerably different had this record never seen the light of day. So, dear reader, let’s give the record another spin and love it till death do us part, for this landmark release is one of the greatest albums of all time.

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