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Diamond Head – Borrowed Time (Album Review)

Diamond Head – Borrowed Time (Album Review)

Diamond Head's 1982 studio album, Borrowed Time, stands as a pivotal release in the band's discography, for it’s a musical masterpiece that further cemented their enduring legacy and influence on the metal genre; despite a shift towards more mellow compositions. While their unique blend of New Wave and British Heavy Metal resulted in Diamond Head being a core influence to the likes of Metallica, commercial success was sadly not achieved. However, as music lovers know only too well, what is successful with the masses is seldom representative of the greatest music ever recorded. 

Given the early 80s was still dominated by the vinyl record, as the predominant format of the era, it amazes me that the album didn’t see more success, for who wouldn’t have wanted to have that incredible artwork on display in their homes? Rodney Matthews certainly created a magnificent piece of visual art; one that is perfectly aligned with the music contained within and it is as fresh today as it was when first released.  

Sonically, while the band is in fine form, Borrowed Time could do with a remaster. I know, remasters are a dirty word when it comes to classic albums, but the lossless Apple Music stream, a direct counterpart to the current CD releases, is a little thin. You may need to adjust the EQ levels in order to increase the bass in both the low and midrange. Doing so gives Borrowed Time a greater sense of presence. Some fans may not be fussed by this aspect, and while EQ can indeed address some of the elements, the modern EQ settings are an all-or-nothing approach and if you don’t have access to a manual equaliser, you’ll likely agree that a remaster, by a skilled engineer, would be a better approach. That said, it’s a minor quibble and Borrowed Time is so good that I can usually look past this aspect and thoroughly enjoy the music; a selection of songs that when combined in the album format result in one of the greatest hidden gems the metal industry has ever known. 

In The Heat Of The Night opens the album with Diamond Head’s signature rhythmic heavy metal sound, killer riffs, and incredible vocals by Sean Harris. Ultimately, it’s one of Diamond Head’s greatest tunes; of course, that could be said about nearly all of the songs from Borrowed Time. 

To Heaven From Hell flows seamlessly and continues the driving rhythm while slightly increasing the aggression of the guitar riffs. The bass tracking by Colin Kimberley is fantastic, even if it is a little concealed in the mix. One thing that you’ll notice immediately is the sing-along nature of the song, for you won’t be able to help but sing along to the song’s chorus. 

Call Me is one of the greatest songs ever recorded in all of music history. If you were singing along to To Heaven From Hell, you’ll be chanting Call Me as the catchy chorus demands interaction. Harris shines even further on lead vocal, but so does the entire production as the melodic styling, coupled with the soaring musicality, ensures Call Me is nothing less than a masterpiece. 

Lightning To The Nations appeared on Diamond Head's debut album Lightning To The Nations but as solid as that original recording is, I much prefer the spit and polish that has been applied to the version on Borrowed Time. It’s simply more powerful and polished when compared to the original recording. The result is that this version sounds optimal while the original has always been closer to a demo than a fully-fledged recording.

Borrowed Time has a slightly darker tone, but that bass performance is exceptional and can be heard as an influence throughout Metallica’s first three records. Yes, dear reader, I adore the bass guitar and when it features prominently, especially as a buildup to a song, there’s nothing better.

Don't You Ever Leave Me is, arguably, the only B-side to be heard on this remarkable album. That isn’t a bad thing for it’s a solid and thoroughly enjoyable tune. What is lacking here, however, is a driving rhythm. Yes, it’s a slower-paced tune that showcases Diamond Head’s versatility as musicians, but I’d argue the tempo, and the length of the song, is the core reason why it’s not a standout. That said, that guitar and intertwining bass solo mid-song is a highlight. Hence, as I alluded to earlier, B-sides and album-only tunes aren’t always a bad thing for they offer further insight into the musicianship of an artist and quite frankly, every song need not be a hit for the album to be extraordinary. 

Am I Evil? is one of Diamond Head’s most recognisable tunes and it certainly helps when Metallica covered, and continues to perform, this classic. Metallica's rendition, as I previously declared, was bloody brilliant and if Satan has a playlist, this song would most certainly be on it. That statement can easily expand to this edition of the song and while it originally appeared on Diamond Head’s debut, Lightning To The Nations, I find myself continually gravitating towards this version on Borrowed Time as I simply prefer their second album. That said, if you’re after a rawer, more demo-styled, interpretation, the original has you covered. With a dark and brooding atmosphere, combined with truly captivating performances, Am I Evil? is not only a perfect closer, but it will encourage you to play Borrowed Time, time and time again for this is one album that can be seldom listened to only once. 

Borrowed Time, ultimately, is not only one of Diamond Head’s greatest releases, it's one of the best metal albums of all time. With a diverse range of tracks, showcasing the band’s musical prowess, this is classic metal at its very best. It really is a shame that this album didn’t receive the recognition from music lovers that it deserves, but thanks to their peers’ latching onto the album as inspiration, and covering a number of their tunes, we’re incredibly fortunate to still be able to appreciate Borrowed Time; even if it remains a niche release in music history. Of course, dear reader, if we share it as I have done here, then new listeners will be able to experience the music we know and love. So don’t be shy. Share this album with anyone who appreciates music for it may be metal-focused but Call Me, amongst others, will appeal to just about any music lover.  

Slipknot – .5: The Gray Chapter [Special Edition] (Album Review)

Slipknot – .5: The Gray Chapter [Special Edition] (Album Review)

Released in 2014, Slipknot's fifth studio album, .5: The Gray Chapter, marked a significant moment in the band's history. It came six years after their previous album, All Hope Is Gone, and was the first without their founding member and bassist, Paul Gray, who tragically passed away in 2010. Additionally, it was also their first album without drummer Joey Jordison, making it a crucial test for the band's ability to adapt and evolve while staying true to their signature sound. 

Alessandro Venturella would be the new bassist from this release onwards, as was Jay Weinberg on drums, but neither musician took anything away from the founding members they replaced for they not only brought their unique style to Slipknot, but they ensured that the legacy of Gray and Jordison was maintained. The result was a seamless transition that would allow the fans to embrace the music, rather than constantly contrast one performer against another.

What isn’t up for debate is the production quality of .5: The Gray Chapter for this is an incredible release with a mix and master that, especially for the genre, is the definition of perfect. While I’ve yet to pick up a physical copy of this exceptional album, the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is an experience in and of itself and has to be heard firsthand in order to fully appreciate just how spectacular every aspect of this recording is. The stream is subsequently so mind-blowing that I wonder if a physical counterpart is necessary as there isn’t a single element that I would change, nor is there any aspect that I feel could be improved upon. Yes, dear reader, it is that good! 

XIX is an eerie, atmospheric opener, that sets the tone for the entire album. Even if the rest of the album had been lacklustre, XIX is about one of the best opening tracks you’re ever likely to hear, from any album, in all of recorded music history.

Sarcastrophe flows seamlessly from XIX, but it isn’t long before Slipknot’s renewed burst of energy comes blaring out of the speakers with pounding percussive elements and frantic guitars accompanied by Corey Taylor’s intense vocals. Sarcastrophe is Slipknot 101 and while it may not be the first song that you think of when looking forward to listening to .5: The Gray Chapter, it harks back to their origins and longtime fans will no doubt appreciate the rawness of the recording. 

AOV is a melodic and aggressive tune that highlights Slipknot’s dynamic and ever-evolving style. However, as exceptional as the music is on AOV, it’s Taylor’s vocal delivery that is of particular note here for the verses are poetic and the chorus is soaringly perfect. 

The Devil In I is the expected radio-friendly tune with a catchy chorus, sensational grinding guitars, and a rhythm that when turned up to 11 will collide with your soul. Yes, purists may feel these commercial-based tracks are a distraction, but just as I adore ballads, I absolutely love Slipknot’s more accessible tunes for they not only rock, but open the door for new fans to enter the fold.

Killpop showcases Slipknot’s softer side, for even the greatest headbangers need a palette cleanser from time to time. Additionally, the depth and level of detail in the soundstage of Killpop is sublime and while Slipknot's music has always been multi-layered, Killpop is a masterpiece in that regard.

Skeptic is an appropriate tribute to Gray, but it sounds a little too disjointed in places. It, subsequently, isn't one of my favourite songs from the album, but remains a worthy inclusion.

Lech is relentless and while it’s most certainly an album-only tune, .5: The Gray Chapter wouldn’t be the same without it.

Goodbye is another emotional song discussing Gray's death and the impact his passing had on the band. It’s an exceptional song with a gorgeous soundstage and vocal presentation. Its placement, mid-album, is interesting though. I would suggest it would have been better placed towards the beginning of the album or as the final track.

Nomadic is a high-energy, aggressive tune, that flows so seamlessly from Goodbye that you’d be forgiven for thinking of the two as a single song. 

The One That Kills The Least is a more melodic piece with an addictive rhythm, killer guitar licks, and more of Taylor’s exceptional vocal dexterity.  

Custer is a ferocious song with explosive energy, featuring Taylor's screaming vocals and aggressive instrumentals. It’s classic Slipknot!

Be Prepared For Hell is pure filler and should have been omitted from the album; despite leading us sonically into The Negative One.

The Negative One is a heavy, chaotic track that captures Slipknot's signature aggression and will appeal to long-time fans.

If Rain Is What You Want is an intriguing tune, but is it really a Slipknot song? I'm not sure! It sounds more like a repurposed Stone Sour tune, but that’s just me. That isn’t to say it's bad, just that I don't feel this qualifies as a Slipknot song per se. Nevertheless, it’s a haunting and atmospheric ballad that displays the musical talent within Slipknot. For those of you who collect vinyl, however, it is a rather strange way to close a Slipknot album as it’s the last song on the physical counterpart. 

Override is a dynamic, hard-hitting, track that suits Slipknot significantly better than If Rain Is What You Want. In fact, it’s one of their greatest recordings that many wouldn’t have heard, unless they checked out the Special Edition release, that is.

The Burden is a sombre closing to the Special Edition release of .5: The Gray Chapter and instead of going out with a bang, The Burden is more akin to a whimper. That isn’t to say that it’s fundamentally bad, but it isn’t the strongest song to close a Slipknot album on.

.5: The Gray Chapter is a powerful and emotional journey that explores themes of loss, grief, and rebirth. Slipknot manages to strike a balance between their familiar aggressive sound and a more melodic and introspective side. The result is that .5: The Gray Chapter is the definition of a perfect album; if it were a little shorter, that is. Had the runtime been reduced to that of a standard-length album, it would have been even stronger. Nevertheless, .5: The Gray Chapter is a testament to Slipknot's ability to evolve and grow with resilience while staying true to their roots. While it may not surpass their earlier classics, for many fans, it's a strong addition to their discography, nonetheless, and a must-listen as well as one of the best albums released in 2014.

Iron Maiden – Killers (Album Review)

Iron Maiden – Killers (Album Review)

Released in 1981, Killers solidified Iron Maiden's status as heavy metal pioneers. Building on the foundation laid by their self-titled debut album, the band pushed their boundaries and continued to evolve by delivering a record that combined adrenaline-fueled energy with thought-provoking lyrics and some of the greatest riffs you’re ever likely to hear. 

It’s also Paul Di’Anno's final album, as vocalist, with Maiden and is somewhat bittersweet for as incredible as Bruce Dickinson is on the microphone, Di’Anno’s gravelly singing style was perfect for Maiden’s musical style. That said, I can’t imagine Maiden’s albums post-Killers had Di’Anno remained a member of the band. 

What has remained consistent, throughout the years, is Maiden’s album artwork and Killers is one of their very best. Eddie’s demonic grin is captivating and if the music doesn’t grab you, the artwork certainly will. 

Speaking of the music, for that is the real reason we’re here, the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is thoroughly enjoyable. There’s a tiny bit of muddiness to be heard, but it isn’t a detraction and once Wrathchild comes in, as the second track, all is forgotten for it is quite an audible treat. Yes, some may suggest that the Apple Digital Master is overly compressed, but for Maiden’s style of music, I find it to be perfectly suitable and the latest remasters have a little more heft in the mid to low end of the audio spectrum meaning that the thin sound of the legacy CD releases, from the 1998 remastering sessions, is no longer a cause for concern; unless you enjoyed that style of reproduction, that is. 

The Ides Of March is an incredibly ominous instrumental that sets the tone for the entire album with its haunting guitar melodies and riffs that help to form a foreboding atmosphere before leading into the high-octane anthem, Wrathchild.

Wrathchild kicks things off with Steve Harris' thundering basslines and Paul Di'Anno's gritty vocals. The song’s relentless rhythm, soaring guitar work, and catchy chorus have ensured that it’s a signature tune within Maiden’s back catalogue.

Murders In The Rue Morgue initially slows the tempo considerably with a focus on the melody, before launching into the dynamic metal-driven style that showcases Maiden’s ability to craft complex compositions while staying true to their signature sound. 

Another Life is a killer tune with so much musical depth that your mind will want to connect with every musical aspect, yet you’ll need to find an element to latch onto before the pace of Another Life gets away from you. This kind of frantic song isn’t likely to appeal to everyone, but as far as I’m concerned the shifting styles, throughout, are trademark Maiden; it’s part of what makes them so compelling.

Genghis Khan is the album’s second instrumental piece and while the vocalists of Maiden have always been commanding, I love Maiden sans the vocalist for their music is so emotive and you really get a sense of their instrumental power. From Clive Burr's drumming and Harris’ bass skill to the twin guitar attack of Dave Murray and Adrian Smith, you’ll be left speechless as many aspects of Maiden’s musical accompaniment are lost when lyrics are laid atop the musical bed. The result is that Genghis Khan is one of the greatest pieces of music Maiden ever recorded; a true masterpiece in every sense of the word. 

Innocent Exile flows nicely from Genghis Khan but it’s ultimately an album-only tune. A solid one, yes, but as a song on its own, it’s somewhat unremarkable. 

Killers is a true heavy metal classic that can be best described as an unforgettable sonic experience.

Prodigal Son is a departure from the album’s heavier tracks for this acoustic-driven tune offers a moment of introspection. The folk-inspired melodies and storytelling lyrics further demonstrate Maiden's versatility and while hardcore metal rockers may feel that Prodigal Son is nothing but filler, I’d go as far as suggesting that it’s one of Maiden’s greatest songs; a hidden gem!

Purgatory is a fast-paced relentless onslaught of music; a polar opposite to Prodigal Son. If nothing else, Purgatory is indicative of Maiden’s early raw sound signature. 

Drifter closes the album with a final burst of palpable energy that will compel you to play the album again, for Killers can rarely be heard a single time. 

Killers marked a significant step forward for Iron Maiden, both in terms of musical complexity and thematic depth; even though I consider their self-titled debut to be a masterpiece. Regardless, when you combine the band, Steve Harris’ driving basslines, and Paul Di'Anno's raw vocals, you get a sound that has not only influenced generations of metal bands but stands as an influential chapter in Iron Maiden’s legacy. 

Avatar – Dance Devil Dance (Album Review)

Avatar – Dance Devil Dance (Album Review)

True to its album title, Dance Devil Dance is Avatar’s most rhythmically melodic groove-based metal album to date. Some may lament the shift from the slightly heavier sound heard on their previous albums, but it’s not a difference so far removed that fans will be left out in the cold. It’s complementary, rather than contrasting, thereby making Dance Devil Dance one of the most compelling releases of 2023.

Visually striking and downright creepy, Dance Devil Dance is almost deserving of inclusion on the list of The Worst (And Most Disturbing) Album Covers Of All Time. Yet, it doesn’t make the cut as it is true to the band’s musical style and is at least more visually compelling than their 2018 release Avatar Country and Hunter Gatherer from 2020. Still, when a band has artwork as stunning as Hail The Apocalypse, you know the cover art, this time around, could have been better.

Thankfully, we don’t listen with our eyes and while cover art can either make or break an album, yes it remains that important, the music heard on Dance Devil Dance is extraordinarily good. The overall recording, mix, and mastering are some of the very best I’ve heard from the Metal genre. Metal tends to be too compressed and lacking in depth and detail. It isn’t uncommon to hear your favourite metal album as a wall of sound and while some may enjoy that, the additional space between musical elements ensures Dance Devil Dance is a sonic masterpiece. Don’t get me wrong, this is one loud recording, but for the style of music, it is utterly perfect. The drums alone are masterfully recorded and it’s the little elements such as the cymbals ringing out, rather than crunching, that make a real impact. 

While I’ve yet to pick up a physical release of this album, the Hi-Res Lossless Apple Music stream is marvellous. It isn’t an Apple Digital Master but it need not be as you’ll be in metal heaven from the very first note. Depending on how you prefer to listen to your music, you may prefer to add a little bass EQ to give the album a further earth-shattering punch; an advantage, for this music lover, even if it results in slightly reduced clarity and detail. I want to feel Dance Devil Dance in the deepest depths of my soul and the stream, with a slight adjustment, doesn’t disappoint in that regard.

Dance Devil Dance sets the tone for the album, and that opening guitar lick, which is repeated throughout, is magnificent. I only wish it had been a little more prominent in the mix, perhaps a decibel or two higher. Regardless, Dance Devil Dance is an epic opener and I simply adore Johannes Eckerström’s vocal dexterity as he’s got incredible control over it and when he hits the high notes, I'm reminded of the great Ronnie James Dio. 

Chimp Mosh Pit gets the groove going and while it may not be a standout, it holds the album together perfectly and sometimes that is all that’s required. That said, the mid-song musical solo, by the entire band, is off-the-charts good. It will, subsequently, be interesting to see how fans react to Chimp Mosh Pit when played live as I have a feeling it has the potential to be more powerful live than via the studio recording. 

Valley Of Disease has an interesting grinding opening element that works remarkably well. The unrelenting rhythmic core of Valley Of Disease has a tribal feel that is going to make this a fan favourite.  

On The Beach shouldn’t work, particularly with the seagull entrance, but it somehow does. Another aspect that doesn’t seem as though it should work, on paper, is the vocal shift. Yes, it has the potential to take you out of the album experience, especially if you don’t like the vocal style, but the more I listen to On The Beach, the more I get it. It works. It shouldn’t. But that’s okay because Avatar are pushing their, and our, creative boundaries and the correlations in varied styles are ultimately a highlight of their recordings. 

Do You Feel In Control? returns us to a more traditional metal approach and while Do You Feel In Control? is a solid tune, it’s ultimately album filler.

Gotta Wanna Riot is the GREATEST SONG Avatar has ever recorded. It might even be my favourite metal song of all time. The ba-ba-ba-ba lyric element is what gets me every time for it’s The Beach Boys meets Avatar and I love it! Additionally, Eckerström’s vocal delivery throughout is masterful and the band are on fire. Gotta Wanna Riot is going to be a stadium-filling tune; no doubt! 

The Dirt I’m Buried In is groove metal 101 and is a great followup to Gotta Wanna Riot. A special note needs to be given for the guitar work on this track. It isn’t pushing the limits of what’s possible, but damn it’s got an addictive rhythm that will have you pulling out your air guitar.

Clouds Dipped In Chrome is thunderous and will appeal to old-school metal fans. It does, however, feel a little out-of-place in the tracking of the record. I probably would have positioned it closer to the start of the album, or before the closing track Violence No Matter What, but that is just a subjective preference. Regardless, it’s a solid tune, even though I feel it is unlikely to become a standout amongst fans.

Hazmat Suit has a drilling rhythm that integrates perfectly with my soul, especially during the chorus. The drumming and guitar work here is exceptional and is as much a tip of the hat to the performance of the band as it is to the Mixing Engineer and co-Producer Jay Ruston. 

Train gets you going then slows things down. It’s great when music isn’t predictable. You’ll hear a little David Bowie, Tom Waits, and Nick Cave influence throughout, further showcasing Eckerström’s vocal capabilities, particularly in the lighter regions of the recording. In fact, it’s the more melodic alternative rock styling as opposed to the metal elements, that are the highlight of Train. Although, I do wish that the song would have ended on a metal curve as the shift to the closing tune, Violence No Matter What, is a little sharper than I’d ideally like to hear.  

Violence No Matter What (Duet With Lzzy Hale) is a great closer and it’s wonderful to hear Lzzy Hale on this duet, but she’s a little too recessed in the mix. Her vocal growl,  mixed with her higher pitch, is deserving of a slight bump in volume. Granted, it’s an Avatar album and while I’ll praise the mix in every other way, on Dance Devil Dance, I truly feel that this was a missed opportunity. I also would have excluded the dropping of the drumsticks at the end as I don’t feel it works. Regardless, as I originally stated, it’s a great closer and when looking past these aspects, it encourages me to play the album again.

Dance Devil Dance is not only a great metal album, but it’s also a great album in general and is deserving of its position as one of the best albums released in 2023. With its melodic groove-based styling, it will appeal to a broad range of listeners; many of whom wouldn’t give music from within the metal genre a second thought. While its accessibility may perturb hardcore metal fans, I say the more the merrier, so if you like Dance Devil Dance as much as I do, please consider sharing this review with everyone you know or at the very least send them a link to the album so they can experience it for themselves. 

Iron Maiden – Iron Maiden (Self-Titled Album Review)

Iron Maiden – Iron Maiden (Self-Titled Album Review)

Released in 1980, Iron Maiden, the self-titled debut from the English Heavy Metal masters launched onto the music scene with a take-no-prisoners style that was complemented by pure talent. If nothing else, Iron Maiden offers fans a collection of songs that have become classics of the Metal genre. 

Voicing classic Maiden was Paul Di’Anno, an incredible vocalist who would also go on to record their second album Killers before being exiled for extensive substance abuse. Despite that, Di’Anno set the stage for Iron Maiden as he approached these studio recordings with a sense of energy and flow that Bruce Dickinson, and later Blaze Bayley, were able to build upon; that unique Iron Maiden sound! Yes, Maiden’s unique qualities should also be attributed to the musicality of the band and Steve Harris’ ultimate vision, but metal bands are often successful as a result of their lead vocalists.

Speaking of Maiden's sound, there’s been so many variants, with regards to the mastering of their albums, that it often comes down to personal preference as to which subjectively sounds better. I’ve heard the 1998 remaster and while I didn’t think it was bad at the time, once I heard the Apple Digital Master, from the 2015 reissue program, I was blown away as it sounds how I imagine Iron Maiden should sound. You know, the sound you hear in your head when the music isn’t playing. It is subjective, but at that moment I knew that that was the way I wanted to appreciate all of Iron Maiden’s music going forward. Yes, I’ve heard grumbles about this particular mastering. The usual stuff, such as it being dynamically compressed further than it needs to be. While I may not disagree with that sentiment, I prefer to listen with my ears and they tell me that it simply sounds right. 

The (Hi-Res) Lossless edition, on Apple Music, is the perfect representation of this self-titled debut and has the added bonus of being able to be heard whenever and wherever I may be. Therefore, even if the vinyl counterpart is comparable, or superior, it need not apply for it limits where and when Maiden can be appreciated. 

Perhaps most notable, however, is that despite the rawer production of the debut, the mastering has been undertaken so well that it puts a little spit and polish on the album, resulting in a pleasurable listen that is largely void of the shrillness that is found on prior releases. Don’t get me wrong, the rough around the edges feel to the album is most certainly retained, it’s just a little more presentable and permits listening at ear-bleeding levels; just the way Iron Maiden should always be heard. 

The only disappointment with this latest reissue is that it, again, omits Sanctuary; a simply epic Iron Maiden tune. Yes, the track listing now resembles the original release, but it also means that the studio recording of Sanctuary is unavailable to stream with the only recordings being those that were performed live. This omission is a +1 for physical media collectors. However, the most recent Studio Collection CD and Vinyl reissues also omit Sanctuary, so you’ll need to seek out a previous release to attain this tune if you don’t already own a copy.

Prowler launches the record with an iconic riff and sees Di’Anno in fine form while all other musical aspects set the tone for the entire album. The mid-song solo, and Harris’ bass lines, really take Prowler to the next level, resulting in one of their greatest recordings. 

Remember Tomorrow slows the tempo a little, until the song builds that is. Nevertheless, one of the greatest aspects of Remember Tomorrow is the exquisite introduction that reappears throughout the verses. Yes, it may not be a stadium-filling tune, but Remember Tomorrow is one of my all-time favourite Maiden songs. 

Running Free was Maiden’s debut single and there’s a bit of a punk vibe to it. Truth be told, I’m not sure it was lead single material. It’s a solid tune, and perhaps I’ve simply heard it too many times over the years, but despite some thoroughly enjoyable killer grooves, it doesn’t set the world on fire from my perspective. 

Phantom Of The Opera has a moodiness that is incredibly addictive. Seriously, every note of this 7-minute-plus epic is a master stroke. Di’Anno‘s vocals could have been stronger, but all musical aspects are perfect as they transition throughout the various stages of the song. What an EPIC piece of music!

Transylvania has a spy-flick vibe to it with some killer rhythms and licks thrown in for good measure. A great instrumental-only tune!

Strange World flows seamlessly from Transylvania and maintains the melody-driven sonic themes of the prior track. While there’s no doubt that many Maiden fans love their heavier tunes, I, for one, adore these slower tempos as I feel they perform them with nothing less than pure perfection. Di’Anno‘s vocal on Strange World, in particular, showcases his vocal chops like no other song on the album does. He’s an absolute pleasure to listen to. 

Charlotte The Harlot is one of Maiden’s most underrated tunes and has an interesting interplay between the musicians. Depending on the instrument you prefer, you’ll find a unique rhythm to attach yourself to.  

Iron Maiden closes out this self-titled debut masterfully, while also encouraging repeat playing of the album, and is most certainly worthy of the title track moniker. 

Overall, Iron Maiden is a musical masterstroke and is a debut that has not only stood the test of time but is as relevant to the Iron Maiden story as any other album in their extensive back catalogue. It is, without a doubt, one of the best albums released in 1980 and is amongst the greatest Metal albums of all time; a timeless classic!

Zeal & Ardor – Zeal & Ardor (Album Review)

Zeal & Ardor – Zeal & Ardor (Album Review)

While Zeal & Ardor may be conveniently positioned within the metal genre, that placement is simply too limiting for their experimental metal style incorporates black metal, melodic metal, and industrial metal cues with numerous other musical influences including African American and blues rhythms. They’re unique and have never sounded as influential, all-embracing, and fired up as they do on this eponymous release; their third studio album.

Produced and written entirely by founder and lead singer, Manuel Gagneux, Zeal & Ardor once again showcases what a creative genius Gagneux is. While many of us wonder what the future of music is, especially when we contrast modern releases against those that came before, Zeal & Ardor prove that the future of metal music is alive and well. 

Every aspect of the production has been meticulously considered. From the songwriting to the recording, even the mix and mastering represent some of the very best within the respective genres. The result is an album that is full-bodied, dynamic, spacious, and immersive while also being impactful. It really is an experience that needs to be heard firsthand and as revolutionary as Devil Is Fine (2017) and Stranger Fruit (2018) were, Zeal & Ardor takes their music to a whole nother level. 

From a sonic perspective while I often look to vinyl releases for the pinnacle of sound quality, the lossless Apple Music stream, an Apple Digital Master, is so good that I see no need to search for better. Seriously, there’s no unnecessary clipping or distortion, the soundstage is wide and enveloping, and most importantly it simply sounds right; a subjective perspective, yes, but one that is valid nonetheless. 

Zeal & Ardor will wake the senses. It’s bold, reminiscent of the music that you’re about to hear, and arguably heavier than their previous releases thereby signifying a shift in their chosen style. My only complaint is that it’s too short, yet in a contradiction, it is the perfect length for it gets to the point without any extraneous elements to weigh it down. I couldn’t imagine a better title track; could you? 

Run has demonic undertones that reach into your soul. It’s an example of the alter-ego that Gagneux puts into his music and while scream metal is often an acquired taste, Gagneux hits the intonations perfectly. Thematically, regardless of your beliefs, Run makes you think and ponder your life, your actions, and ultimately, despite the knee-jerk reaction that some will have towards the negative side of the scale, Run asks that you don’t give up. At least, that is the message that I get from this song. 

The music video offers a terrifying look into the mind. Don’t get me wrong, it’s a brilliant musical accompaniment, but it will simultaneously shock you to your core. 

Death To The Holy is more musically upbeat with a touch of soul music threaded throughout. The pounding drum and bass rhythm is infectious and reminds me of Korn’s music.  

The music video is odd. While it questions what we know about our existence and societal belief systems, it isn’t quite as uniform with the music as the music video for Run was. 

Emersion is interesting for it isn’t the song you initially think it is as it weaves in and out of a kaleidoscope soundscape only to re-enter as frenetic moments in time. As an instrumental with an occasional vocal growl, it’s a solid tune that splits up the album nicely. 

Golden Liar is an absolute masterpiece! Gagneux's vocal delivery on Golden Liar is next-level and while I’ve no doubt Zeal & Ardor will continue to evolve, I hope it is in a similar direction to the performance captured here for when music is this good you simply want to experience more of it. 

The music video simply exists. It doesn’t build upon the song in the ways that I’d like to see from such a massive tune. That isn’t to say that it’s irrelevant, but that I feel it could have been something far greater than it is. 

Erase, despite not being out-of-place, isn’t the strongest song on the album from both a lyrical and musical perspective. It works within the album structure, but it’s unlikely that you’ll seek it out on its own. 

Bow is, however, a song that you will want to play on repeat for it’s astonishingly good. It’s metal, it’s soul, it’s blues, it’s simply a killer tune!  

Feed The Machine intertwines musical styles as many of the other songs on Zeal & Ardor do but it’s the playful nature of the non-metal elements that shine here and in some ways, I hear two different songs within this single composition and I can’t help but wonder what the song would sound like if it were recorded in both manners.

I Caught You is a bit of a mixed bag. While it continues the overall style fluidly, it isn’t as groovy as many of the other songs on Zeal & Ardor thereby resulting in I Caught You being album filler. 

Church Burns redeems I Caught You with a groove-infused tune that is an amalgamation of musical influences. A great song!

Götterdämmerung is a solid scream metal tune that shifts to a more common vocal structure throughout. This approach won’t appeal to all, but if it appeals to you, you’re bound to thoroughly enjoy Götterdämmerung. I know I do and that charging rhythm reaches into my soul. 

Hold Your Head Low is a little like I Caught You whereby it isn’t a bad tune but is most certainly filler. Yes, not every song can be genre-defining or single-worthy, but Hold Your Head Low is so close that the differentiation needs to be mentioned for there is a killer song to be heard here if it had only been pushed further with a more vicious soundstage.  

J-M-B shifts the style of the album, arguably a little further than one would expect. It simply sounds a little too alternative and post-grunge for my liking. 

A-H-I-L is sonically awesome. Take a listen on headphones and you’ll understand what I mean. It’s immersive and sensory, but most importantly it leaves you wanting more, even though it’s an instrumental track, thereby ensuring you’ll play Zeal & Ardor again for it is one of the best releases of 2022 and is the pinnacle of Zeal & Ardor’s music to date. 

While the cohesiveness and drive of Zeal & Ardor may have started to wane towards the end of the album, the diversity of musical styles is to be celebrated. Zeal & Ardor is genre-busting; a rare occurrence that not only brings more awareness to the metal genre but also informs those with a solitary focus that crossovers into other styles are as important as the genre’s legacy. With that in mind, I can’t wait to see what Zeal & Ardor will do next. 

Sepultura – Machine Messiah (Album Review)

Sepultura – Machine Messiah (Album Review)

Music discovery is like love, it’s a wonderful thing!

Hold on a second there Mark, are you really quoting Michael Bolton in a Sepultura review?

Well, dear readers, I had to come up with something as the truth of the matter is I know next to nothing about Sepultura. Sure, I’ve heard of the band. Even listened to the odd song on various playlists, but Sepultura never made it into my collection; until now, that is! As Machine Messiah is their fourteenth studio album, I thought I better sit up and take notice. Plus, that artwork is extraordinary. While I’m obviously pro-Apple Music, artwork like this is one of the reasons why I still enjoy collecting vinyl.

So, will this album have what it takes to ensure I become a Sepultura fan? 

If the album, and band, can be represented by the title track Machine Messiah, then I can unequivocally say yes. Machine Messiah is a sonic wonderland with a slow burn towards the chorus. I love it! The guitar work is exquisite and the first thing I notice is that the recording and mastering are not overly compressed. There is plenty of depth in the soundstage and everything is in its place, putting many other heavy metal albums to shame. 

I Am The Enemy is pure thrash metal. It’s hard-hitting and doesn’t let up. While I miss the more melodic Machine Messiah, I am thoroughly enjoying the energy of this track. It takes a very special vocalist to sing like this and Derrick Green has a massive amount of talent that I would liken to Corey Taylor’s vocal range and shifting capabilities. 

Phantom Self is bound to damage my hearing as I can’t help but turn the volume up. Is it worth it? Ask me when I get to 70! I like to feel the music, not just hear it. While I may regret that later on, as I’m sure many people do, songs like Phantom Self reach the soul in a way that is simply not possible without excessive volume levels. The oriental characteristics throughout initially sound a little disjointed but make perfect sense when you hear the epic duel that takes place during the guitar solo. 

Alethea thankfully slows the pace, of the album, to allow the soul to recover from the onslaught that was Phantom Self. That said, while I enjoy the tempo of the instrumental backing, I find that the vocals don’t fit the song well. To me, it sounds as though the vocal track has been unnaturally slowed down. 

Iceberg Dances is a purely instrumental track and I love it!

Sworn Oath made the hairs on the back of my neck stand up when it started. In an interesting dichotomy, it has a demonic, yet not evil, sound. I can’t put my finger on the contrasting factor, but Sworn Oath is thoroughly enjoyable and the vocal delivery is masterful. Actually, one element that I feel is important to note, on the entire album, is how clear Green’s guttural vocals are. With this style of music, vocals can become incomprehensible, but this certainly isn’t the case with Machine Messiah.  

Resistant Parasites has some killer bass notes. I love the sound of the bass guitar and while I acknowledge that everyone wants a guitar solo, I also love it when the bass guitar is featured prominently in a recording.

Silent Violence isn’t a bad song, but I’m not connecting with the beat as much as I would like and I find myself listening, instead of being enveloped in the music.

Vandals Nest has a killer guitar intro that immediately reminds me of Metallica’s thrash days. There is so much going on in this song that you simply don’t have an opportunity to rest. Believe it or not, this is a good thing!

Cyber God is an interesting song as it reminds me of Avenged Sevenfold, yet it is completely unique. The guitar work and drum beat are simply exquisite and world-class. Green’s vocal style is also amazing as he shifts tone and pitch seamlessly throughout the song. 

Chosen Skin is a skull shattering song that has a rhythm and attitude that invokes movement in the listener. When I listen to a song like this, I am continually amazed at how music is captured. It is pure magic and while I know the fundamentals of how it is done, it never ceases to impress me.  

Ultraseven No Uta is a song that should have been excluded from the album. That said, this is a bonus track that, along with Chosen Skin, is not included on all formats. Ultraseven No Uta is awful and sounds like a pop song with rock and roll distortion added. What was Sepultura thinking? 

While Ultraseven No Uta doesn’t encourage me to listen to the album again, the sonic perfection and musicality of Machine Messiah mean that I will be adding Machine Messiah to my collection; sans Ultraseven No Uta, of course!

As regular readers would note, I don’t listen to music for its literal interpretation. When seeking out this information, I find comfort in hearing an explanation directly from the artist for my interpretive meaning is likely to be entirely different to the original intent of the song. Therefore, the following videos by Sepultura give us further insight into the writing and recording of the songs that make up the exceptional Machine Messiah.  

Without a doubt, Machine Messiah is one of the best metal albums I have heard in recent years. While it has become a welcome addition to my streaming library, I still long for a vinyl copy but I’m not sure which one to choose from as there are a few interesting variations, including an incredible picture disc version. 

Sepultura Machine Messiah Vinyl Picture Disc.jpg

Yes, I’m still jaded by Iron Maiden’s Seventh Son Of A Seventh Son picture disc, and I acknowledge the limitations of the picture disc format, but I also have several picture discs that play extremely well; Rob Zombie’s being amongst the best. The problem is knowing if Sepultura’s Machine Messiah will be one of them.

Nevertheless, the Apple Music lossless stream (24-bit / 48 kHz ALAC) is nothing short of an unforgettable sonic experience and will, certainly for the foreseeable future, be my go-to edition. 

Ozzy Osbourne – No More Tears (Album Review On CD & Apple Music)

Ozzy Osbourne – No More Tears (Album Review On CD & Apple Music)

No More Tears is, without doubt, one of Ozzy Osbourne’s greatest albums, but is the 2002 reissue of this 1991 masterpiece worthy of consideration? 

Yes, and no! 

The bonus tracks are most certainly value-added propositions for Ozzy fans but the mastering is a little loud. Annoyingly, the album sounds fantastic from the perspective of everything being where it should be in the mix and the soundstage, but to fully appreciate it, I find that I have to turn the volume down. Doesn’t that defeat the purpose, you may ask? Ozzy is, after all, meant to be played loud. The problem is I like turning the volume up myself. Look, I’ve heard far worse mastering efforts and as far as hard rock goes, this isn’t too bad with the softer more ballad-style songs being simply gorgeous, but when you get that wall of sound, the band in fine form, and Ozzy on the top, it can be a little too congested for the senses. 

In playing both the CD reissue that I’m fortunate to own, and the Apple Music stream, an Apple Digital Master, the Apple Music stream trumps the CD counterpart; on the surface, at least. It has more finesse, a greater sense of presence, and a more well-defined low end. The differences aren’t subtle either; so much so that I compared the findings on different systems and came to the same conclusion; the Apple Music stream, while loud, isn’t as harsh and has a more analogue-styled  tonality. Yet, there is more clarity, especially in the treble range, on the CD making No More Tears a little bit of a Jekyll & Hyde-inspired experience as I do not doubt that some of you will thoroughly enjoy the CD representation of the album. It’s important to note that unless you compare the versions, as I have, you’ll most likely find either the CD or streaming version to be to your tastes but if you prefer a bass-focused analogue-styled sound, go with Apple Music. Similarly, if you’re after tonal accuracy, clarity, and more reach in the treble region then the CD is your best bet. As for me, I remain unsure as I can appreciate both versions for their individual characteristics, but the CD can be a little fatiguing by comparison. However, as with the volume, I also know how to shift the tone controls to my liking so the CD at least gives me those options and when dialled in it is thoroughly enjoyable.

The CD design differs from that of the original releases and in a way it is disappointing that the rear cover art, with a close-up of Ozzy’s wings, isn’t replicated on this reissue. The picture disc is an improvement, however, when compared to the original text-only CD design. The liner notes are fully featured with lyrics and a write-up from Phil Alexander; Editor-In-Chief, Kerrang! Magazine. Considering how many modern releases lack these fundamental elements, it’s great to see them included here.

Mr. Tinkertrain is a creepy way to start any album, but what a wonderful opening it is. That killer guitar riff is fat and ready to rock. I can even excuse Zakk Wylde’s extensive use of the whammy bar as it suits the song perfectly. Plus, that rhythmic beat in the final minute is superb; although, I do detest the abrupt ending of the song. 

I Don’t Want To Change The World is catchy, especially in the chorus, and the shift between a more shallow soundstage during the chorus to a beefier rhythm during the verses is an interesting style. A great song, but it’s a little campy, don’t you think? 

Mama, I’m Coming Home is a masterpiece. Yes, I love power ballads and for those of you who think they’re weak, not only was this an Ozzy classic but Lemmy; yes that Lemmy, penned the song. Two musical masters came together and created one of the very best power ballads of the 90s. In fact, Lemmy stated in his incredible autobiography, White Line Fever, that he made more money out of writing the four songs that appeared on No More Tears than he did in the prior fifteen years of Motörhead. 

Desire picks up the metal pace for those of you not interested in ballads. It is a roaring riff-driven tune that, while not a standout, is perfectly suited for Ozzy and the album. The only negative comment that I have is that I don’t like the musical shift in the chorus as it sounds a little too dry, predictable, and takes the listener out of the exceptional hard rock metal-infused pace of the rest of the song. 

No More Tears as the title song is epic, but it is also a song that I love to hate, or is it hate to love? Either way, it’s a great heavy metal tune but after you’ve heard it countless times, it gets a little monotonous. Plus, and perhaps it is just me, but I would have loved to have heard No More Tears recorded with a slightly faster tempo. Yes, that would have completely changed the tone of the song, but I can’t help but sense that the tape machine was tracking a little slower than ideal on the day they recorded No More Tears. A minor subjective quibble that in no way should take away from the song. 

S.I.N. has an absolutely magical opening. It's one of the best songs that Ozzy has ever recorded and is severely underrated. 

Hellraiser will envelop you in sound and that bass tracking is simply amazing. While one would assume that such a bass-focused tune, when recorded by Ozzy, would be perfect for Kilmister, I have to say that I’ve always been disappointed in Motörhead's version. I was expecting Lemmy's interpretation to be heavier. 

Time After Time is a solid song. It’s nothing to write home about, but a little filler here and there, at this level of musicality, is more than acceptable.

Zombie Stomp is brilliant. A true sonic masterpiece. I consider it to be Ozzy’s Pink Floyd-styled song; if Floyd was a metal band of course. 

A.V.H. has a gorgeous acoustic-style guitar intro before the big guns come out. It isn’t the best song on the album, and I’d suggest that it isn’t one of Ozzy’s best as it is musically all over the place, but as a B-side, it performs its role admirably. 

Road To Nowhere was the original closer before the 2002 reissue and is an absolutely perfect song for that role as it has the ballad-styled approach that will appeal to many as well as some serious metal riffs that will remind hardcore metal-heads of all the songs in Ozzy’s back catalogue that will appeal to them. It is, for lack of a better term, the best of both worlds. 

Don’t Believe Me (Bonus Track) is an absolute favourite of mine. While an original vinyl copy would be welcome in my collection, not having this track on the vinyl counterpart would result in it being missed. It’s one of the best songs on the 2002 No More Tears reissue and while you don’t have to believe me, I suggest you put the song on, turn the volume up, and rock out!

Party With The Animals (Bonus Track) isn’t bad, but it is a classic bonus track; nobody would have missed it if it was never released. That said, it doesn’t deter me from playing the album again or staying within Ozzy’s back catalogue of music. 

Overall, No More Tears is a sensational album with a broad styling that will appeal to all music lovers of the rock and roll genre. It is arguably a little more mellow than some of Ozzy’s other releases, but that isn’t necessarily a bad thing as Ozzy is more than capable of bridging the divide.

Metallica - Garage Inc. (Compilation Album Review On Vinyl & Apple Music)

Metallica - Garage Inc. (Compilation Album Review On Vinyl & Apple Music)

Throughout the 90s, Metallica exploded with Bob Rock at the production helm and while some may still lament this shift from their Thrash origins, it did allow for a radio-friendly, welcoming sound, that would make the band a household name. However, all was not lost in the Black Album, Load/Reload eras for in 1998, Metallica would once again go back to their roots to deliver the somewhat produced Garage Inc. compilation. 

Yes, some of the newer recordings on Garage Inc. are a little less Thrash driven than some fans may like, but I find all songs, from all eras, blend effortlessly together thereby making Garage Inc. one of the greatest compilations to have ever been released.

As it has a little bit of everything, Garage Inc. quickly became one of my most beloved albums and arguably my favourite Metallica album; at least until S&M was released in 1999. The double CD would go everywhere with me and I look back at that era with nostalgia for it was the music of my youth that simultaneously gave me the confidence to traverse the confusing and wondrous world around me.

Years later, however, while the double CD had succumbed to the MP3 era, I was fortunate enough to acquire the Blackened Recordings Vinyl reissue (BLCKND013-1). To say it’s superb is an understatement. While I’ve been critical of other Metallica reissues on their own Blackened Recordings label, this particular release is nothing short of pure perfection and is highly recommended. 

The mastering is superb with a full and warm tonality that is not only perfect for vinyl but the style of music. When listening to the vinyl reissue, I never find myself longing for more musicality or a different presentation such as that offered via streaming services. The vinyl layout and design, while mimicking the original CD, is similarly stunning offering full-featured liner notes that become a value-added proposition for fans and collectors alike.

I’ve also listened to the Apple Music edition, an Apple Digital Master, and for a compressed digital offering, it too is extraordinary. Not as good as the vinyl reissue, however, but you won’t be disappointed if you only have access to the Apple Music edition for it produces a beautiful full-bodied sound only lacking the vinyl warmth that is inherent to the format. 

DISC 1 / Side One (New Recordings '98)

Free Speech For The Dumb is a fat Thrash-infused song that encourages you to turn the volume up. It isn't my favourite song on the album, but it gets the album off to an incredible start.

It's Electric is an excellent song that is perfectly suited to Hetfield's vocal style and the overall musicality of the band. It is mastered with a little too much focus on the treble region, but that is a minor quibble.

Sabbra Cadabra has a gorgeous guitar intro. The groove is so compelling that you will be toe-tapping and head-bopping subconsciously. The overall sonic signature of Sabbra Cadabra is cemented in blues rock and roll and I absolutely love it!

Turn The Page was an exceptional song when originally performed by Bob Seger, but Metallica has made it their own and has taken the song to another level. It is one of Metallica’s greatest recordings and is one of their songs I play regularly.

DISC 1 / Side Two (New Recordings '98)

Die, Die My Darling is a killer rock track. I love it!

Loverman may initially sound like a strange pick as one wouldn't normally associate Nick Cave And The Bad Seeds with Metallica, but Metallica certainly recorded an excellent rendition that is worthy of the musicality heard on the original recording. Both versions are excellent, but I find that I gravitate to Metallica’s interpretation as I feel it is the more polished of the two. 

Mercyful Fate is an exceptional song that commands you to turn the volume knob to the right. Yes, your neighbours will likely call the boys and girls in blue, but it will be worth it! Seriously, listening via lower volumes destroys the musicality and energy of this song. It is expertly recorded and mixed while being nothing short of a rock and roll symphony. King Diamond and Hank Shermann would be proud!

DISC 2 / Side One (New Recordings '98)

Astronomy has always been a favourite of mine. The incredible Blue Öyster Cult may have recorded the original epic, but the first time I ever heard Astronomy was when Metallica covered it for Garage Inc.. Hence, as excellent as the original is, I will always hold Metallica’s rendition near and dear to my heart. Interestingly, it would be this song, along with Don’t Fear The Reaper, that would push me to become a dedicated fan of Blue Öyster Cult. Therefore, one can conclude that while some cover albums aren’t worth listening to, there are others, such as Garage Inc., that are done with so much respect to the original, you feel compelled to track down the original recordings.

Whisky In The Jar is an awesome groove-filled track. It is another song that compels me to sing-a-long as my body moves to the rhythm of the music. I probably look like I’ve lost control of myself, when in public, but I don’t care, Whisky In The Jar is that good!

Tuesday's Gone is perhaps the only song on the album that I don't like. It isn't a bad song on its own, it just isn't well suited to the album. Plus, every time I listen to it, I think of Bob Geldof. I also feel Metallica sounds too much like Bon Jovi on this track. I love Bon Jovi, but this is a Metallica record. As I think about it more, perhaps it is the nasal grind of the Geldof/Bon Jovi duet, I Don’t Like Mondays, that reminds me of Metallica’s rendition of Tuesday’s Gone. That all said, I much prefer Lynyrd Skynyrd’s original as it is less monotonous. I guess we can be thankful that Metallica didn’t try to interpret Free Bird as some songs should never be covered.

The More I See wraps up the '98 recordings in style with a harder hitting song than Tuesday's Gone. It also displaces the ridiculous outro Metallica recorded as part of Tuesday's Gone. The More I See is certainly meat and potatoes rock and roll, but Metallica’s added gravy ensures the song sounds fantastic.

DISC 2 / Side Two (Garage Days Re-Revisited '87)

Helpless has an incredible rhythm and riff-centric sound but the soundstage, while dynamic, does border on the limits of acceptable audio compression. A great song, nonetheless. 

The Small Hours is musical perfection as it terrifies me and simultaneously excites me. That haunting introduction and beat would be the perfect musical accompaniment for any horror film set in an insane asylum. It is brilliant from start to finish and in some ways reminds me of Blue Oyster Cult’s Don’t Fear The Reaper.

The Wait has incredible energy, but I feel Hetfield’s distorted vocal lets the song down as he sounds lost in the soundstage. While it certainly isn't a bad song, it also doesn't feel polished. Although, I guess that is the point of a 'Garage' style album, isn’t it?

Crash Course In Brain Surgery features the bass that Newsted was deprived of on ...And Justice For All. Overall, it is a solid cover and worthy of inclusion.

Last Caress/Green Hell is one of the greatest covers/recordings Metallica has ever made. It is Punk Rock with a little Thrash thrown in for good measure. I love it!

DISC 3 / Side One (Garage Days Re-visited '84 + B-Sides & One-Offs '88-'91)

Am I Evil? YES, I AM!...I always get a little carried away with this song. It is bloody brilliant and if Satan has a playlist, this would most certainly be on it.

Blitzkrieg is as thrashy as you can get. Get that air guitar out and enjoy!

Breadfan has a killer riff but, beyond that, I don't feel drawn to the song. Hence, for me, this is a filler track.

The Prince is somewhat similar to Breadfan as I don't connect with the song on an emotional level. That said, I would be lying if I said that I didn't enjoy aspects of each song. I can certainly point to aspects that I adore, but if it doesn’t come together cohesively, then those elements remain highlights in an otherwise pedestrian performance.

Stone Cold Crazy is a great song. I love the original as it is one of Queen's best, but Metallica, yet again, takes the song to another level of excellence.

DISC 3 / Side Two (B-Sides & One-Offs '88-'91 + Motorheadache ‘95)

So What is a great way to start the sixth side of the vinyl release. It’s rude and crude, but it’s such a fun song! If you can look past the overt profanity, you will thoroughly enjoy this epic rock song.

Killing Time is a solid cover song that I neither like or dislike. It is a filler track and is perfectly suited for that purpose.

Overkill raises mixed emotions as I believe that some music just shouldn’t be covered. Perhaps it is just me, but covering Motörhead is akin to Avenged Sevenfold covering Metallica. It works, really well, but I'm not sure it should be done.

Damage Case is a great song, with a great groove.

Stone Dead Forever is an excellent song, but I feel Hetfield is imitating Kilmister, rather than making the song his own. This is, of course, the danger of cover songs versus recording someone else’s unpublished song. Yes, imitation is a form of flattery, but I have always had reservations about it when listening to cover songs.

Too Late Too Late is a perfect song to close this epic release on. While it encourages me to listen to the album again, and stay within Metallica's back catalogue, Garage Inc. is a lengthy release and I seldom follow it up with anything else as I want to savour the experience.

Metallica's Garage Inc. is an incredible covers album. There really isn't a bad song to be heard and while I may not connect with a few of the songs, they certainly work well with the overall style of the compilation. If nothing else, it becomes clear that should Metallica run out of song ideas, and got bored playing their classics, they could make it as one of the greatest cover bands in history.

Metallica – Ride The Lightning (Album Review)

Metallica – Ride The Lightning (Album Review)

While Metallica Killed ‘Em All with their first album, they were determined to Ride The Lightning on the second; a record that has not only stood the test of time but remains one of the greatest thrash metal albums ever recorded. Released in 1984, Ride The Lightning would go on to sell over 5 million copies and become beloved amongst fans; myself included!

Ride The Lightning has always been one of my favourite Metallica albums and in the 90s the 1996 reissue on Vertigo/Mercury - Cat: 838 140-2 CD went everywhere with me as I was fortunate enough to own a portable CD player. Just as vinyl fans talk about the playback ritual, I can assure you, dear reader, the memories I have of swapping Metallica CDs on the bus, on a train, or before leaving for the next destination are incredible as the CD would snap onto the spindle and spin with the authority that only Metallica could demand. I used to even carry additional AA batteries with me as silence was more deafening than Metallica rearranging my brain. 

Unfortunately, I don’t own the CD anymore as it ended up being sold on eBay after ripping the album to the MP3 format. Such a stupid decision, but we all make mistakes! Hence, when I got back into collecting music, following an exodus that lasted too many years, I was determined to pick up a copy of all my beloved Metallica records and with my Project Debut Carbon turntable at the ready, I immediately picked up the Blackened Recordings 2014 vinyl reissues but was immediately disappointed. While the thrash elements come through loud and clear, and everything is where it should be in the mix, this vinyl reissue has a concealed sound that results in a more restricted soundstage lacking in depth and character. Perhaps the best way to explain it is the speakers don’t disappear and the sense of being in the studio with the band is gone as you’re not enveloped in sound. Unfortunately, it doesn’t get any better when listening via headphones. 

Now, as fans would know, Ride The Lightning was remastered in 2016 and while I’ve considered picking up another copy, from that particular re-issue series, I remain cautious having been disappointed before. That said, I’ve been blown away by the TIDAL Master 24/96 kHz edition as it simply sounds right. The soundstage is massive and the depth across all aspects of the recording is there to be experienced. Plus, it plays LOUD, but without the expected distortion or fatigue one may associate with hotly mastered recordings. 

The Apple Digital Master counterpart, while identical in tonality, lacks a sense of drive and sounds a little veiled for my liking; a shame considering most of Apple Music’s Apple Digital Masters are fantastic for lossy-based recordings. However, in this case, having compared the two, the differences are too vast to ignore and subsequently, I’d have to say that the TIDAL Master is the best I’ve ever heard Ride the Lightning sound and when streaming music can sound this good, it makes me question if I should spend more money for another vinyl copy that may, or may not, be it’s equal or up to my expectations. 

Fight Fire With Fire is a killer intro. That acoustic-styled introduction never gets old and as it builds to the crescendo, you know you’re in for a treat. This is thrash metal 101 and I don’t know about you, but I love it.

Ride The Lightning flows beautifully from the explosion that closed Fight Fire With Fire. That guitar riff is absolutely amazing. Get your air guitars out, ladies and gentlemen, for you will need them. That mid-song shift is off-the-charts and while the vinyl record doesn’t present the drum tracking well, the TIDAL Master stream sure does and the depth is mesmerising. Metallica’s music doesn’t get much better than this and the final elements of the song are so good that there are no words to adequately describe the experience for you really need to experience it for yourself.

For Whom The Bell Tolls is EPIC!

Fade To Black has an interesting country twang to it, that is before the electric guitar riff takes the song to a completely different level. Although, as long-time listeners of this album would note, the song returns to the semi-acoustic element throughout. It’s a masterful composition and Fade To Black is one song, on Ride The Lightning, that truly showcases the dexterity of not only Metallica’s musicality but Hetfield’s vocal capabilities.

Trapped Under Ice is a killer tune that doesn’t let up for the entire 4-minute runtime. Although, I’ve always felt the mix is a little off. I’d likely boost the bass and drum elements by a couple of decibels if given the chance. 

Escape is a song that some may class as a B-Side, but when you’ve got songs such as Ride The Lightning, For Whom The Bell Tolls, and Fade To Black on the same record, one or two tracks have to take a backseat. Without those aforementioned tracks, however, this would be a AAA song and I thoroughly enjoy it. The siren towards the end of the song is a nice touch!

Creeping Death is fantastic and constantly evolving. Every element is perfect and it’s one of the best songs on the album.

The Call Of Ktulu is pure gold and is one of the greatest songs Metallica, or anyone, has ever recorded. I love it, but the best rendition I’ve ever heard is the live performance from their legendary S & M concert. Nevertheless, it always compels me to listen to the album again.

Overall, Ride The Lightning remains one of the greatest thrash metal records ever recorded and is a worthy addition to any thrash metal music-lover’s collection.