Alice Cooper – Killer (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Alice Cooper – Love It To Death (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Deep Purple – Machine Head (Album Review)

There are hard rock albums, and then there is Deep Purple’s Machine Head; perhaps the greatest heavy metal album of the ‘70s, or of all time.

Yes, dear reader, that is a bold statement, but Machine Head is no ordinary record, for it not only sees the English rockers at the peak of their creativity, but its blistering musicality knows few peers, for it laid the groundwork for heavy metal, and is akin to what one would expect from a greatest hits release. In essence, few albums have defined a genre as much as this one; it has inspired generations of musicians and remains a reference point for what a hard rock album should sound like.

Released in 1972, Machine Head is the sixth studio album from Deep Purple and featured the second lineup of the band: Ritchie Blackmore (guitars), Ian Gillan (vocals), Roger Glover (bass), Jon Lord (keyboards), and Ian Paice (drums). While fans will likely argue over their preferred lineup, it’s impossible to deny just how strong this Mark II lineup was, for their output is otherworldly.

Of course, it isn’t just the music that demands one’s attention, as the album artwork and blurred band image is utterly perfect, aligning ideally with the metal-based music that’s contained within the record. There is, however, an alternative cover art design, but we shouldn’t speak of it as it’s the most pedestrian of covers with the band sitting in the studio, looking downright bored with themselves. To think that the record label would reissue such a landmark release with this artwork, for the album’s 25th Anniversary, leaves me speechless; it really does.

As it pertains to the sonic quality of the lossless Apple Music stream, an Apple Digital Master, it’s sensational. You’ll be rocking out with your air guitar and forgetting about the worries of the world as the music melds with your soul; an aspect that, should you allow it to, will intertwine with your subconscious and never let go. Sounds scary? It isn’t. It’s a gift from the rock gods themselves.

Every aspect of the recording is stunningly presented and preserved with no glaring issues to report. It is so sonically pleasing that I can’t see the benefit of picking up a physical release; aside from the ownership and tactile aspects, that is. Yes, there are lauded after surround sound mixes, all of which are interestingly absent from Apple Music, but that’s okay because this fan prefers stereo editions, especially when they’re done this well.

Highway Star is an anthem-styled rocker that’s a perfect opener for this incredible release. From the uptempo riff to the soaring guitar solos to Gillan’s masterful vocal presentation, “Highway Star” never ceases to amaze, yet the album has only just begun, and it continues to get better. It’s as if Deep Purple set out to prove they were the fastest, tightest, and loudest band on the planet, and they delivered.

Maybe I'm A Leo is a masterpiece and, in my subjective opinion, is the greatest song not only from this album, but that Deep Purple has ever recorded. It’s attitude-driven blues-based rhythm is off-the-charts and perhaps it’s a blessing in disguise that outside of the album, “Maybe I’m A Leo” is less well-known, for as much as I adore “Smoke On The Water”, it has been played to death over the years, yet “Maybe I’m A Leo” has a fresh feel to it.

Pictures Of Home is a thoroughly enjoyable album-only number, complete with the sonic cues that Deep Purple are renowned for. While it most likely isn’t at the top of anyone’s list, as it pertains to the songs that bring them back to Machine Head time and time again, it’s more than a solid tune that flows well within the album’s linear structure.

Never Before brings the funk, with a killer introduction that leads seamlessly into one of Deep Purple’s most compelling songs. There’s little wonder as to why it was released as a single, for its straightforward hard rock approach meant that it was easily accessible (think radio-friendly), particularly beyond the band’s core audience.

Smoke On The Water may well be one of the greatest songs ever written, with a riff that is nothing short of legendary, but it still doesn’t trump “Maybe I’m A Leo” despite it being amongst my favourite songs from the band. No, I’m not trying to be controversial with that statement; it’s just my subjective truth as “Smoke On The Water” has been overplayed, and if it were not for the trademark riff and associated heavy groove, it would be a solid, but not exceptional, rocker.

Lazy is a wonderfully distorted composition akin to a jazz band’s jam session, but with Deep Purple’s blues-based hard-rocking flair. While some may lament the song’s length or the indulgent nature of the tune, when Deep Purple has such incredible music, as heard on Machine Head, let alone their other albums, one can accept a somewhat experimental tune that sees the band not only explore their artistry but also their cohesion with each other. Had it not been for songs like this, the wonderfully expansive and expressive Made In Japan may not be the celebrated recording it is.

Space Truckin’ flows seamlessly from “Lazy” but adds a little more energy and a darker vibe. It’s so compelling that if you don’t find yourself putting “Space Truckin’” on repeat, you’ll most certainly feel compelled to play the album again, for Machine Head will keep you immersed for hours.

From start to finish, Machine Head is a literal masterpiece that is not only Deep Purple’s most successful release, but is also amongst the most influential albums of all time. Artists such as Metallica, Iron Maiden, and Van Halen have cited Deep Purple as an influence on their music, and one can understand why, as the songwriting, performances, and overall production are textbook examples of how to produce a legendary release, one that has not only stood the test of time but will exist for millennia.

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Alice Cooper – School's Out (Album Review)

School’s Out isn’t quite Killer, nor is it Billion Dollar Babies. Still, this 1972 release, the Alice Cooper band’s fifth studio record, is a culmination of everything that came before and a precursor to the incredible music that was on the horizon. Most importantly, however, School’s Out has its own unique qualities that separate it from the other albums in Alice Cooper’s discography, as the combination of glam and hard rock culminated in one of the most rewarding Alice Cooper experiences one can enjoy.

Regular readers may note that I’ve only ranked School’s Out as Alice Cooper’s 15th best studio album, on the Alice Cooper: Albums Ranked (From Worst To Best) list, yet that shouldn’t be seen as a negative aspect, for the only reason it’s ranked in that position is because 14 other Alice Cooper releases are, subjectively, better. It’s a good problem to have, however, as there can never be too much Alice Cooper and with 30 albums to choose from, we’re incredibly fortunate to have such a wealth of incredible music.

It isn’t only the music, though, as the album’s artwork is legendary. That is, if you’re not listening via streaming services. No matter how technologically advanced streaming services are, the original school desk packaging cannot be replicated. While a CD release has the potential to offer a smaller facsimile of the original artwork, School’s Out is most certainly of its era, and the larger vinyl canvas is the perfect size, thereby allowing the faux desk design to open, revealing the inside of the school desk in the way one might expect. It’s an experience that really needs to be presented in its original intent, panties and all. Yes, dear reader, a pair of panties was included for music lovers to wrap around their record, like a sleeve.

Of course, some don’t care for physical presentations, and I can certainly attest to some of these intriguingly intricate designs being more trouble than their worth, especially as it pertains to easy and fast access to the record. So, for those who wish to simply get the party started, you can’t go wrong with the lossless Apple Music stream, but which edition should you choose?

Thankfully, common sense has prevailed, and rather than completely replacing the prior CD mastering, from 2004, it was kept alongside the 2023 remaster; a version of the album that simply doesn’t sound right. Granted, I’ve been listening to the older mastering for decades, but in providing a bolder presentation in both the low and midrange, the sparkle of the recording has been lost in this most recent remastering.

While it could be suggested that the 2023 remaster brings the album up to modern-day standards, the bigger problem (unrelated to this release) is the absence of tone controls on modern stereo systems. No, I’m not talking about EQ settings, for that is a different beast entirely, but bass and treble dials that once adorned every piece of stereo equipment and would allow the listener to dial the sound to their preferred tonal preferences. These days, more than ever, mastering engineers need to appeal to the masses. While EQ settings, especially ones that offer full control, rather than a set of presets, are incredibly useful, sometimes adjusting the bass up a notch and the treble down by one can achieve the desired result. In many respects, while I can appreciate the 2023 remaster, I dare say that an adjustment to one’s tone controls (or EQ) would yield a similar result and would be fully customisable to an individual’s taste (artistic intent, be damned).

All that said, I do prefer the rawness of the earlier digital reissue as I find it aligns well with the band’s raw production qualities. So, with that in mind, take a listen as we explore the songs that make up this timeless masterpiece.

School's Out is synonymous with Alice Cooper, and while it’s not the greatest song from the band (or Alice himself), it has a rebellious quality about it that all of us, regardless of age, can appreciate. In essence, “School’s Out” is a timeless tale that talks to the human need for freedom from that which is required of us. Add to that the legendary glam rock styling, and there’s little wonder as to why this has remained a fan favourite and a mainstay of Cooper’s live performances.

Luney Tune shifts to a more sombre tone, but that isn’t a detraction, as Luney Tune is a darker, yet fun, song that is Alice Cooper 101. No, it was never going to be a standout, but as an album-only song, Luney Tune is a wondrous addition as it adds a sense of theatricality to the record.

Gutter Cat vs. The Jets is, without a doubt, the coolest song from School’s Out. Not only is it showcasing Alice Cooper’s extended and more elaborate styling, in a similar manner to “Black Juju”, but it’s perfectly suited to the era, so much so that it wouldn’t be completely out of left field to suggest that this is a song one may have expected from Elton John. However, it is the overall quirkiness that adds another level of intrigue for it’s akin to a memorable vaudeville carnival-style performance; one that will keep you coming back for more.

Street Fight flows seamlessly from “Gutter Cat vs. The Jets”, but it isn’t really a song. A palette cleanser, perhaps, but as a musical interlude, it’s ideally sequenced.

Blue Turk is a killer tune with a bluesy feel that will appeal to just about anyone interested in a multi-layered musical performance, one which features the legendary Wayne Andre on trombone. Overall, “Blue Turk” is a compositional wonder in and of itself, for the complexity and entire musical performance is extraordinarily compelling.

My Stars is a gorgeous tune and is one that would influence many musicians in the subsequent decades. You can most certainly hear a possible influence of Glen Buxton’s guitar work on Slash’s career, particularly as it applies to his Guns N’ Roses recordings. Beyond that, the song’s melodic hooks captivate, making it an incredible piece of audible art and one of the best rock tunes from the 70s.

Public Animal #9 is an upbeat animal (pun intended). As a playful tune, you’ll find yourself toe-tapping and head-bopping along, and while it isn’t necessarily a standout, the gravelly vocal presence of Alice is utterly perfect on this tune.

Alma Mater has a beautiful introduction, and while the delicate musicality continues throughout, even when the song really gets going, “Alma Mater” is one of the most uniquely different tunes Alice Cooper has ever recorded. It’s reminiscent of The Beatles, and works well in that tip-of-the-hat context, but it’s equally not quite Alice Cooper. Nevertheless, it’s an exceptional song and is one of the best from the record.

Grande Finale is a musical masterpiece and the perfect closer for the record. Yes, it is earworm-inducing, but in the best way possible, as it’s a stunning instrumental composition and ends the album on a high note, bringing together many of the record’s themes in a layered and enveloping sonic presentation.

Few albums are as lauded as Alice Cooper’s School’s Out. In part, that is due to the spectacular original album artwork, for while it can be seen as somewhat of a novelty, it expands the album and offers a perfect counterpart to the music itself. Artwork aside, School’s Out is a raw recording that is perfectly aligned with Alice Cooper’s origins, yet in an interesting dichotomy, it’s well-produced with incredible songwriting and performances throughout. Ultimately, School’s Out is a quintessential album experience and is one of the greatest releases from the band.

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Guns N' Roses – Appetite For Destruction (Album Review)

Debuts, such as Appetite For Destruction, are the exception, for upon its release in 1987, it would not only go on to take the world by storm, by selling more than 30 million units, but it would rejuvenate the hard rock music scene and become the soundtrack for a new generation of hard rockers. I was one of those rebellious teenagers who adored the raw spirit and aggression of the album, an aspect that has not only stood the test of time but is just as menacing today as it was upon release.

While the grunge movement was only a few years away, Guns N’ Roses proved that music can be redefined, for the 80s saw some incredible rock and roll being produced, but much of it fell within the glam metal sub-genre. Guns N’ Roses were different as they weren’t glam per se, but incorporated elements while also tapping into the blues foundations of rock and roll to deliver some of the greatest hard rock music ever recorded.

Of course, the excesses were there. Sex, drugs, and rock and roll were merely a part of the 80s hard rock scene, and Guns N’ Roses were no strangers to controversy. From the legendary stories to the unpredictable personalities of Axl Rose, Slash, Izzy Stradlin, Duff McKagan, and Steven Adler, the Los Angeles rockers exploded onto the scene somewhat larger than life with a record filled with timeless era-defining tracks such as Welcome To The Jungle, Paradise City, and Sweet Child O’ Mine. It wasn’t only the core members, however, that would drive the band to success, for producer Mike Clink was able to capture this raw intensity and, in many ways, was the sixth member of Guns N’ Roses, for he would go on to produce all of the band’s pre-Chinese Democracy releases.

In fact, every person in the recording studio deserves kudos for Appetite For Destruction is a landmark release that knows few peers and will, most certainly, live on well after we’re all gone. From the stunning album artwork to the controversial original cover art, to the tightness of the songs, and the mastering, it’s easy to declare Appetite For Destruction a perfectly flawless album. So, it was with intrigue that in 2018 a remastered edition (with all the bells and whistles associated with anniversary reissues) made its way to music lovers’ ears. It can be somewhat of a daunting task to accept a remaster, particularly when it’s such a beloved release, but despite still thoroughly appreciating Barry Diament’s original CD mastering, the remaster, engineered by Ted Jensen, is extraordinarily good.

While I wouldn’t necessarily call the original shrill, there were elements in the high-end of the audible spectrum where it could get a little too treble-focused and jarring on certain systems. This remaster, by comparison, dials that aspect back and boosts the low to mid-end range while leaving most other elements intact. It’s a very subtle difference, and unless you’ve been listening to the album for decades, you’ll feel right at home with the remaster. The remaster also delivers a bonus level of clarity in that Rose’s pronunciation is clearer, and the separation between musical elements seems to be better as well, with percussive instruments, that were previously concealed, showing up clearly, especially on the more complex mixes throughout the album. Perhaps most notable when listening to the remaster is that the emphasis of the album is maintained at lower volume levels and is simultaneously crankable. Yes, it’s mastered a little louder than the original, but, in this case, that isn’t detrimental.

So, with that in mind, dear reader, join me as we take a look at the songs that make up this legendary release.

Welcome To The Jungle is one of the greatest opening tracks of all time with a simply unforgettable introduction, killer riff, and an overall explosive performance that will hook you from the very first note to the last.

It's So Easy has a killer groove, an addictive chorus, and is ideally suited to the album. It’s interesting, however, how well-received and fundamental It’s So Easy has been to the band’s live performances over the years. Don’t get me wrong, I love the song, but it’s an unlikely standout.

Nightrain has always been one of my favourite songs from the album. While the cowbell was overused in the 80s, this is one case where it amplifies the song, and while it would have been a solid rock and roller sans that instrument, it adds a different dimension that I thoroughly appreciate. Still, it’s the high energy, the duelling twin guitars, and the track’s infectious riff and vocal delivery that ensure Nightrain is a timeless masterpiece.

Out Ta Get Me is a killer blues-based rock and roller that will get you toe-tapping and head-bopping, but Out Ta Get Me’s strength can be best heard in Rose’s remarkable vocal delivery.

Mr. Brownstone is another favourite and has been since I first heard the album as a teenager. However, at the time, I didn’t realise the song was describing the band’s struggles with heroin addiction. I simply rocked out, and it’s moments like this that I’m glad that I usually listen to lyrics akin to an instrument in the mix, rather than a storytelling device. Still, the funkiness and that swaggering groove make it incredibly addictive; pun intended.

Paradise City had stadium anthem written all over it. From the first time that introduction played, to the sing-along lyrics, there was little doubt that Paradise City was going to be anything other than a monstrous hit.

My Michelle has a deceptively soft and haunting melodic introduction prior to erupting into a full-blown hard rock number. Inspired by a real-life friend of the band, My Michelle is as beautiful as it is tragic, but the groove, killer licks, and Rose’s vocal performance throughout are thoroughly pleasing.

Think About You often flies under the radar as one of the more obscure songs from this debut, but this high-paced number is perfectly suited to the record.

Sweet Child O' Mine is one of Guns N’ Roses’ most recognisable tunes, and for good reason; that “warm-up” riff of Slash’s is a guitar player’s dream come true. As the song builds, with perfect pacing and an unforgettable bridge, Rose’s wails complement the instrumentation perfectly, resulting in yet another landmark tune from this incredible record.

You're Crazy has a little punk aggression with a touch of thrash. It’s a solid interpretation of the song, but I tend to prefer the slower, blues-based styling of the version heard on GN’R Lies.

Anything Goes is a great tune. The talkbox aspect enhances the song, rather than being a distractive element, but it’s the groove and overall melody that are simply irresistible. While Anything Goes isn’t one of the better-known tracks from the record, it’s songs like this that make Appetite For Destruction such a remarkable album experience.

Rocket Queen is an idealistic closer that will encourage you to play the record again, for Appetite For Destruction can seldom be listened to once. Rose’s vocal delivery, atop a killer blues-based musical bed, makes for a highly compelling musical experience; one that is even more complex with the infamously recorded sexual moans. Despite that, as the song shifts style throughout, Rocket Queen becomes a genius of the hard rock genre.

No matter which way you look at it, Appetite For Destruction is a masterpiece that not only helped to define and redefine an era and genre, but it’s also one of the greatest albums ever released.

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Deep Purple – The House Of Blue Light (Album Review)

When you think of Deep Purple, their legendary 70s output is generally the first thing that comes to mind. However, their 1987 release, The House Of Blue Light, is a hidden gem that shouldn’t be overlooked, for this 12th studio album by the English rockers is amongst the greatest they’ve ever released. Yes, some may lament the 80s production style that, arguably, made Deep Purple more accessible than ever before, but to ignore The House Of Blue Light, for that aspect alone, is incredibly short-sighted.

Starting with the welcoming, yet mysterious, album artwork, which was bound to garner attention at record stores upon release, it’s amongst the most stunning from Deep Purple’s illustrious back catalogue. Of course, an album’s artwork would be for naught if it failed to live up to a solid musical presentation, and in this regard, the Lossless Apple Music stream is thoroughly enjoyable. Could it be a little more bombastic? Yes. However, a remaster would surely destroy the album’s dynamic range, and that’s one aspect I’d prefer to see avoided.

Derived from what appears to be the 1999 CD release, this particular streamed edition matches the original vinyl edition’s runtime. Yes, that results in some songs being truncated from those heard on the original CD releases, but this particular edition flows so perfectly that I prefer to think of the original CD releases as being a collection of extended mixes rather than the primary version of the album.

This aspect isn’t uncommon amongst albums from the era, as the Compact Disc’s extended runtime allowed for further artistic experimentation. Still, just because the format could support a longer runtime, that doesn’t mean the experience is more fulfilling and in many cases, it’s detrimental to the fan base as it encourages multiple purchases of the same album; a record industry practice that continues to this day with a plethora of different versions for each major launch. It’s a disappointing practice, but regardless of which edition you prefer, or if you’ve overlooked The House Of Blue Light, join me as I take a look at the highly compelling music that the Mark II line-up of Deep Purple (consisting of Ian Gillan, Ritchie Blackmore, Roger Glover, Jon Lord, and Ian Paice) delivered on their final 80s release.

Bad Attitude opens the album with a menacing organ element that plays into the mystique of the record’s cover art before launching into a thoroughly satisfying riff-driven number that will find you toe-tapping and head-bopping along. It’s pure rhythmic gold and is the perfect opening tune.

The Unwritten Law is utterly brilliant with a multi-layered presentation that unravels itself further the more you listen to it. Blackmore’s riff and Gillan’s vocal delivery are particularly noteworthy, but the entire band is on fire with one of the most memorable tracks on the record.

Call Of The Wild harkens back to the 70s with a sound that old school Deep Purple fans will likely appreciate. The more stripped-down, rock-driven melody will impress, as does Lord’s performance on the organ/synthesisers. It is, however, the chorus and Gillan’s vocals throughout that make Call Of The Wild so compelling. Yes, it’s an 80s rock and roller, but, at its core, it could also have been recorded at the height of Deep Purple’s success and would likely have been one of their greatest hits. Unfortunately, despite being chosen as the album’s lead single, it failed to chart well and has been all but forgotten; a shame considering this is one song that deserves far more attention than it often receives.

Mad Dog launches with another incredible Blackmore riff, one that is highly energetic and reminiscent of their earlier recordings. It isn’t a standout, but it does grow on you, and all songs need not be stadium-worthy to contribute to a pleasing album experience.

Black & White isn’t a great song, certainly as it pertains to the quality of songwriting we normally expect from Deep Purple, but Gillan’s performance ensures the listener’s interest is retained in an otherwise forgettable tune.

Hard Lovin' Woman leans into the 80s high-production style and is a little too pop-rock for Deep Purple. Still, it isn’t a bad track and does add to the overall album experience.

The Spanish Archer is a little left-of-the-centre and is the type of song you’d expect to hear from Genesis. It likely won’t appeal upon first listen, and there’s no doubt that The Spanish Archer is the weakest song from the record, but if you give it a chance, it does grow on you.

Strangeways is a killer tune with a catchy rhythm that will appeal to just about any music lover. It would have also been a stunning live performance, but it’s sadly been overlooked; a shame considering it’s amongst their greatest recordings, from any era.

Mitzi Dupree dips into the blues for this laid-back number. It’s a great tune, but there’s no doubt that Mitzi Dupree won’t appeal to Deep Purple’s hardcore fans.

Dead Or Alive is a solid, high-tempo closer. It may not be a standout, but it will leave you feeling compelled to play the album again.

Overall, The House Of Blue Light is one of the most unexpected and pleasurable releases from Deep Purple. The commanding riffs, textured musical bed, and Gillan’s distinctive vocal presentation culminate in what can best be described as an exceptional album experience. No, it isn’t reminiscent of their 70s output, but make no mistake about it, The House Of Blue Light is 100% Deep Purple and is worthy of any fan’s music collection, especially if you give it a chance.

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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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