Alice Cooper – Raise Your Fist And Yell (Album Review)

By 1987, Alice Cooper was well and truly on his way to re-establishing himself in the hard rock and heavy metal scene, following the severely underrated gem that is Constrictor (1986). No longer locked in a haze of early 80s substance abuse, and fuelled with newfound energy, Raise Your Fist And Yell is another of Cooper’s undervalued albums. Look at the era and the overall style of hard rock releases, at the time, and you’ll likely find this record aligns perfectly with the 80s metal aesthetic. Add to that Cooper’s signature theatricality and macabre storytelling, driven by a more aggressive sound with sharper guitars, blistering solos, and some killer vocal licks, and what you’ve got is an album that has rightfully earned its cult following.

Visually stunning, both of Cooper’s MCA Records releases played into his persona and are amongst the greatest of his illustrious career. However, an album is more about the chosen song selection and linear tracking, and in this regard, Raise Your Fist And Yell is spectacular. The same can’t be said, however, for the mastering of this release. As with Constrictor, these MCA releases are in desperate need of a respectful remaster. Yes, the 80s sheen has its charm, but the sonic presentation of the lossless Apple Music stream is a little thin, resulting in a sound that lacks the emphasis often associated with Cooper’s work.

The mix is also somewhat concealed, with musical elements being lost in the wall of sound. Usually, I wouldn’t advocate for a remix, but this is one record that would benefit from a more forward and enveloping mix. All that said, the music is so good that I can easily overlook the sonic shortcomings. So, join me, dear reader, as we take a look at the songs that make up this underrated release.

Freedom was, surprisingly, the album’s only single. Granted, Cooper’s 80s era recordings had thus far failed to set the charts on fire, but there are some killer tunes here that MCA Records could have taken advantage of and ultimately didn't. Nevertheless, Freedom, as a protest song, will appeal to anyone not only opposed to Parental Advisory labels but also seeking a sense of liberation that only music can provide. Overall, Freedom is fundamentally rebellious and catchy with sharp riffing, a solid rhythmic backing, and a rousing chorus that has stadium-filling anthem written all over it.

Lock Me Up is fast-paced and relentless, with an interesting inclusion from Freddy Krueger himself, via actor Robert Englund. Kane Roberts’ blistering guitar work drives the song forward, but it’s Cooper’s vocal dexterity that truly shines, making Lock Me Up one of his most underrated tunes.

Give The Radio Back would have been an ideal single, as it’s one of the most melodic and radio-friendly songs on the album and is, without a doubt, a hidden gem; one that will appeal to just about any rock and roller.

Step On You is a killer tune that could have been a chart-topper had the label put their production weight behind it. Yes, it leans more toward the aggressive and sinister, with thunderous instrumentation and Cooper’s biting delivery, but it should have never been overlooked.

Not That Kind Of Love continues the masterful hard rock styling with muscular riffs, a strong rhythm, and a solid vocal performance from Cooper. However, the backing vocal elements are more of a distraction than an addition. While backing vocals were extremely common during the era, it is a technique that doesn’t always age gracefully.

Prince Of Darkness is a menacing number with some incredible musical moments. Roberts is seriously underrated in Cooper’s legacy, and his contribution here is amongst the best 80s rock had to offer. Incidentally, he was also instrumental in co-writing the songs, not only from this album, but from Constrictor as well.

Time To Kill is a blistering toe-tapping head-bopper. Unlike Not That Kind Of Love, Time To Kill’s backing vocal element perfectly complements Cooper, adding further depth to the mix, and making it another underappreciated gem.

Chop, Chop, Chop is gruesome yet theatrical, with darkly humorous and witty lyrics that epitomise Alice Cooper’s persona. The frenetic pace and unrelenting riffs play to the psychotic chaos of the subject matter, making it both shocking and entertaining.

Gail is a magnificently eerie and atmospheric continuation from Chop, Chop, Chop, and while Raise Your Fist And Yell isn’t a concept album, it’s satisfying to see Cooper weave a narrative thread, as concept-driven storytelling is one of his greatest strengths.

Roses On White Lace closes the album with explosive force. The guitars are ferocious, the drumming relentless, and Alice’s vocal performance is perfectly suited to what is one of his heaviest tunes. It’s a highlight that leaves you eager to replay the record, proving that Raise Your Fist And Yell is capable of captivating you if you give it a chance.

Despite its lack of mainstream success, Raise Your Fist And Yell is highly compelling and remains, for many fans, an essential piece of Alice Cooper’s discography. Its blend of anthemic rockers and theatrical-styled performances captures everything that makes Alice Cooper unique, making this release a must-listen for any hard rock music fan.

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Aerosmith – Permanent Vacation (Album Review)

Permanent Vacation is one of those uniquely special releases, as it rejuvenated the hard rock legends following years of excess, early 80s lineup instability, and waning popularity. While each Aerosmith album has always featured a few hits, Permanent Vacation, their ninth studio album, proved they were far from being has-beens, as this record is an album experience from the very first note to the last. With the help of producer Bruce Fairbairn, Permanent Vacation would set up a highly successful era for Aerosmith that would also see the Boston rockers and Fairbairn collaborate on 1989’s Pump and 1993’s Get A Grip.

To say Aerosmith staged one of the most remarkable comebacks in rock history would be an understatement, for sales of this 1987 release would exceed 5 million units; a feat not seen since the mid-70s with the release of their renowned Toys In The Attic (1975). While Aerosmith are amongst the most highly skilled musicians, they’re a band that has seemingly always been influenced by the chosen producer, so much so that I’d consider Fairbairn to be an unofficial sixth member of the band for this highly compelling era. His guidance helped them transition into a slicker, radio-ready sound without abandoning the grit and swagger that made them legendary. By fusing hard rock, blues, glam, and a touch of pop, Fairbairn pushed Aerosmith back into the mainstream, helping them reach an entirely new audience as well as those who had been there from the beginning.

While the music is the most important aspect of any album release, the artwork plays a key role. The stark yellow logo atop a black and red hand-drawn background was the type of visual accompaniment that not only suited the band and the music contained within, but it was destined to stand out amongst an extremely solid series of releases from 1987.

As it pertains to the Hi-Res Lossless Apple Music stream, an Apple Digital Master, it’s a solid reproduction with a full-bodied, warm sound that will appeal to many. That said, it’s a little too restrained in the treble region, resulting in a loss of high-note elements. It isn’t bad, but if your system is already midrange and bass-driven, you’ll likely find the absence of high notes to be a little dull. It’s the glassy 80s-era sound that is, ultimately, missing from the Apple Music stream, and while the brittleness of that era can be a tad of a turnoff, negating it completely leaves me wishing I still had my vinyl reissue from 2016, as it simply sounded right.

Heart's Done Time kicks the album off with a unique whale sonic element that quickly delves into an energetic rocker, complete with Aerosmith’s renowned raw energy. Driven by Joe Perry’s sharp riffing and Steven Tyler’s unmistakable snarl, Heart's Done Time has a metallic edge while retaining the band’s bluesy undertones. While it may not be a timeless classic, it delivers the goods and is a highly compelling opening tune.

Magic Touch brings a tad more melodic rhythm to the album that will have you toe-tapping and head-bopping along to this groove-driven number. While single-worthy, it captures the band’s knack for catchy hooks, and Tyler’s vocal performance is seductive in its ability to draw you in.

Rag Doll is one of the album’s biggest hits, and for good reason; it oozes with swing and attitude in a hard rock meets jazzy swagger that has ensured this tune has become a fan favourite.

Simoriah is likely a hidden gem for many fans as it harkens back to Aerosmith’s 70s-era recordings, but it doesn’t quite leave the lasting impression that the album’s strongest cuts do.

Dude (Looks Like A Lady) is where the party’s at and was instrumental in revitalising Aerosmith’s career. It’s pure 80s rock excess, but in the best way possible, as it’s catchy, tailor-made for MTV (a prominent platform during the era), and incredibly memorable. It has, however, been overplayed throughout the years, and there’s undoubtedly some who will be happy to never hear this Aerosmith tune again. Love it or hate it, Dude (Looks Like A Lady) is iconic and is amongst the very best songs Aerosmith has ever recorded.

St. John shifts gears slightly with a moody blues swamp groove-styled tune. There’s no denying the blues have influenced Aerosmith, and this tune harkens back to the 70s-era Aerosmith releases. Still, it remains fresh, timeless, and that’s in part due to the polished 80s production quality that makes this a thoroughly enjoyable album-only tune.

Hangman Jury strips things down with a rootsy, acoustic-let arrangement that maintains the blues-infused aspects of St. John. Yes, the song is a slow-build, but as soon as all elements enter the mix, you’ll find yourself toe-tapping and head-bopping along to this incredible mid-tempo number.

Girl Keeps Coming Apart returns the album to a high-energy rock vibe. Interestingly, this tune sounds a little more like a jam, whereby the band were simply letting loose in the studio. The frantic pace, combined with Tyler’s vocal acrobatics, Perry’s fiery guitar licks, and some incredible brass instrumentation, gives this song an undeniable charm.

Angel changes the mood dramatically with one of the greatest power ballads ever written and recorded. The lush and emotionally charged presence of the song made it undeniably radio-friendly, but along the way, it also became one of the most enduring love songs in the history of recorded music. While it interrupts the record’s sequencing slightly, it more than makes up for it by being one of Aerosmith’s most defining hits.

Permanent Vacation is a playful number that’s a little quirky. While there’s nothing fundamentally wrong with that, and the song plays into a vacation-styled energy, it’s one of the more uninspired tracks on the album. Unfortunately, the exotic flourishes and campy chorus don’t quite hit the mark, resulting in a somewhat underwhelming title track.

I'm Down is a Beatles cover, and while Aerosmith didn’t stray too far from the original compositional style, they injected it with their brand of swagger and hard rock that modernised the song, making it relevant to a new era of music lovers to explore and incorporate into their own zeitgeist.

The Movie closes the album with a stunning instrumental number that leans heavily on atmospheric elements, layered guitars, and a compelling rhythm. While not a traditional rocker, The Movie is an ideal song to finish the album on, for it not only encourages you to reflect on the music that you’ve just heard, but it will also compel you to play the record again.

Permanent Vacation was more than just a comeback album; it was a second coming as the band embraced slicker production standards that would contribute to their most successful era. While some may suggest that Aerosmith sold out, that’s a lazy take; they simply moved with the times to create some of their most memorable tunes. Look at it this way: when you can release a compilation as incredible as Big Ones, that specifically highlights the Fairbairn production/Geffen release era, you’re doing something right. As an album on its own, Permanent Vacation stands amongst the very best releases of the 80s, particularly those from 1987 and is worthy of inclusion in every hard rock fan’s library.

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Robert Cray – Strong Persuader (Album Review)

By the mid-1980s, the blues wasn’t exactly at the forefront of the popular music scene. Rock, pop, and the emerging wave of MTV-friendly acts dominated the radio airwaves, with the blues seeming more like a relic from a different era. But Robert Cray’s Strong Persuader, his fourth studio album, proved that the blues could still feel fresh, contemporary, and radio-friendly, all while holding onto its soul. Featuring sharp songwriting, sophisticated arrangements, and Cray’s signature guitar tone, Strong Persuader became his commercial breakthrough, selling over 2 million units worldwide and earning a lasting place in the hearts of music lovers.

While Strong Persuader achieved success largely due to its impeccable production quality and standout track selection, the album’s cover art wasn’t much of a selling point. It’s not exactly a visual masterpiece, and while it may have fit the era’s aesthetic, it hasn’t aged particularly well. The sonic presentation, however, is an entirely different story. While I’ve yet to experience a physical version of the album, the Hi-Res Lossless Apple Digital Master is an absolute delight to listen to.

The soundstage experienced via the stream is immersive, warm, and detailed, inviting you into the blues from the very first note to the last. Cray’s vocal delivery and guitar work resonate on a deeply emotional level, making it feel as though you’re hearing him play live in your living room as the speakers disappear and you’re left with an otherworldly musical experience. Don’t take my word for it, however, take a listen for yourself as we take a look at the songs that make up this classic release.

Smoking Gun opens the album with a rhythm that’s impossible not to tap your foot to. The incredible guitar riff, paired with a solid solo and a rich, multi-layered instrumental backdrop, makes Smoking Gun one of the album’s defining tracks and a perfect entry point into Cray’s signature blend of blues and soul.

I Guess I Showed Her, with its smooth blend of blues, jazz, and funk, keeps the energy high. Cray’s vocal phrasing is compelling, making it one of the more engaging listens on the album, but it’s the seamless flow that’s of particular note here, for it melds perfectly with the record’s overall vibe.

Right Next Door (Because Of Me) slows things down with this beautifully smooth ballad. The groove is sultry and intoxicating, and the overall effect is mesmerising. Not only is this one of the best songs on Strong Persuader, it might be one of the very best songs Cray has ever recorded.

Nothin' But A Woman is blues bliss, driven by a warm, upbeat rhythm, and soulful horn section. While it fits Cray’s style perfectly, one can’t help but imagine how a guitarist like Gary Moore could have taken this song to even greater heights with his high-energy, rock-infused blues sound. Even so, Cray’s version is nothing short of fantastic.

Still Around is a mid-tempo number that is perfectly rooted in its era, although it maintains a fresh and modern sound signature. Cray’s vocal delivery is, similarly, perfectly suited to the song, but it’s the slightly recessed musical bed and rich guitar tone that make this a standout tune.

More Than I Can Stand was likely never intended to be a showstopper, for every song need not be hit-worthy to add to the flow of an exceptional album. As such, More Than I Can Stand is a quintessential album-only tune.

Foul Play is a hidden gem with an irresistibly moody vibe that will have you moving involuntarily throughout. The twang in Cray’s guitar is reminiscent of Dire Straits or Eric Clapton, but it’s unmistakably his own.

I Wonder is tender, vulnerable, and heartfelt, with Cray’s vocal at its most soulful. The ballad’s slow pace allows the emotion to breathe, and the signature twang in his guitar makes the song even more compelling.

Fantasized provides a slight jolt to the senses, with its playful tempo, following the ballad-style of I Wonder. Though the shift is noticeable, it’s a solid track that keeps the album moving, and while not as memorable as some of the others, it still holds its own.

New Blood closes the album on a strong note that will have you hitting repeat for it’s one of those songs that will compel you to listen to the record again.

Strong Persuader succeeds because it successfully blends traditional blues with a contemporary, mainstream sound that appeals to a broad audience without losing its soul. The intricate arrangements, top-notch production, and Cray’s mastery of both guitar and vocal delivery make this album a timeless classic. Whether you’re a casual listener or a lifelong blues fan, Strong Persuader is an album you can enjoy from start to finish without skipping a track, and it also happens to be one of the greatest releases of the 1980s, holding up as one of the finest moments in Cray’s career.

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Queen – A Kind of Magic (Album Review)

Released in 1986, A Kind Of Magic is Queen’s twelfth studio album and is a rather distinctive entry in their celebrated discography, due to its close association with the cult fantasy film Highlander, where six of the album’s songs were recorded for and incorporated into the film. So, the question naturally needs to be asked: Is this a Queen album or a quasi soundtrack?

For many Queen fans, even the most dedicated amongst us, the Greatest Hits and Greatest Hits II releases are likely more than we will ever need, as they represent a coherent overview of, literally, the British rockers’ greatest hits. Greatest Hits II is particularly appealing if you’re a fan of the notable tracks from A Kind Of Magic, but not the album in its entirety. I mention this only to note that while I consider A Kind Of Magic to be one of Queen's best albums, it does have its quirks regarding additional, and perhaps unnecessary, song elements. Nevertheless, if one looks beyond the association with the film and considers A Kind Of Magic as nothing more than a mid-80s Queen album, then the entire album experience becomes far more appealing, unlike the disaster that was Queen’s Flash Gordon soundtrack/album.

Given that the record was released in the 80s, well after the 70s disco-dancefloor vibe had died down, the cover art seems somewhat out of place within the era. That is, until you listen to the album’s more lively numbers, especially those that stick with you as an earworm, such as the title track. The lively aspects continue throughout with a production, mix, and overall recording style that is worthy of Queen’s legacy, but the mastering, particularly as it applies to the Apple Digital Master, is somewhat lacklustre.

For context, I have been fortunate to have owned both the CD and Vinyl 2011 remastered reissues, via the Deluxe Edition CD release and the Studio Collection vinyl box set. In both cases, the album was presented, sonically, beautifully, as the soundstage was wide and enveloping, unlike that of the Lossless Apple Music stream. Given the stream is derived from the same remastering sessions, there should be no difference, or very minimal differences to report. Yet the stream sounds concealed and boxed in with less sparkle, resulting in a sonic presentation that is far too reserved for Queen’s overall style. It isn’t necessarily bad, and if you don’t compare, you may not care. However, I can’t shake the feeling that what I’m listening to via the stream is akin to the sonic qualities that are commonly associated with cassettes that feature Dolby Noise Reduction. With that in mind, give it a listen for yourself. You may thoroughly enjoy it. I, however, would recommend that you seek out a physical release for the streaming edition falls short of sonic expectations.

One Vision is a solid opener and a great song, but the introduction and ending both seem extraneous. The edited version on Greatest Hits II thankfully addresses some of this with a tighter version that ensures One Vision remains one of Queen’s most notable stadium rockers, complete with soaring guitars, punchy drums, and a dynamic vocal performance that accurately captures Queen’s passion.

A Kind Of Magic is magnificent and is the perfect title track as it’s catchy, loaded with hooks, and features a tight arrangement with a danceable groove. It’s unsurprising that this became one of Queen’s biggest hits of the 80s, for it’s not only perfectly aligned with the era, but it’s also remained timeless.

One Year Of Love is interesting in that it doesn’t include Brian May’s legendary guitar tones as he isn’t featured on the song at all. Roger Taylor’s contribution was also reduced to playing the tambourine as John Deacon utilised a drum machine and associated synthesisers to get the majority of the song’s sonic styling. The saxophone element offers a stunningly good alternative to the guitar component, courtesy of saxophonist Steve Gregory. One Year Of Love is, ultimately, one of those very unique songs whereby it shouldn’t work, yet it does, and it’s a long way from Queen’s proud declaration in the 70s that “nobody played synthesiser”. It just so happens that it’s also one of the very best songs Queen ever recorded.

Pain Is So Close To Pleasure shifts the album’s tone into uncharted territory for it’s considerably different to the rest of the songs on the album. Yet, there’s something to really like about this Motown/soul-influenced number as it provides the album with a funkier, fun diversion, which plays into Queen’s artistic diversity.

Friends Will Be Friends is a classic-styled rock ballad that features a memorable chorus, heartfelt lyrics about enduring friendship, and a strong vocal performance that will encourage you to sing-along to another of Queen’s standout hits.

Who Wants To Live Forever is one of the most hauntingly beautiful songs that Queen has ever recorded. The sweeping orchestral nature, thanks to the inclusion of the National Philharmonic Orchestra, carries an emotional grandeur that is amongst Queen’s more resonant compositions.

Gimme The Prize is the heaviest song on the album, driven by aggressively intense guitar riffs and snarling vocals. While it may not appeal to all Queen fans, those who appreciate Queen’s rawer earlier recordings from Queen, Queen II, and Sheer Heart Attack will likely thoroughly enjoy this tune.

Don't Lose Your Head is a fun, atmospheric number that has been built around electronic rhythms, sampling, and synth-heavy textures. The experimental tone, which borders on futuristic stylings, may not be the most well-known track from the album, but it adds a layer of sonic variety to the record.

Princes Of The Universe is the perfect closing statement for this cinematic epic as it features an explosive blend of dynamic tempo shifts, high-octane rock theatrics, and one of Freddie Mercury’s most electrifying vocal performances. It’s a finale so powerful, it practically demands an immediate replay of the entire album.

Overall, A Kind Of Magic is unique in that it’s part soundtrack, part standalone work, but unless you’re a fan of the associated film, A Kind Of Magic can be appreciated far more as a Queen album than a quasi soundtrack. Yes, there are elements that are inescapable that link it to Highlander, but that shouldn’t take away from the brilliance of this release, for the album experience is, arguably, greater than the sum of its parts.

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Metallica – Master of Puppets (Album Review)

Master Of Puppets is more than just Metallica’s third studio album—it’s a cornerstone of heavy metal history.

Released in 1986, this is the album that elevated Metallica to the status of metal legends, for it’s a legendary release that doesn’t yield until the final note has been played. Even then, you’ll find yourself at the end of “Damage, Inc.” wanting to play the record again, for Master Of Puppets can seldom be listened to once.

It isn’t just the music that’s notable, however, as the album artwork is among the greatest in all of Metal history and, as it relates to Metallica’s releases, is their most impressive. While digital and associated streaming options don’t fully represent the detail as well as one would like, if you’re fortunate enough to own a copy on vinyl you’ll be met with a piece of visual art that is not only the perfect complement to the music contained within the record, but one that is worthy of being on display.

Sonically, this is where the album truly shines. Yes, many fans will likely suggest that it’s the Bob Rock produced albums that see Metallica sounding their best, but this is thrash metal after all, and for that style of music, Master Of Puppets is stunning. It is also the final album to feature legendary bassist, Cliff Burton and unlike …And Justice For All, every bass note can clearly be heard within the mix, thereby making it a noteworthy tribute to one of metal’s greatest bassists.

As it pertains to the 2017 remaster, it’s a pleasure to listen to, and the Lossless Apple Digital Master is amongst the best mastering that has ever been released, and that I’ve heard, of this classic album. It’s full-bodied, with a ton of detail, yet it isn’t brittle or shrill, thereby allowing you to turn the volume up to ear-bleeding levels without experiencing listening fatigue, as there is a plethora of warmth, not unlike the vinyl sound, to be heard via this edition. So, join me, take a listen, and let’s explore the songs that make up this landmark release.

Battery opens the album masterfully with a glorious acoustic styling before exploding into one of the fiercest thrash assaults of Metallica’s career. The aggression within every riff and lyric is unrelenting and has the technical precision that sees Metallica at, arguably, the creative peak of their pure thrash-era recordings; a level of perfectionism that runs through the entire album.

Master Of Puppets is a killer title track with one of the greatest introductions in all of recorded music history. While it may be an epic, at just over eight and a half minutes in length, Master Of Puppets is structurally ambitious and musically rich, resulting in a song that perfectly balances complexity and raw power. Unlike any song that came before it, Master Of Puppets showcased that Metallica was more than just a band that could play at speed, for the sophistication in the composition not only ensured this song became a timeless classic, but it would lay the groundwork for the uniqueness that Metallica would continue to deliver to fans upon each new album and musical evolution.

The Thing That Should Not Be is one of my all-time favourite Metallica tunes for the slower, doom-laden, sludgier sonic style creates a distinguishing separation from their speed-driven tracks. The musical bed is particularly appealing, adding an eerie texture beneath Hetfield’s growling vocals, but it’s the down-tuned guitar tuning that takes this song to another level entirely.

Welcome Home (Sanitarium) is a sonically beautiful ballad, before erupting into a magnificently dynamic tune, complete with thrash elements for good measure. Kirk Hammett’s soloing here is expressive, as are Burton’s bass notes, while Hetfield’s vocals shift from sorrowful reflection to burning anger. While Welcome Home (Sanitarium) should never be overlooked, it undoubtedly paved the way for some of Metallica’s most notable ballad-structured numbers, such as “One” and “The Unforgiven”.

Disposable Heroes returns us to the relentless and furious thrash-styling that was a highlight on Kill ‘Em All and Ride The Lightning. Featuring intense rhythms and riffing, as well as intricate tempo changes, Disposable Heroes will appeal to those who appreciate Metallica’s earliest works, albeit with a little more spit and polish. It isn’t necessarily the strongest song on the album, but it’s a tune that’s thoroughly appealing each time it enters the album’s linear structure during playback.

Leper Messiah grooves more than it thrashes, with its mid-tempo styling, but don’t let that deter you, for Leper Messiah will see you move involuntarily to the rhythm, and if you haven’t already, you’ll feel compelled to turn the volume up to 11. The riffs are tight and hypnotic, building tension as the song proceeds, before erupting into a thoroughly pleasurable outro.

Orion is a rare instrumental masterpiece and is, without a doubt, Burton’s greatest compositional achievement. Burton’s classical influences are on full display here, with multiple time changes and layered instrumental harmonies that are not only a bass-lover’s dream come true, but a musical marvel. It is, however, intriguing to consider that Orion was never featured on the symphonic releases, S&M or S&M2, for this composition would have been absolutely perfect for those live performances.

Damage, Inc. closes the album with a no-holds-barred thrash assault, following a clean and relaxed introduction. The explosive fury harkens back to Metallica’s earliest recordings, but it’s an ideal album closer as it reminds listeners that this is not only, fundamentally, a thrash record, but a thrash metal band commanding one’s attention.

From the first note to the last, Master Of Puppets is a relentless and emotional musical journey that showcases Metallica’s maturing songwriting and musicianship over their earlier releases. There isn’t a single track that feels out of place on this record, and the production still holds up decades later. The result is that Master Of Puppets is not just one of the best metal albums ever released; it’s one of the greatest albums in all of recorded music history.

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Meat Loaf – Blind Before I Stop (Album Review)

The 80s weren't kind to Meat Loaf, as the theatrically bombastic style of Bat Out Of Hell (1977) had long been forgotten amongst most music lovers other than the most dedicated of fans. It’s a shame, for as incredible as his opus, in collaboration with Jim Steinman, is, to ignore the spectacular Bad Attitude, this album, and his other 80s output is to snub some of the most incredible music in all of recorded music history. Undoubtedly, many will disagree with my opinion here, but take a listen to this material, distanced from the Bat Out Of Hell recordings, and I’ve no doubt you’ll find Blind Before I Stop, Meat Loaf’s fifth studio release, to be a compelling and fascinating album; even if its purpose had only been to meet contractual obligations.

While fans may have been longing for more of Meat Loaf’s interpretations of Steinman’s epic compositions, Blind Before I Stop explores new sounds in the shifting musical landscape of the 80s and does so with genuine intensity, emotional resonance, and stylistic choices that are perfectly aligned with the era. Yes, it is a slightly different Meat Loaf than one seeking the hits will generally gravitate towards, but the only downfall of this release is in its substandard album artwork. Even the alternate US release cover art fails to impress. Seriously, if you’re working at a record label, and have a recording artist of the calibre of Meat Loaf in your lineup, and you decide that artwork such as this is adequate, you deserve to be fired. Thankfully, most of the cover art throughout Meat Loaf’s career is in line with expectations, but don’t let a cover determine the music contained within, for doing so is to miss out on some exceptional music.

As for the recording, mixing, and mastering of the record, it’s Meat Loaf. Longtime fans will immediately understand that statement, and just as The Rolling Stones have a sound, so does Meat Loaf. It’s not audiophile, by any means, yet it is uniquely his own. As for the Lossless Apple Music stream, a CD-quality counterpart, it’s pleasing with no major issues to report. Could it do with a remaster? Yes. Is it of the era? Absolutely. The 80’s thinness does plague the stream, but I’ll take that over a hot mastering whereby the entire soundstage is brickwalled to hell and back.

Despite the lack of popularity, Blind Before I Stop has been reissued in recent years on CD and Vinyl. As I haven’t heard either of these releases, I can’t comment on sound quality or if the mastering is the same as that delivered via the stream. Regardless, it’s a win for fans who prefer to own their music, and the reproduced cover art does look exceptional.

Execution Day is a fantastic opener, especially for those of us who appreciate a more ominous and brooding atmosphere. Meat Loaf’s familiar theatrical styling is present as the tension slowly builds via the verses, before launching into a thunderous chorus with an indicative 80s vibe.

Rock 'N' Roll Mercenaries is a killer tune, but the vocal aspects throughout the introduction seem a little unnecessary. Perhaps it’s just me, but I can’t help but wonder if Jonathan Wolff was influenced by this tune when it came to writing the Seinfeld theme song. Nevertheless, Rock 'N' Roll Mercenaries is a bombastic 80s tune where the guitars wail, drums boom, and synthesised elements shimmer, thereby allowing Meat Loaf and John Parr to stand out on this solid duet.

Getting Away With Murder has a funky rhythm that’s firmly ensconced in the synth era. It is, however, a B-side, at best, but when that catchy chorus enters the mix, the song takes on a life of its own. Yes, it’s a leaner and groove-driven sound that may seem a little out of place, but the more you listen to the record, the more you’ll appreciate Getting Away With Murder.

One More Kiss (Night of the Soft Parade) is a slower-paced synth-pop number that is thoroughly enjoyable. It would be accurate, however, to say that even though this is an exceptional ballad, it lacks the emotional punch that is most commonly found in Meat Loaf’s most well-known rock ballads. It’s still an admirable performance, but this is one song that I would have loved to have seen Meat Loaf re-record, for there’s a hit here; this particular version, however, plays more like a demo.

Blind Before I Stop flows seamlessly from the previous song and is one of the best songs on the album. Meat Loaf gives a spirited, and memorable, performance on this title track as the hard rock synth-driven characteristics work perfectly for Meat Loaf’s overall style and attitude.

Burning Down is another slow burner, with some killer guitar licks, that is severely underrated from a musical perspective. Yes, Meat Loaf could have delivered his vocals with more finesse, but that doesn’t take away from just how thoroughly enjoyable Burning Down can be.

Standing On The Outside is a lovely, mellow tune. The chorus and backing vocal harmonies work exceptionally well, and the only way the song could have gotten better would have been if Meat Loaf had put a little more gusto into his vocal recording. Still, it remains highly compelling and is a core reason why Blind Before I Stop is a top-tier album performance, as it is the culmination of songs, rather than a few standouts, that make it so enjoyable.

Masculine has a quirky introduction, but it’s the song’s peppiness, driven by rock and roll stylings and a touch of synth, that ensures the one thing this song isn’t is boring. Add to that some exceptional guitar licks, and the culmination ensures that I’m toe-tapping and head-bopping involuntarily to the overall rhythm.

Man And A Woman is a solid album-only tune that strips back most traditional musical elements, in favour of synths, to produce a song that doesn’t quite reach the emotional levels Meat Loaf was capable of.

Special Girl is a bubbly uptempo pop-rock number with a radio-friendly feel to it. While it was never going to top the charts, Special Girl most certainly could have been a mid-tier performer, but it failed to chart successfully, most likely due to a lack of interest and radio-play at the time, especially considering it was the album’s fourth and final single.

Rock 'N' Roll Hero is a gritty rocker with punchy guitars and is a song that is more in line with the expectations of longtime Meat Loaf fans. The energetic no-nonsense approach is the ideal ending to the album and will encourage you to spin the record again or enjoy the other landmark releases in Meat Loaf’s impressive discography.

Blind Before I Stop may not be the definitive Meat Loaf album, but for fans willing to look past the bombastic theatrical style of his most renowned releases, there’s a thoroughly pleasing album to explore and appreciate. As such, Blind Before I Stop is a hidden gem; one worthy of every music lover’s collection, especially those with more than a casual interest in Meat Loaf.

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Joe Cocker – Cocker (Album Review)

By the mid-80s, Joe Cocker had cemented his reputation as one of the most soulful and raw vocalists within the pop-rock genre. With a gravelly vocal that could tear the roof off one moment and break your heart the next, he entered 1986 with Cocker, his tenth studio album; a polished and radio-friendly release that continued his 80s-era reinvention while also being an ideal follow-up to the thoroughly enjoyable Civilized Man.

Though not as gritty as his earlier material, Cocker embraces slicker 80s production values without compromising his signature emotional intensity. The rich blend of ballads and mid-tempo rockers will appeal to just about all music lovers, and while the album artwork isn’t anything to fawn over, it’s ideal for Cocker in that it’s what one would have expected from a solo artist during that era.

Naturally, an 80s album has that well-acknowledged sheen to the production, and despite the Lossless Apple Music stream being sonically appealing, the album is somewhat of an enigma, as it has, certainly to my knowledge, never been remastered. Hence, one would assume that the Apple Music stream would offer the CD-equivalent counterpart, but the album is delivered at 24-bit rather than the CD’s 16-bit. Hence, it isn’t a direct 1:1 parallel.

While it pleases me to note that the album hasn’t been remastered to questionable modern standards, it’s both a blessing and a curse, as a reissue campaign would be much appreciated for those of us who have come to appreciate Joe Cocker’s extraordinary catalogue in recent years. Still, the streamed edition is thoroughly enjoyable, and I wouldn’t be surprised if it weren’t the same mastering, that has been used on previous CD releases, just the studio-quality version before it was truncated from 24 to 16 bits. Yes, the 80s recording, mix, and mastering sheen remains present, which may deter some, but it’s otherwise thoroughly enjoyable and dialling back the treble range slightly can bring forth a little more warmth in the album’s reproduction should that be your intent. Even if it’s not, join me as I take a look at the songs that make up this often underrated release.

Shelter Me is a great opener, with synthetic elements that, admittedly, connect it to the mid-80s, but Shelter Me has a timeless quality that ensures this classic tune can be appreciated indefinitely.

A To Z has a playful groove that will see you moving your body involuntarily to the rhythm. The arrangement is sleek, complete with funk-laden bass lines and synth embellishments, while Cocker’s performance is spirited, giving this track a sense of fun and ease that lightens the overall mood of the album. While it may not be amongst Cocker’s most well-known songs, this deep cut is one of his greatest recordings.

Don't You Love Me Anymore is a standout and is amongst the most heart-wrenching power ballads the Englishman ever recorded. Cocker’s vocal is raw, cracked in all the right places, giving the lyrics a level of authenticity that is seldom heard.

Living Without Your Love continues the emotional thread, with another touching ballad, this time with a more subdued, introspective tone. The arrangement is understated, allowing Cocker’s vocal space to breathe. While songs like this were never intended to be chart-topping hits, it’s album tunes such as Living Without Your Love that are a core component as to why Cocker is such an incredible album.

Don't Drink The Water is a solid mid-tempo blues rocker that is perfectly positioned within the album’s structure as it bridges the gaps between the previous ballads and the rockier You Can Leave Your Hat On.

You Can Leave Your Hat On was originally recorded by Randy Newman and released on his 1972 album, Sail Away, and while it’s a solid recording, Cocker takes it to another level with his gravelly vocals and a more funky vibe. As such, You Can Leave Your Hat On is not only a standout from Cocker, but it became a defining moment in his career; one that was already illustrious.

Heart Of The Matter is a little less bombastic than You Can Leave Your Hat On, but the subtleness not only appeals to the song but also allows the listener to appreciate the previous song before Heart Of The Matter opens up throughout the chorus. Again, it’s songs such as this that ensure the album experience is upheld.

Inner City Blues is a Marvin Gaye original that was released on his renowned 1971 record, What’s Going On, and it was a bold move on Cocker’s part to record it, but he pulls it off with his own smoky, rock-tinged approach. Despite not necessarily reinventing this classic tune, Cocker pays homage to the original with sincerity and strength.

Love Is On A Fade is a melodic toe-tapper that rewards those of us who listen to Cocker repeatedly, for a song need not be a hit for it to be thoroughly enjoyable.

Heaven closes the album with a serene, uplifting, soulful ballad. It’s an ideal closer that permits a reflection of the music that’s just been heard, as well as simultaneously encouraging you to play the record again, as Cocker’s vocal is exceptionally moving, and you’ll want to hear more of his gravelly tones.

While it’s easy to consider Cocker as an album with only one major hit and, therefore, dismiss it, to do so would be short-sighted. Cocker may be firmly rooted in the mid-80s production qualities, complete with synthesisers and slick arrangements, but Joe Cocker’s vocal and overall style remain timeless, ensuring that it’s a standout from his celebrated career and is amongst the greatest records released in the 80s, particularly in 1986.

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