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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Aerosmith – Permanent Vacation (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Alice Cooper – Billion Dollar Babies (Album Review)

Released in 1973, at the height of the Alice Cooper band’s creativity, Billion Dollar Babies remains a landmark sixth studio album, one that captured the band’s daring blend of rock with biting social commentary and has remained amongst their most beloved. Building upon the shock rock foundation of their earlier records, Billion Dollar Babies provides a spectacular contrast, as this release bursts with confidence and the highest of production values, both of which pushed the boundaries of mainstream rock in the early 70s.

Speaking of the production quality, Billion Dollar Babies is impressive. Every aspect has been well considered, with the artwork being just as important as the music itself. Those who stream or purchase digital downloads may not be aware, but the artwork design was next-level as it was presented as a wallet gatefold featuring a billion dollar note, amongst other interesting liner note elements, such as the band being dressed in white playing with bunnies, a whole pile of money, and a baby doll so unsettling it could give Chucky nightmares. It really is something to behold as you listen to this masterful production, one of Bob Ezrin’s greatest with the band.

One of the more confusing aspects for fans, however, is the plethora of available releases. There are reissues with bonus tracks, live performances, and surround sound mixes that give one a sense of fulfilment. That is, until you find yourself faced with which version to obtain or play. Choice is a good thing, they say, and while that may be true, to an extent, all I truly want these days is the original album in its entirety. All the bonus material may be fine from a completist perspective, but if we’re being honest, most of us would only listen to the bonus material once or twice.

Of course, the Quadraphonic edition, including the 2023 reissue, is another beast entirely, as is the unique 5.1 Surround Mix found on the 2001 DVD Audio release. As I’ve yet to hear any of the surround mixes, and therefore can’t comment further, may I suggest you head across to Quadraphonic Quad, for their community members are extremely well versed in any and all surround sound releases, including this landmark record.

Interestingly, with Apple’s push for surround mixes, one would have assumed that we would see it land on Apple Music, but it has yet to be delivered by Warner Records Inc., despite the 50th Anniversary Deluxe Edition showing up, in stereo, on the streaming platform. Nevertheless, it’s one less option to have to choose from, which is somewhat of a relief.   

While I’ve been fortunate to have owned the Deluxe Edition from 2001, and that version is still available via Apple Music, it remains my go-to as it simply sounds right. While I have nothing truly bad to say about the 2023 remaster, I find the album has lost a bit of its sparkle as the remaster sounds a tad muddy and is too mid to low-end focused with the treble range dialled back considerably. Perhaps modern listeners and new fans will find it appealing, but it’s as if there’s a light blanket that has been placed over the speakers. Let’s just say that it doesn’t sound like the album I know and love, so I’m sticking with the older mastering.

Hello Hooray is a fantastic opener, even though it wasn’t an Alice Cooper original. It is, however, a cover song of a folk tune that was originally recorded by Judy Collins in 1968. Make no mistake about it, though, the Alice Cooper band recorded it, made it their own, and while it is highly subjective, this is the only version worth listening to.

Raped And Freezin’ is a return to the raw, straight-up rock and roll that the Alice Cooper band were renowned for in their early years. With a playful rhythm, compelling guitar licks, and a cheeky tongue-in-cheek lyrical presentation, this is one catchy and energetic number that makes the album-listening experience all the more pertinent, for Raped And Freezin’ was never destined to be a hit, but as an album-only number, it’s exceptional.

Elected started its life as Reflected on their 1969 debut Pretties For You, and as solid as Reflected is, Elected offers some much-needed spit and polish and is the far better of the two recordings. Fortunately, this reimagined tune, with its satirical take on politics and power, has become one of Alice Cooper’s biggest hits and has remained a mainstay of live performances.

Billion Dollar Babies is a magnificent title track and is one of the greatest songs Alice Cooper ever recorded. That introduction is off-the-charts good, and Alice’s snarling vocals are perfectly positioned against Donovan’s smoother high harmonies. It’s musically sharp and driving, and as the album’s centrepiece, it embodies the record’s theme perfectly.

Unfinished Sweet is a monstrously ambitious number with killer guitar riffs, an addictively good rhythm, and some incredibly pleasing vocals. As a mini rock opera, you’ll find it unsettling, humorous, and endlessly entertaining; unless, of course, you have a fear of the dentist. Nevertheless, from the menacing riffs to the whimsical interludes, Unfinished Sweet is a masterpiece in every sense of the word.

No More Mr. Nice Guy is one of the most enduring tracks on the album, for its irresistible chorus, punchy guitars, and the killer rhythmic backing have ensured that it became a staple of both radio and live performances. Even decades later, it remains one of Cooper’s signature songs.

Generation Landslide is an intriguing addition to the album. With its acoustic textures and biting electric riffs that form the core of what could have been a simple rock tune, the additional production elements result in a dynamic and memorable song.

Sick Things is one of the darkest songs on the album and one of the most sinister in Alice Cooper’s renowned discography. The slow, dirge-like delivery and overall macabre atmosphere is sonically gorgeous with a multi-layered presentation that rewards listeners the more they choose to listen to the album, as Sick Things has so many audible elements you’ll be unpacking them indefinitely.

Mary Ann flows seamlessly from Sick Things, but it couldn’t be more opposite if it tried. The piano-driven style, with Alice adopting a delivery more akin to a Barry Manilow performance, feels as if it would be ideal in any jazz club. It’s a great tune, and as one of the shortest on the record, it offers a curious but charming diversion before merging into one of Alice Cooper’s most controversial songs.

I Love The Dead is the magnum opus of Billion Dollar Babies. With tongue planted firmly in cheek, I Love The Dead will most certainly leave a lasting impression. Yes, it’s both horrifying and absurdly humorous, but it’s musically rich and theatrically encapsulates the shock value and dark humour that has defined Alice Cooper’s entire career. If nothing else, you’ll feel compelled to listen to the album again, for Billion Dollar Babies can seldom be listened to once.

Ultimately, Billion Dollar Babies captures the shock rockers at the peak of their creativity. While their other 1973 release, Muscle Of Love, is one of the finest albums the band ever recorded, it takes second place to this masterpiece, as it stands alongside Love It To Death as the very best from the original band lineup. From the shock theatrics to the biting satire, Billion Dollar Babies is as unsettling as it is irresistible, thereby making it one of the greatest albums in all of recorded music history, particularly in 1973.

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Bon Jovi – 7800º Fahrenheit (Album Review)

Released in 1985, Bon Jovi’s 7800º Fahrenheit was a pivotal moment in the band’s early career and could be seen as a make-or-break release following their self-titled debut in 1984. 7800º Fahrenheit not only solidified their sound but built upon the band’s raw talent with even higher production and songwriting capabilities that would yield the fan favourite In And Out Of Love and become a precursor to their 1986 release, the highly successful Slippery When Wet. Granted, the songs of 7800º Fahrenheit aren’t nearly as polished as that follow-up, and the band have been rather critical of this release, but if we avoid comparisons and imagine we’re back in 1985, hearing this record for the very first time, what you’ll find is a killer album that offers an essential snapshot of Bon Jovi’s growth.

As with much of their discography, the compelling album artwork would have looked superb on just about any record store shelf. However, an album can’t, and shouldn’t, be judged by its cover, but even if we were to applaud the song selection and sequencing, how does the album stand up sonically?

The good news is that the Hi-Res Lossless Apple Digital Master is exquisite and a marked improvement on the terribly loud and shrilly produced Special Edition CD from 2010. While I always wanted to turn the volume down on the CD, for it was incredibly fatiguing, the Apple Music stream presents a smoother, more rounded tonality, but one that still rocks. I find myself listening at higher volumes and still wish to turn the volume up; most likely to the chagrin of my neighbours. Ultimately, the stream is, by far, the best-sounding digital version (as I’ve yet to hear a vinyl release) of this classic album.

In And Out Of Love is one of the greatest album openers of all time. With Richie Sambora’s sharp guitar riffs and Jon Bon Jovi’s gritty vocals this hard-rocking anthem not only sets the tone for the entire record, but it’s one of the most memorable tunes from the album and is an 80s glam metal classic.

The Price Of Love is a mid-tempo rocker, but it’s Sambora’s licks that are a highlight here, as well as the backing vocals during the chorus. While those aspects are memorable, and Jon Bon Jovi’s vocal delivery is admirable, his performance just isn’t noteworthy. Perhaps it’s the mix, rather than the recording itself, for it sounds as though Jon’s vocal is recessed and all musical elements are front and centre, by comparison. Nevertheless, The Price Of Love is a killer track and a perfect album-only tune.

Only Lonely is a standout and while it may not have received the fanfare, post-release, that In And Out Of Love did, when released as the lead single it performed admirably. Yes, it may have only been a minor hit, but it foreshadowed the depth and sonic prowess of the music that would come on later albums and take the world by storm. Hence, if you’ve overlooked this classic tune, and Sambora’s killer solo, give it another shot for Only Lonely is severely underrated.

King Of The Mountain is an adrenaline-fuelled, energetic number, that embodies the spirit of 1980s arena rock. Unfortunately, most casual fans would have never heard this incredible number, so if you know a Bon Jovi fan who only knows the hits, let them know about King Of The Mountain, for it’s an exceptional tune!

Silent Night foreshadows the band’s knack for crafting timeless ballads, but this, unfortunately, falls short. It’s simply too campy and polished, as if the band and the production team were trying to reach too far.

Tokyo Road has a Japanese-inspired introduction before forging forth with a hard rock swagger. It’s a killer rock and roll number, but the introduction could be seen as either additive or distractive. Part of the problem is the song doesn’t start straight away and while there is nothing fundamentally wrong with the introduction, I don’t feel it adds anything to the song itself.

The Hardest Part Is The Night has quite the multi-layered production, and despite being a solid tune, isn’t exceptional as it gets lost in its own lush production.

Always Run To You is a fast-paced rocker with infectious energy. Sambora’s fiery guitar licks elevate the song, even though Jon’s vocals didn't quite reach the heights he was capable of.

To The Fire is 80s 101 with its stylistic production that, unfortunately, sounds dated to the era. While it may not be entirely indicative of Bon Jovi, the sense of urgency and determination, along with the catchy chorus, results in a tune that’s quite compelling. One, subsequently, can’t help but wonder what To The Fire would have sounded like minus the synthetic elements for there’s a solid rocker hidden behind the extraneous production layers.

Secret Dreams has a killer guitar introduction but it’s the overproduced nature that detracts from the song. It is, however, a solid tune but isn’t necessarily memorable or capable of encouraging the listener to reflect on the album and listen to it again. Its saving grace, however, is the highly addictive chorus and, at times, that is more than enough to close the album on a high note.

From start to finish, 7800º Fahrenheit showcases Bon Jovi in a transitional phase, balancing youthful exuberance with the desire to mature as artists in both production and songwriting capabilities. Clearly centred on what we now consider to be 80s rock clichés, 7800º Fahrenheit delivers moments of brilliance and was a critical stepping stone in their journey to global superstardom. While it may not have been their greatest release, as an album, 7800º Fahrenheit stands as one of the best releases from 1985 and is worth greater attention than it often receives.

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AC/DC – Fly On The Wall (Album Review)

Released in 1985, AC/DC’s Fly On The Wall marked a significant moment in the band’s career as it was the third album to follow their mammoth release, Back In Black (1980), and was released during a period of downturn in interest from fans the world over. Comparisons aside, Fly On The Wall was successful in its own right with sales exceeding one million units. While it’s an album that isn’t always heralded by fans as one of their best, Fly On The Wall is somewhat of a hidden gem that features their landmark hard-rocking sound via this electrifying and gritty release that is amongst the greatest hard rock albums from the 80s.

Part of the hidden appeal, considering there isn’t necessarily a standout tune on the record, is the continued high-production values for this was an era when music, especially rock music, began to shift to a more shrill tonal quality that would plague many of the era’s greatest rock and roll albums. Yet, amongst this industry shift, AC/DC never changed their styling and the result is an album that rocks as hard as any other they released. Additionally, Angus and Malcolm Young did a masterful job in the Producer’s chair, ensuring that their vision for the album came through loud and clear. It also helps that the album artwork is visually appealing with its comical design that looks as fresh today as it would have been upon release.

Sonically, as is the case with the majority of AC/DC releases, it’s a powerhouse and the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is no exception for the bombastic nature remains while every aspect is clearly presented within the chosen mix and overall mastering of the album. Brian Johnson’s vocals are raw and exceptionally detailed within the soundstage; a sonic presentation that will envelop you from the very first note to the last. One of the best examples of this can be heard on Danger; where every musical element can be heard clearly but it isn’t shrill and is so sonically pleasing that you’ll be looking to turn up the volume despite being able to enjoy the record at lower volumes.

While some will always lament the fact that AC/DC has basically played the same song over and over, decade after decade, music lovers and fans alike can be confident that AC/DC never changed their style and adopted the “new” recording styles for if they had, an album such as Fly On The Wall would have been a shrill nightmare that would have seen everyone needing to turn down the treble and boost the bass. Thankfully, that isn’t an issue here, so turn up the volume, sit back, and let’s take a look at the songs that make up this, often, overlooked, masterpiece.

Fly On The Wall kicks the album off, perfectly, with an energetic opener featuring sharp guitar riffs, bold percussive elements, and Johnson’s unmistakable growl.

Shake Your Foundations would also make it to Who Made Who, the soundtrack accompanying Stephen King’s film Maximum Overdrive. That version, however, differs slightly from this one as it was remixed and cut down slightly in runtime. As to which I feel is the stronger version, that would be this original album release for despite the remix presenting Johnson’s vocals more prominently, it pales in comparison to the original as the musical bed is somewhat recessed and the song, subsequently, doesn’t rock as hard as the Fly On The Wall original does. Propelled by a driving beat, bluesy rhythm, and sing-along chorus, it’s a wonder that Shake Your Foundations hasn’t remained more prominent within AC/DC’s back catalogue as it’s an exceptional tune.

First Blood is a mid-tempo blues rocker with duelling guitars that weave together seamlessly. It’s quintessentially AC/DC and sometimes you don’t need to forge a new path to stand out, for I’d take songs like First Blood over a shifting style any day of the week.

Danger has a brooding tempo that shows a different side of AC/DC; one that could offer a more blues-focused appeal than the hard rock styling most commonly associated with the band. However, one can understand why it wasn’t a hit amongst fans, at the time, but I have a feeling that modern audiences would be much more receptive to this mood-driven eerie number.

Sink The Pink is, arguably, the song that would appeal to most of AC/DC’s legacy fans for it combines their renowned playful attitude with an infectious groove and some hard rocking licks.

Playing With Girls is a fast-paced rocker that leans heavily into AC/DC's cheeky, tongue-in-cheek persona. While the core riff is straightforward it, combined with the song’s energy, keeps the momentum going and is a standout on this release.

Stand Up is a magnificent tune and is one of Simon Wright’s greatest drum performances with the band, having taken over that role upon Phil Rudd’s departure. In truth, Wright performed magnificently throughout the album and while his style is slightly different to Rudd’s, his appointment didn’t detract from the music at all. I’d even go as far as saying that his inclusion was an enhancement. Nevertheless, Stand Up is a raw, back-to-basics, tune that will have you coming back for more.

Hell Or High Water is a hard-hitting anthem with a relentless rhythm. AC/DC doesn’t get much better than this as Hell Or High Water will appeal to all fans of the band.

Back In Business is a killer mid-tempo rocker with a powerful riff and a driving rhythm section. Its anthemic quality adds to the album, as well as AC/DC’s incredible back catalogue, in such a way that you’ll experience an earworm as that catchy chorus will remain front and centre in your mind well after the album has concluded.

Send For The Man is an ideal closer with its heavy, blues-infused, sound, featuring a grinding riff and thunderous rhythm that ensures the record ends on a high note; one which will compel you to listen to the album again for Fly On The Wall can seldom be listened to once.

Fly On The Wall may be a polarising release within AC/DC’s discography, but it shouldn’t be as the band’s signature hard rock energy is present throughout as it accompanies the infectious riffs and anthemic choruses they’re best known for. Hence, if you’ve overlooked this release, and have never given it a proper listen, I implore you to give it another shot for you may just fall in love with the album’s raw, unfiltered, and rebellious spirit; I know I have!

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KISS – Hotter Than Hell (Album Review)

Released in 1974, KISS' second studio album, Hotter Than Hell, stands as a crucial chapter in the band's early history. Arriving just eight months after their self-titled debut, this record captures a group eager to solidify their place in the hard rock music landscape; one driven by gritty raw energy that adds layers of authenticity to the unpolished production of this classic release. It is this rawness, however, that makes Hotter Than Hell a standout within KISS’ extensive catalogue for other than their live recordings, this is as authentic as you’re ever going to get.

Throughout the years, many have been divided over the band’s comic book personas, but rather than shy away from it, as they had in the mid-80s, Hotter Than Hell, with its manga cover art styling, not only amplified this gimmick but would have certainly stood out on the shelves of any record store at the time. As the world was far less connected in 1974 than it is in the modern era, I can’t help but wonder how many KISS fans would have thought that Hotter Than Hell was a Japanese import. I likely would have been one of them as I’ve often been fond of international releases from far-off lands that I may or may not have the privilege of visiting one day. It adds a sense of mystique to one’s music collection, even in the modern hyper-connected era. Regardless, the artwork for Hotter Than Hell, much like their music, tells a uniquely compelling story; one that would set KISS apart from many of their hard rock contemporaries.

Musically, while their debut album was steeped in glam rock theatrics, hard rock, and pop-infused melodies, Hotter Than Hell leans into a slightly more aggressive, hard-edged, style that not only incorporates all that was heard via the debut but builds upon that initial release with a series of memorable tunes and some incredible musical licks. As with their debut, Hotter Than Hell failed to set the charts on fire, most likely due to its lack of radio-friendly singles, but both albums continued to lay the groundwork for their explosive breakthrough in the years to come.

Speaking of explosive, the lossless Apple Music stream does sound rather good, even with the rawer production values. Granted, Hotter Than Hell will never be anyone’s idea of sonic perfection, but unlike the ’97 remasters, the Apple Digital Master offers a solid midrange and enough low-end to please most fans. Those who may have found the older CD remaster to be a little bright in the treble range will likely find the stream to be a thoroughly more enjoyable version of the album to listen to. The harshness has been dialled back and what you’re left with is an album that rocks!

Got To Choose is a hell of a tune to open the album with for it’s an attitude-infused mid-tempo groove-focus rock masterpiece. No, it isn’t one of KISS’ most popular tunes, but if the infectious melody doesn’t get you, Ace Frehley’s exceptional blues-infused guitar licks will.

Parasite is riff heaven and between Ace Frehley’s skilled writing and Gene Simmons’ raw and aggressive vocals, Parasite is not only one of the heavier tunes KISS ever recorded, but it’s one of the greatest rock numbers from the era.

Goin' Blind slows the album’s pace with a ballad-focused tune. Simmons knocks the vocals out of the park, but interestingly his vocal presentation differs from what we normally associate with him. The variance reminds me of Steven Tyler’s vocal delivery on Aerosmith’s self-titled debut. It isn’t bad, not by any means, but it is unique.

Hotter Than Hell exudes swagger and confidence, driven by gritty, distorted riffs and a stomping rhythm section, but isn’t quite the ideal title track. It works, yes, but it isn’t a standout. Part of my love/hate relationship with the tune is the chosen tempo. While I acknowledge that it was written with Free’s All Right Now in mind, I find it’s a little too slow and would like to have seen it sped up by a few beats per minute.

Let Me Go, Rock And Roll is a fast-paced number that embodies the rock and roll spirit of the era with its relentless rhythm and infectious energy. If nothing else, the driving bassline, dynamic guitar solos, and overall mix capture the rawness of KISS’ early, yet compelling, sound.

All The Way may be an album-only tune, one that is unknown to many who haven’t listened to the album, but despite being lesser known, All The Way delivers a punchy, straightforward rock feel with an edgy guitar sound that is KISS 101.

Watchin' You has an incredible introduction, for the dense layering of guitars and a powerful rhythm section enhance the tune and ensure the intensity of the record is maintained. The musical bed alone is such a standout that Simmons need not have written or recorded lyrics for Watchin’ You could have been instrumental gold, had it been recorded with that intent. It isn’t that the vocals detract from the song, however, it’s that the musical performance is so much stronger than Simmons’ vocal delivery.

Mainline shifts the tone as Peter Criss takes over vocal duties for the first time on the album. With a Southern rock influence, the laid-back vibe is a precursor to many of KISS’ most memorable tunes and this is no exception for the chorus and overall upbeat nature of Mainline will stay with you well after the album has played its final note.

Comin' Home, while not as heavy as many of the other tracks, does circle back to the band’s melodic roots and in that regard is a hidden gem. It is, unfortunately, one of the most sonically compromised recordings from the album and even though it’s thoroughly enjoyable, it could have been so much more had more spit and polish been applied during the recording and mixing of the song.

Strange Ways is an ideal closer with its slow and heavy pace that allows Criss’ vocals to shine. It also features Ace Frehley at his very best, as the band works through the track’s sludgy and psychedelic rhythm, leaving a lasting impression; one that will compel you to play the album again or sit in contemplation of the music that you’ve just heard.

Hotter Than Hell is a gritty, raw follow-up to KISS’ debut, capturing the band at a time when they were eager to push boundaries and continue to develop their signature sound. With darker themes, heavy riffs, and unfiltered aggression, this album showcases the band’s hunger to make their mark in rock music and while the production may lack the polish of later releases, the rough edges and intensity give Hotter Than Hell a visceral, authentic energy that resonates with fans and adds to its charm. This album’s unapologetic sound and commitment to raw expression have made it a cult classic and an enduring favourite among KISS’ early works and is worthy of inclusion in any music lover’s collection.

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KISS – KISS (Self-Titled) [Album Review]

Released in 1974, KISS, the self-titled debut from the iconic rock band, marked the explosive start of their journey to superstardom. Combining hard rock with glam elements, the album introduced the raw energy and attitude that would come to define the band and despite not being an instant commercial success, KISS laid the groundwork and established their incredible legacy with this release.

That legacy was the result of a collective band effort, for KISS as we know them today, or in 1974, wouldn’t have achieved their desired outcome had each member not brought their distinctiveness to the album. From Paul Stanley’s soaring vocals to Gene Simmons’ commanding stage presence and heavy bass lines to Ace Frehley’s inventive guitar solos and Peter Criss’ powerful drumming, they crafted a raw, yet melodic, hard rock style that set them apart from their peers.

As it pertains to the lossless Apple Digital Master, available via Apple Music, it’s stunning with a bold presentation that will envelop and reward you no matter what volume you listen to the album at. Every musical element is clear and defined, yet the mastering is anything but fatiguing. There’s plenty of mid to low-end, that is in many ways a prerequisite to any hard rock album, but it isn’t overly boomy. The result is that the stream is most certainly worthy of consideration as one of the best-sounding versions of this self-titled debut for it not only sounds right, but it rocks.

Strutter opens the album with an upbeat swagger and attitude. Combining a catchy guitar riff, a confident vocal delivery by Paul Stanley, and a full-fleshed rock and roll rhythm, Strutter was the ideal song to launch the album on as it embodies the rebellious spirit of rock and roll.

Nothin' To Lose is an infectious rock tune that is both edgy and playful. However, it is far from the strongest song on this debut and other than the catchy chorus, I remain confused as to why Nothin’ To Lose was chosen as KISS’ first single as there are so many better choices such as Firehouse.

Firehouse, with its heavy mid-tempo groove and killer bass and guitar riff, is one of the very finest songs KISS ever recorded.

Cold Gin, with its riff-heavy structure and gritty lyrics, make it a quintessential KISS song and as with Firehouse would have been a far better lead single than Nothin’ To Lose. Granted, it is unlikely that these songs would have charted much better, given the era’s styling, but they’re more representative of KISS.

Let Me Know is a little more laid-back than most of the other songs from the album, and while it isn’t in tune with KISS’ hard rock styling, it’s a solid album-only rock number.

Kissin' Time, originally missing from the very first pressings of the album, was recorded and added post-release in an effort to increase the band’s exposure after the song was released as a single. Given I usually dislike changes to the original tracking of an album, particularly the inclusion of bonus tracks tacked onto the end of a record, it would be logical to suggest that Kissin' Time is out of place. However, having never heard the original sequencing, and not being willing to try (even via a streamed playlist), it’s fair to say that I’m set in my ways and Kissin' Time is official canon; from my perspective, at least. As a reworking of the 1959 original, by Bobby Rydell, it’s fantastic, but let’s all agree that it isn’t the strongest song, even if it aligns with the fun-loving persona that KISS would cultivate over the years.

Deuce is a hard rock anthem driven by a pounding rhythm and killer riff and is one of Gene Simmons’ greatest penned and sung songs. Additionally, the dual guitars of Frehley and Stanley give the song its punch, while Criss’s drumming provides a relentless backbone. Between the raw energy and attitude of this tune, it’s one of the best songs in KISS’ extensive catalogue.

Love Theme From Kiss is a killer instrumental that showcases the strength of the band’s musicianship. Granted, it’s unlikely that you’ll seek this song out on its own, but as part of the album’s structure, the laid-back groove and melodic approach offer a reflective respite from the lyrical delivery heard throughout.

100,000 Years is bass guitar heaven and is the driving force behind the song’s heavy groove. It’s also one of Criss’ best drumming performances, with some killer guitar work from Frehley, and while Stanley’s vocal performance is dynamic, it is far from his best. The result is that 100,000 Years is musically interesting but is ultimately more akin to a demo than a fully-fledged recording.

Black Diamond starts delicately, but as soon as Criss enters the mix, on vocals, the song explodes. Criss’ raspy, soulful voice, delivers the song’s emotive punch, while Frehley’s blistering guitar tracking, particularly his solo, rips through the track with ferocity. No matter which way you look at it Black Diamond is an epic closer; one that would ultimately become a fan favourite and one of the very best songs KISS ever recorded.

KISS’ self-titled debut album laid the groundwork for their eventual domination of the rock world and while it didn’t rise to the top of the charts, the album introduced their unmistakable sound—a blend of hard rock, glam, and raw energy. With numerous standout tracks, the album remains a fan favourite and an essential piece of the KISS catalogue. Showcasing the band’s early chemistry, musicianship, and commitment to theatrical, larger-than-life rock, this self-titled debut defined their career for decades to come and is a must for any hard rock fan.

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