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Alice Cooper – Muscle Of Love (Album Review On Vinyl & Apple Music)

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Alice Cooper – Muscle Of Love (Album Review On Vinyl & Apple Music)

Despite being an album focused on juvenile sexual innuendos, Muscle Of Love is one of the greatest Alice Cooper band albums ever recorded and in a way, it’s a shame that it was the last to include the original band lineup. While Bob Ezrin was noticeably absent in the Producer's chair, Jack Douglas and Jack Richardson did a wonderful job of guiding the album, while allowing creative artistry to flourish.

Yes, many of the songs on Muscle Of Love have never been part of Cooper's live set, at least for many years, but I've often found that with Alice Cooper, the best albums, songs, and performances are not necessarily the compilation filling or concert played fan favourites. Therefore, I implore you to give Muscle Of Love, as an album, a shot. I have a feeling you won't regret it.

I know I haven't regretted picking up the Friday Music vinyl re-issue from 2013. While the reissue isn't a perfect replica, sonically it is beautiful with a full analogue sound that will impress even the most hardened critic. It is said to have been mastered from the original Warner Bros. tapes by Joe Reagoso and after listening to it countless times, I have no reason to doubt Friday Music's claims. It really is that good!

The Apple Music stream is, similarly, beautiful with a mastering that is similar to the vinyl record. If there is a difference to report, it would be that the Apple Music stream sounds a little concealed by direct comparison to the vinyl release. That said, regardless of how you choose to enjoy this classic, you’re most likely going to love it. 

SIDE I

Big Apple Dreamin' (Hippo) not only has a great groove, but that psychedelic undertone is superb. I dare you to sit still, without moving a muscle, during this song, I can't do it. The guitar tracking is divine and the inclusion of the violins perfectly suits the song. Plus, that outro = extraordinary!

Never Been Sold Before is your meat and potatoes rock and roll track. I love it! Just as the addition of strings to Big Apple Dreamin' (Hippo) enhanced that song, the horn element in Never Been Sold Before is fantastic and has a similar effect. If I had one complaint, it would be that I'd like to hear a 1 to 2 decibel increase in the bass guitar.

Hard Hearted Alice is a song that slowly builds with a beautiful atmospheric introduction. This is one song where the quadraphonic mix would likely be astonishing, but the vinyl and Apple Music counterparts are no slouch with a soundstage that removes the speakers, creating a spacious sound that has to be heard to be believed.

Crazy Little Child is a fun song. I adore the piano element and I love the overall New Orleans Jazz feel. I'd love to see Cooper do an entire jazz album, even one full of standards would do. He certainly has the vocal chops for it.

SIDE II

Working Up A Sweat continues the lighthearted approach to the overall theme of the album. It's a solid song, but not one to write home about as I find Cooper’s vocals are distant in the mix, although, the music has an addictive and thoroughly enjoyable rhythm.

Muscle Of Love is a killer tune. Both the guitar intro and drum tempo are superb and I find myself playing the air guitar and drums when listening to this song. Exceptional!

Man With The Golden Gun was originally written and recorded for the associated James Bond film but was sadly never used. When you listen to the song, armed with that knowledge, you can immediately hear the James Bond undertones and one can only wonder how the Man With The Golden Gun’s introduction would have differed with this song. Nevertheless, it’s a solid addition to Muscle Of Love and I'm glad it was released and not shelved as it is quite enjoyable, even if it’s not the strongest song on the album.

Teenage Lament '74 has remained somewhat of a fan favourite and while I thoroughly enjoy the song, I feel bemused as to its popularity. I guess it just proves that I should never be asked by an artist, or record label, which songs should be released as a single or be played live.

Woman Machine is an interesting song to close the album on. Yes, it encourages me to listen to the album again and stay within Alice Cooper's extensive catalogue, but I find Woman Machine to be a little repetitive and the outro is a little too much, in my opinion, although I can see the approach the band were going for.

Overall, Muscle Of Love is exceptional and is truly one of the best Alice Cooper band albums ever recorded. 

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Alice Cooper – DaDa (Album Review On Vinyl, CD, & Apple Music)

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Alice Cooper – DaDa (Album Review On Vinyl, CD, & Apple Music)

Alice Cooper may have no recollection of writing and recording DaDa, but I consider it to be one of his greatest achievements.

While it pleases me to know Cooper emerged from this era clean and sober, one can't help but consider just how much his addictions influenced this opus. I’d never condone substance abuse, in the name of art, but it is also true to say that much of the music we have in our culture today would likely not exist should experimentation with mind-altering substances have not occurred. That said, not all of Cooper's “blackout” albums are as special as DaDa. There is something mystical here that truly defies explanation. Cooper has even previously stated that he has no idea as to the meaning of the album, only declaring that DaDa is the most frightening album he has ever made. 

From my perspective, it’s a sonic masterpiece and not foreboding at all.

What else is a sonic masterpiece is the vinyl edition that I’m fortunate to own. It’s the 2018 reissue and while mastering details are disappointingly omitted, let me assure you this is one vinyl reissue that you have to hear for yourself; it’s mind-blowingly good! 

Most modern reissues are pressed from high-resolution digital files, but this particular release sounds as though this pressing was sourced from the analogue master tape. Sonically, you’ll experience an incredibly full sound with all the analogue warmth that is associated with vinyl reproduction. Basically, it just sounds right. Plus, when you get to Pass The Gun Around on the vinyl reissue, you’ll need no mind-altering substances to have an otherworldly experience.

I’m also fortunate to have owned the 2001 German CD reissue of DaDa, but have since past it onto my son for his music collection. The CD was never what I’d consider being bad, but the 2018 vinyl reissue is significantly better. The core of the DaDa experience is most certainly present on the CD, as it is on the Apple Music stream, but it still lacks the fullness of sound that makes the vinyl reissue an experience to behold and one worthy of the time and care vinyl playback demands. If you prefer streaming, the Apple Music edition is most certainly sufficient but I’m eagerly awaiting to hear an Apple Digital Master of the album to see how it compares. Until then, I’d suggest if you’re not heading straight for the vinyl reissue, opt for the CD if at all possible as the soundstage has greater instrument separation and clarity when compared to the Apple Music stream. That is, somewhat, to be expected as the Apple Music stream is a compressed offering, but it’s still a masterpiece regardless of how you choose to enjoy it.   

From a design standpoint, the orange swirl vinyl, which admittedly looks more like a splattering, is really cool and is a value-added proposition for this collector. The exquisite cover art similarly demands a larger canvas and while the CD-sized artwork still looks excellent, and includes full liner notes and lyrics, it just isn’t the same. Adding to that, the liner notes on the rear vinyl cover do pay homage to the original pressings, as does that Warner Bros. Records label; a nice touch! While all these aspects may not matter to you, they do to me as they ensure the tactile experience is all the more rewarding. Nevertheless, it is ultimately all about the music and that is where DaDa truly shines.

Side One

DaDa is a Bob Ezrin masterpiece. Yes, Ezrin alone wrote this lead song and as the producer and engineer, the entire album certainly has his sonic fingerprint. Ezrin and Cooper are akin to Elton John and Bernie Taupin or Meat Loaf and Jim Steinman; an incredible collaborative team! 

Largely instrumental, with near incoherent spoken words, DaDa sets a sombre tone that is eerie, yet riveting to listen to. In some respects, this lead-in song is as spectacular as Funeral For A Friend / Love Lies Bleeding from Elton John’s Goodbye Yellow Brick Road. Hence, I’d have to say that DaDa is one of the greatest lead-in songs of any album ever recorded.

Enough's Enough changes the tempo quite significantly, but despite this change, it does not sound so different that one may think they’re listening to a different album. Enough's Enough is classic rock with a pop-influence. The rhythm is toe-tapping and head-bopping heaven and Dick Wagner's guitar presentation here, and throughout the album, shines. Enough’s Enough is simply a fantastic song and I find it perplexing that Cooper has never performed this, or any other song from DaDa live. What a waste!

Former Lee Warmer is epic! The musicality is beautiful, as is Cooper's vocals. I could listen to Former Lee Warmer on repeat for hours as it’s such a relaxing song.

No Man's Land picks up the pace again. While there isn't a bad song on the album, No Man's Land comes close. I say that partially because, like an earworm, it tends to play like a broken record. It’s catchy and a little campy, but it does fit DaDa perfectly.

Dyslexia starts a little slowly, but by the time the first chorus kicks in, the song begins to grow on you. It’s an interesting composition, but to be quite frank, I'm not sure if I like Dyslexia or not. Yet, I can't imagine this opus without it.

Side Two

Scarlet And Sheba is one of Cooper's greatest songs. It’s sensational rock and roll and I love the eclectic musical overture that introduces the song. You'll likely find yourself singing along, as I do. The shifting style between chorus and verse is sensational. The team of Cooper, Wagner, and Ezrin hit the ball out of the park on this song, and quite frankly the entire album. Alice Cooper doesn't get much better than this! If only he would play Scarlet And Sheba live, I’m sure it would become a fan favourite as it flows seamlessly into I Love America and that would seem like a no-brainer when touring stateside.

I Love America is campy 101 and brings a snigger to this non-American. Who knows, perhaps my American friends also find some humour in this song. It isn't bad, quite enjoyable actually, but it is unlikely to ever become an anthem. It’s no Lost In America or Born In The U.S.A., but I still love it!

Fresh Blood is seriously groovy with a rock/jazz feel that is most certainly locked into the 80s sound. They don't make music like this anymore and that's okay as the nostalgic element is extremely satisfying. Nevertheless, it also has a dance/disco feel to it, not unlike many of the songs found on Elton John's excellent Victim Of Love.

Pass The Gun Around takes a while to get going. So long, in fact, that upon the first couple of listens you may think DaDa has come to an end. It’s likely done to separate the varied styles between this song and Fresh Blood. Nevertheless, once the song starts, you’ll be met with an astounding song that simply blows my mind every time I hear it. It is psychotic, yet relatable. The only other song I can think of that has such an effect on my psyche is the Guns N' Roses song Coma. The haunting chorus and overall musicality is magical as it connects with the pleasure centres of the brain. Yes, the song is slightly disturbing, and perhaps it takes a slightly disturbed mind to enjoy it, but it is sensationally hypnotic and makes me want to listen to this entire masterpiece again and again. Although, that inferred bullet shot always shocks me, despite knowing it’s coming. I think that is part of the appeal of the song as it not only brings ultimate meaning to the song but breaks the hypnotic hold it has on you.

While I’ve always been captivated by Alice Cooper and consider his body of work to be amongst some of the very best in recorded music history, DaDa is exceptional. It’s an album I can't live without and I dare say people will be dissecting this record forever, trying to figure out exactly what it’s about and what was going through Cooper’s head at the time. Well, I say good luck to them as Cooper, himself, has no idea and I'm equally naïve. I just know I love DaDa and if I could only have one Alice Cooper album, it would most likely be this one.

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AC/DC – Ballbreaker (Album Review On Vinyl, CD, and Apple Music)

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AC/DC – Ballbreaker (Album Review On Vinyl, CD, and Apple Music)

AC/DC first appeared on my radar when the band released The Razors Edge in 1990. At the time, a friend of mine was a walking encyclopedia on everything AC/DC and he quickly convinced me that they were the band! It is a proud parenting moment to acknowledge that this admiration and influence has now been bestowed on my son and he tells all who will listen about the greatest rock and roll band in the world: Acca Dacca.

While it would be close to a decade before I owned a copy of The Razors Edge, I did pick up the second single, Hail Caesar, from their 1995 release Ballbreaker. The Hail Caesar CD single also featured Ballbreaker’s B-side Whiskey On The Rocks and a live performance of Whole Lotta Rosie from their European tour in 1991. Both songs were excellent additions to the single. The version of Whole Lotta Rosie was labelled as a previously unreleased recording, hence not part of the 1992 Live album. Thus, collectors would be advised to grab a copy of the single to secure this recording.

However, it is fair to say that the AC/DC fan base didn’t lose their collective minds when Ballbreaker was released. While nothing could topple the success of Back In Black and The Razors Edge, Ballbreaker had modest sales success and is often viewed in the same category as Flick Of The Switch and Fly On The Wall; valued and essential interim albums, but not their most adored. Subjectively, I have found that I am often drawn to the less successful albums in their catalogue. 

Alongside the Hail Caesar CD single, I picked up this masterpiece on cassette. At the time, my Sony Cassette Walkman (WM-FX507) was a constant companion and while I could have created a mixtape, I preferred to collect the retail releases of cassette albums as the liner notes were often redesigned and unique when compared to the LP or CD counterpart. Thankfully, the Ballbreaker cassette was not a disappointment as the comic-based graphic design, was reimagined throughout the foldout liner notes and was simply gorgeous. This is one aspect that I truly miss in the modern era and while the vinyl revival has brought album artwork back to the forefront of the music listening experience, the unique presentation of the compact cassette, when done properly, is sorely missed. Now, if we can only get liner notes on all streaming services and digital stores I would be happy. 

While I am aware that the Apple Digital Master edition of Ballbreaker contains an iTunes LP, the iTunes LP feature is still restricted to playback on a Mac or PC and is no longer being supported, for new releases, by Apple. A shame considering the concept bridges the gap between the tactile physical release and the digital equivalent thereby allowing everyone to have a similar experience. I honestly have never understood how Apple could not have implemented iTunes LP in devices such as the iPhone, iPad, or Apple TV thereby creating a seamless experience as they do with films. In my opinion, it is a missed opportunity and would have set iTunes and Apple Music apart from the competition. Regardless, at least you can still purchase the AC/DC releases in iTunes LP but be wary as one must question just how long these releases will continue to be supported on the Mac and PC. 

Speaking of LP-sized artwork, the 2014 vinyl re-issue of Ballbreaker is spectacular to hold, although the lyrics that were present with the original Vinyl, CD, and Cassette release are missing from both the LP liner notes and the 2004 CD reissue. One could argue that the write-up and reflection are better suited in retrospect, but I know many who would lament the absence of lyrics. I do, however, enjoy the newer liner notes and the series of live photographs and graphic illustrations from the original release but it would have been great if the liner notes in these reissues had been further expanded to include the lyrics.

What has remained the same, however, is the Ballbreaker cover; one of AC/DC’s best and most striking. That said, Stiff Upper Lip is my all-time favourite. While the rear cover is bland, it serves a purpose and does not include anything that doesn’t need to be there. Plus, my ageing eyesight is grateful for the larger typeface as so many releases choose the smallest possible fonts for seemingly no good reason, other than design aspects, when it comes to the track listing and liner notes in general. 

While I have never owned the original vinyl releases of AC/DC’s catalogue, the remastered reissues, mastered at Sterling Sound by George Marino and Ryan Smith are a true gift to AC/DC fans. The pressing is silent and is one of the better rock and roll re-issues with deep bass lines, clear vocals, and a guitar track so pure that you would swear the band was in the room with you. Yes, dear reader, that experience also translates to the CD and Apple Music counterparts. Other than the analogue warmth, you’re getting exactly the same sonic presentation across all formats. Yes, the vinyl edition increases the dynamic range but let’s be honest, this is AC/DC and as long as you can rock out and turn the volume to 11 then the dynamic range is of little importance. In my experience, the digital editions that are technically in the red sound as good, if not better, than the more dynamic vinyl reproduction. That may seem to be a counterintuitive argument as brickwalling can kill a good record, but this isn’t brickwalling in the traditional sense as you’re not missing out on any sonic elements. The hi-hats shimmer, the bass is where it needs to be, and Brian Johnson’s vocal is clearer and cleaner than ever. 

Long time readers would note my love of vinyl, but if you get a chance, don’t ignore the CD counterpart for it is really something special. For those of you that prefer to stream their music, the good news is you’ll thoroughly enjoy a near-transparent to the CD reproduction via the Apple Music stream as this is an Apple Digital Master done right. 

Hard As A Rock is, without a doubt, one of the best tracks to start any rock and roll album on. It sets the tone immediately with AC/DC’s renowned sound signature and innuendo-filled lyrics. The rhythmic blues-infused rock and roll sound is addictive and while many naysayers will complain that AC/DC plagiarises their own work, at least you know what you’re going to get.

Cover You In Oil has an incredible slower tempo that I adore and feel it is a precursor to the styling on Stiff Upper Lip; one of AC/DC’s best albums in my opinion. 

The Furor has a killer guitar intro that builds into an epic song. However, I feel Brian’s lyrical delivery is strained and his magic is subsequently missing on this song. It could also be the mix, but it just doesn’t sound right to me.

Boogie Man is groovy!  

The Honey Roll offers the perfect mix of rock and roll and blues. Every element, from the rhythm section to the lead guitar and vocals is textbook perfect. It doesn’t get much better than this.

Burnin’ Alive simply doesn’t resonate with me in its current position on the album. While I won’t stop the record prematurely, or skip the song, it is distracting. It isn’t fundamentally bad, just poorly tracked. 

Hail Caesar is, arguably, the reason I’m an AC/DC fan. The song subsequently holds a very special place in my heart. It’s also one of their hardest hitting songs on the album and one that could make a stadium audience sing in unison. Angus’ guitar solo is off the charts and Brian’s vocals are also perfect insofar as I can understand the words he’s singing, outside of the chorus. While he doesn’t slur his words, I have found that his vocal clarity can get lost in the music as a result of his natural growl. 

Love Bomb reminds me of the 80s hair metal scene. The song is great, but the association is a little disconcerting.

Caught With Your Pants Down is classic AC/DC.  

Whiskey On The Rocks is a favourite of mine, most likely due to the excessive number of times it was played on the Hail Caesar single. Isn’t it amazing how songs can grow on you if you listen to them enough? That said, listening to a song too often can make you hate a perfectly good song as well. In retrospect, perhaps that is why I have formed a love/hate relationship with Whole Lotta Rosie, yet in a cruel dichotomy, I never tire of Thunderstruck.  

Ballbreaker closes out the album with a song that has ‘stadium anthem’ written all over it. As all closing tracks should, it encourages me to listen to the album again and stay within AC/DC’s extensive catalogue.

While Rick Rubin is likely responsible for the raw sound found throughout Ballbreaker, it’s fantastic to have an AC/DC album that truly highlights the building blocks of rock and roll music; the blues. While AC/DC explored this sound further, without Rubin, on the Stiff Upper Lip album, it is a style that I subjectively appreciate and one that highlights the musical influences and origins of one of the greatest rock and roll bands the world has ever seen.

My only disappointment with Ballbreaker is that Big Gun (also Rubin produced) wasn’t included on the album as it was only recorded and released the year before. It is one of my all-time favourite AC/DC songs, and while I acknowledge that it was written and recorded for the Last Action Hero soundtrack, it would have made a perfect addition to Ballbreaker. Big Gun is another stadium-filling song that deserves to be turned up to 11.

While Ballbreaker may not be the first album fans go to when they think of AC/DC, it is an exceptional addition to their catalogue and one that should never be overlooked. As controversial as this may be, I’d take Ballbreaker over Back In Black any day of the week. 

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AC/DC – '74 Jailbreak (EP Review On Vinyl, Apple Music, and TIDAL Hi-Fi)

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AC/DC – '74 Jailbreak (EP Review On Vinyl, Apple Music, and TIDAL Hi-Fi)

Few EP releases are as strong as AC/DC's '74 Jailbreak. In many respects, one could call this release a mini-greatest hits had it not been for the fact that the included songs were largely unavailable to music lovers outside of Australia. Released in 1984, US audiences were able, for the first time, to conveniently hear five exceptional tracks that were never released in their region during the 70s. While it is difficult to comprehend a fan's joy upon first hearing this release, one only has to spin the record and turn the volume up to hear just how polished AC/DC was in those early years. It is an experience that must be heard to be believed. 

Without a B-side to be found, '74 Jailbreak is one of the greatest AC/DC releases and should be in every fan's collection. Yes, the EP is short but that isn't necessarily a bad thing, especially if you opt to listen via CD or streaming services. From my experience, the Apple Digital Master, available via Apple Music, is the gold standard when it comes to streaming and while TIDAL Hi-Fi delivers the CD-quality counterpart, from the same mastering sessions, the TIDAL Hi-Fi version isn’t any better than the edition presented on Apple Music and subsequently, in this case, I prefer the Apple Music edition as it takes up less storage when using offline play as well as being more accomodating for those of us with restrictive cellular data allowances. That said, you can rest assured that regardless of how you choose to stream ’74 Jailbreak, you’ll be hearing the very best sound that streaming has to offer.

When at home, however, I’m fortunate enough to own the 2003 vinyl reissue and to say it’s spectacular is an understatement. Vinyl rarely sounds better than this, although I don't feel that way about all the AC/DC reissues from 2003 as the inner-groove distortion on the Back In Black reissue is infuriating. Nevertheless, '74 Jailbreak has an incredible soundstage with a perfect mix that ensures the bass and drum beats remain prominent, but never overpowering. Similarly, Bon Scott's vocals have never sounded better and each percussive element is crystal clear. If you’re a vinyl fan, this is one record you should add to your wish list, and your collection, as I know you won’t be disappointed. 

Side One 

Jailbreak may not be the first song fans gravitate towards but it’s an exceptional song that has been featured in AC/DC’s live performances for decades; even if it does appear a little self-indulgent when performed live. This studio recording, however, is the perfect opener for ’74 Jailbreak as it sets the tone for what is to come and never disappoints. 

You Ain't Got A Hold On Me has an incredible rhythm, although, I’ve always thought that Scott's vocal sounds a little too thin and forward in the mix. Interestingly, you may notice when listening to Brian Johnson-era recordings, by comparison, his vocals were always mixed in a more central position in relation to the music, whereas Scott's tend to stand out in the mix. It is a minor difference, but a noticeable anomaly.

Show Business is blues-rock 101. I love it!

Side Two

Soul Stripper is a layered and complex wonderland that presents listeners with a massive soundstage. The entrance, albeit lengthy, never gets dull and Scott's vocal entry and presence in the song is nothing short of perfection.

Baby, Please Don't Go is an incredible cover that I’ve always enjoyed. Is it the best version, however? Well, that is, of course, subjective but I can only reiterate that the Aerosmith rendition is just as good and that if you want the purist recording of this song, you should check out Big Joe Williams' 1935 recording. Nevertheless, Baby, Please Don’t Go is the perfect way to close the EP, extraordinary!

From start to finish, '74 Jailbreak is an exceptional collection of blues-based rock and roll songs that are timeless and will remain part of the social consciousness for generations to come.

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Velvet Revolver – Contraband (Album Review)

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Velvet Revolver – Contraband (Album Review)

As a lifelong Guns N’ Roses fan, Velvet Revolver appeared to be the natural transition following the dissolution of the original Guns N’ Roses lineup in the late 90s and while one shouldn’t compare the all-star lineup of Velvet Revolver, their songs are, for the most part, hard-hitting garage rock tunes that don’t break new ground but are a worthy addition to the rock and roll genre. That is if you can get over the crushed soundstage that is just grinding and at times intolerable. 

Yes, dear reader, Velvet Revolver’s Contraband sounds like crap. It isn’t the performance, but the chosen recording style, mix and mastering. Loudness was thoroughly applied resulting in a massively compressed soundstage that comes across as noise, rather than a musical masterpiece. Even the ballad, Fall To Pieces is a noisy mess that lacks the definition and subtleties that are heard on basically every Guns N’ Roses album. Seriously, November Rain, Estranged, and Don’t Cry would have been absolute failures if they were mastered this badly. I simply can’t understand why musicians with such credibility would have allowed their music to be released in this manner. 

To say Contraband needs a remaster is an understatement. Those of you who have been longtime readers of Subjective Sounds would likely be surprised at that statement but this is one album whereby the original release is arguably worse than the worst remaster I’ve ever come across. Yes, it is that bad. The current CD/Apple Music master is headache-inducing and while I love the performance and songs, I seldom listen to it because it is a sonic mess. I acknowledge that the vinyl release for Contraband is more dynamic but one can likely understand my scepticism given the dismal mastering quality of the digital release doesn’t exactly exude confidence in this music lover; especially when reviews have been mixed. 

Unfortunately, when listening to the album I find that Matt Sorum’s drum performance is completely lost in the mix while Duff McKagan’s bass is only occasionally heard as a separate instrument. Thankfully, Slash is always loud and clear, but that is no surprise. Dave Kushner maintains the rhythm and Scott Weiland sang his ass off, yet there isn’t a standout element to be heard on Contraband. It is as if egos got the better of the musicians and each musician turned their performance up to eleven, thereby masking everyone else’s contribution. A shame, yes, but it’s just something us fans have to live with. 

Sucker Train Blues is a promising start to the album, but the song is a sucker once it gets past its introduction. It is pure rock and roll but is the first of many examples of over-compression that takes away from the performance. Seriously, how distant is Sorum’s drumming on this track? It sounds like he isn’t even in the same studio and those cymbal crunches are just too crunchy with no decay present.  

Do It For The Kids is “R&FNR” and is thoroughly enjoyable. 

Big Machine is where, for me, Contraband begins. I would have loved to have this as the lead song with Sucker Train Blues and Do It For The Kids slotted into other positions in the tracking of the record. Nevertheless, Big Machine is a song that I love and one that everyone can relate to. 

Illegal I Song suffers badly from the applied loudness, a shame considering it could have been significantly different. The mastering limitations here is what I call headache-inducing. It is, unfortunately, a song that I tend to skip. 

Spectacle is a solid rock and roll tune. Nothing to write home about, but enjoyable nonetheless. 

Fall To Pieces is a favourite of mine. I’d even go as far as calling it a masterpiece. While the story-arc is derived from Weiland’s battle with heroin and the impact it had on his wife, I believe that it’s a song that any of us can apply to various aspects of our lives as we’ve all had moments when we’ve fallen down and feel as though we’re falling to pieces. Fall To Pieces is also one of the tracks that don’t sound too bad given the heavy-handed loud mastering. I’d still like it to be more open and enveloping, but I love it anyway. A great song!

Headspace has a killer rhythm and is a great rock and roll tune. I love it!

Superhuman has the best guitar riff on the album. Brilliant! Similar to Headspace, the rhythm on Superhuman is off-the-charts. 

Set Me Free is a bit of a mixed bag. It isn’t a bad song, but I don’t feel the chorus works, thereby making it somewhat lacklustre. 

You Got No Right is a great song with a vocal styling that reminds me of Julian Lennon. In fact, I’d love to hear Lennon cover You Got No Right. Slash’s solo on this recording, while not revolutionary, is signature Slash and this fan thoroughly enjoys it. 

Slither is, of course, Velvet Revolver’s trademark song and is bloody awesome with a mix and rhythm that is just right. The crunching cymbals persist, however, but little elements like that can be addressed should a remastering ever be undertaken. Additionally, Slither also won the Grammy award for Best Hard Rock Performance in 2005. 

Dirty Little Thing is a bit of a letdown after Slither. It isn’t great. A B-side at best. 

Loving The Alien is an incredible song to close the album on that encourages me to play it again and stay within Velvet Revolver’s small, but compelling, catalogue of music. Loving The Alien is one song where a remastering would send it skyrocketing to new heights as it is one of the best songs Velvet Revolver recorded. 

Overall, Contraband is a sonic disaster but the songs are its redeeming quality. I look forward to the day when the album is reissued and remastered with kid gloves for I believe it deserves to be revisited and hopefully that will occur sooner, rather than later. 

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Alter Bridge – III (Album Review)

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Alter Bridge – III (Album Review)

III is where I came in and thanks to Myles Kennedy’s collaboration with Slash on Back From Cali and Starlight, from Slash's eponymous solo debut, I became an immediate fan of Kennedy’s vocal style that would then lead me to become a fan of Alter Bridge. I’ve no doubt some fans may lament Kennedy’s extracurricular activities with Slash, but without it, I may not have found Alter Bridge.

Released in 2010, III remains my favourite Alter Bridge album to date and while I thoroughly enjoy their fourth album, Fortress, I find it isn’t nearly as tight as III as it feels as though it is a collection of songs rather than a uniformed album. Whereas III doesn’t suffer that same fate. It is surprising then to acknowledge that I have Fortress on vinyl but not III. Insane, I know, but what can you do. Well, I could always pick up the stunning 2019 Music On Vinyl reissue, couldn’t I?. 

In the meantime, however, Apple Music will have to suffice and while it isn’t delivered as an Apple Digital Master, and subsequently suffers from the same brickwalling as the CD release, III remains sonically beautiful with a soundstage that while shallow in places, is well defined and has an intimate feel. Given the chosen mastering, I find it is less fatiguing when listening on headphones rather than speakers and that is most probably the best reason to consider the vinyl reissue as the dynamic range on that particular release is reportedly almost twice that of the digital counterpart.

Slip To The Void sets the tone for the entire album and is, in my opinion, a stunning opening track that is atmospheric and involving for the listener, ensuring this is not a passive listening experience. 

Isolation takes the album up a notch but going from the more open sound of Slip To The Void, Isolation is, by comparison, the song which showcases the most brickwalling; listen to those cymbal crunches throughout. It’s a shame and does initially detract from the song and the overall album experience, but the mind settles down after a while and I hope this is one element that is fixed on the vinyl reissue because it’s about the only major complaint I have when listening to III.

Ghost Of Days Gone By is arguably softer, particularly in the beginning, in tone when compared to Alter Bridge’s usual styling, but it works so well and not only is the entire band capable of such an undertaking, but Kennedy’s vocal is perfectly suited to the Ghost Of Days Gone By and in one respect it could be suggested that this is one of the greatest songs ever sung by Kennedy.

All Hope Is Gone is spectacular!

Still Remains has a killer tribal beat and rhythm feel to it. It reminds me of Mike Wengren’s (Disturbed) drumming and Zakk Wylde’s (Black Label Society) guitar styling; both of whom I thoroughly enjoy so that comment is one of admiration and other than some cymbal crunching, Still Remains is exceptional.  

Make It Right is a solid tune, works well as part of the album, but it isn’t a song I would seek out on its own and I feel it is the weakest of the 14 songs included on III. I find Kennedy’s vocal here isn’t the greatest, it sounds a little whiny, and the overall musicality is, in my opinion, far below the skillset of Alter Bridge during the III era. 

Wonderful Life is beautiful!

I Know It Hurts is the toe-tapping, head-bopping, rock tune that is perfectly suited to follow Wonderful Life. It’s a great song, one of the best on the album, but that could be said of so many songs on III. Alter Bridge really set the bar high with III and while your opinion may differ, dear reader, I’m not sure they’ll ever beat it.

Show Me A Sign will encourage you to get your air guitar out, close your eyes, and strum along. Another great song in an album that simply doesn’t let up. 

Fallout is a mixing masterpiece, thank you Brian Sperber, and is one of my absolute favourite Alter Bridge songs.

Breathe Again really highlights Kennedy’s vocal pitch capabilities and that guitar track is simply gorgeous. If you haven’t already, I’d recommend turning the volume up on this track, especially in the second half of the song as it rocks.

Coeur D’Alene is a song I have mixed feelings about. I find my mind is distracted when I listen to it. When I think about it further, I think it is a disconnect between the verses and the chorus that throws me. It is as if the bridge isn’t allowing for a seamless transition.

Life Must Go On is incredible. I love it!

Words Darker Than Their Wings is a solid song to close the album on, but part of me wishes that Words Darker Than Their Wings could have been tracked before Life Must Go On as I feel the latter would have been a stronger song to close the album with. Regardless, I feel compelled to listen to III again and as I did while writing this review, I progressed through Alter Bridge’s catalogue of music. 

Overall, III is nothing short of extraordinary. It isn’t only my favourite Alter Bridge album, but I’d argue that it is one of the greatest rock and roll albums of the modern era and will, with time, become a classic record.

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AC/DC – Blow Up Your Video (Album Review)

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AC/DC – Blow Up Your Video (Album Review)

Released in 1988, Blow Up Your Video was the perfect bookend to Back In Black as AC/DC’s other 80s releases were less than stellar, even though there are many hidden gems to be enjoyed. Nevertheless, Blow Up Your Video is often unfairly overlooked. The blues-based rock that is exhibited here is on par with the ultra-bluesy Stiff Upper Lip; an album I adore and consider to be their greatest release. 

For a number of years now, I’ve been fortunate enough to own the 2003 vinyl re-issue of Blow Up Your Video; this particular mastering is the one that is still in production and George Marino and his team at Sterling Sound did a wonderful job on not only this remaster but the entire AC/DC catalogue. The pressing has little to no surface noise to speak of and is presented in a high quality outer and inner sleeve. The inner sleeve, in particular, is a cornucopia of information, penned by Alan Di Perna – a legend in his own right, relating to the period and recording of the album, a value-added addition that will likely be of interest to any fan. 

From a sonic perspective, these 2003 vinyl reissues are perfect and given vinyl was well in recession at the time, it is remarkable that these were even considered, let alone produced as beautifully as they are. While AC/DC is most certainly suited to playing on loudspeakers, trust me when I suggest that you listen to these records via headphones as the music locked within the grooves really comes to life and gives you an even greater appreciation of AC/DC and their production quality.

If you prefer streaming, the Apple Digital Master, as available below via Apple Music, sounds exquisite and I believe is taken from the same mastering sessions as the 2003 vinyl re-issues. Certainly, from my point-of-view, there is no difference to note other than the natural analogue warmth that is a byproduct of vinyl reproduction. That isn’t to suggest that the Apple Music edition is shrill or digital sounding, but there is a difference between the formats and you may prefer one over the other.

Side One

Heatseeker is AC/DC 101 and is a great opener. I particularly enjoy the studio background noise introduction and it has a rawness to it that ultimately complements the song and makes you feel, as the listener, that you’re in the studio with the band. Heatseeker also, as so many AC/DC songs do, has a killer rhythm. 

The music video is brilliant but the heat seeker scenes are hilarious as is Angus’ entrance. It has equally stood the test of time and yet has aged in those aforementioned ‘special effect’ scenes. Regardless, it is fun and you should check it out if you get a chance. 

That’s The Way I Wanna Rock N Roll has a fantastic drum recording. Simon Wright gets ignored far too much in AC/DC’s history, in my opinion, but as far as I’m concerned he locked in and mastered this performance. 

The music video applied the same mix of live vs storytelling as seen in Heatseeker and truth-be-told the live performance was strong enough and would have been adequate. Of course, if we look at the late 80s, via a lens of nostalgia, the music video at the time would have been very well received even if the additional storytelling components now seem to be a little superfluous. 

Meanstreak has a killer riff. One of their best? Hell yeah! Its also got plenty of the blues influence that I love and without a doubt is one of their greatest recordings that doesn’t get the respect it deserves.  

Go Zone has a really solid and controlled bass element that I appreciate. Go Zone is a great song with an albeit short, but pleasurable guitar solo. Yes, it may be a meat and potatoes rock and roll track, but it’s some of the best meat and potatoes rock that you’ll ever enjoy. 

Kissin’ Dynamite is pure gold. How is Kissin’ Dynamite not more prominent in AC/DC’s back catalogue? It is one of their best recordings and I don’t know about you dear reader, but I get tired of ‘how good Back In Black is’. Yeah, it’s good but if that’s all you listen to, you’ve stymied your musical growth. Seriously, turn Kissin’ Dynamite up, blow your eardrums out and piss the neighbours off, you can thank me later.

Side Two

Nick Of Time is a hard-hitting rock tune and is the perfect opener for the second side of the album.

Some Sin For Nuthin’ slows things down a little with a rhythmically charged song that isn’t anything to write home about, but would be sorely missed if it wasn’t included on Blow Up Your Video.

Ruff Stuff is creamy blues-based rock and roll goodness. Absolutely, brilliant! 

Two’s Up is one of the greatest songs on the album. That rhythm is off-the-charts and Two’s Up really doesn’t get the recognition it deserves. 

This Means War has intermingling rhythms that make for an interesting listen. It doesn’t sound disjointed, as it was recorded, mixed, and mastered perfectly, but you really need to pick a groove to get the most out of This Means War. It’s a fantastic way to close out Blow Up Your Video and ensures I’ll be spinning the album again. 

Overall, Blow Up Your Video is severely underrated when it comes to the post Back In Black 80s records, but it shouldn’t be for The Razor’s Edge was just around the corner and Blow Up Your Video is the logical precursor to that masterpiece. My suggestion for what it’s worth is to put away the common albums and songs and expand into the lesser know masterpieces that will fill you with the joy and excitement that you had when you first discovered AC/DC. I’m sure you won’t regret it!

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