Viewing entries in
Hard Rock

AC/DC – Highway To Hell (Album Review)

AC/DC – Highway To Hell (Album Review)

Released in 1979, Highway To Hell would be the last album to feature Bon Scott on vocals and while some continue to lament Brian Johnson’s inclusion on Back In Black, and forever onwards, there is little doubt that Highway To Hell is the perfect closing chapter for Scott. Still, one can only imagine where he could have taken his vocal prowess after this groundbreaking performance that was the greatest AC/DC recording up to that point. Of course, albums such as Dirty Deeds Done Dirt Cheap and Let There Be Rock should not be overlooked, from the Bon Scott era, but other than High Voltage, no other Bon Scott AC/DC release is as coherent as Highway To Hell. It is a blues-based rock and roll masterpiece; an overused expression, granted, but when music is this good it demands that declaration.

Listening to Highway To Hell, it becomes immediately apparent that Scott and the band were at a musical apex. Having long refined their sonic chops, Highway To Hell marked a significant difference in how AC/DC recorded music for it was to be their first album without George Young or Harry Vanda in the production seat. The result is a more polished album, with a laser focus on great riffs, rhythm, and catchy vocals. Yes, these had long been AC/DC trademarks but Mutt Lange rounded out the edges, ironed out the creases, and produced an album that would have mainstream appeal. That isn’t to suggest that Young or Vanda weren’t sorely missed, by the band and fans alike, but the shift ensured AC/DC was ready for superstardom; a shift that would ultimately make them the greatest and most popular hard rock band in the world. The combination worked so well that Lange would go on to produce Back In Black and For Those About To Rock We Salute You; the former of which was an astonishing comeback following Scott’s death.

Of course, the production values and performance of the band would have been for nil if the sonic qualities weren’t exceptional and in this case, Highway To Hell is one of AC/DC’s greatest-sounding releases. Every musical element is perfectly positioned in the mix and there’s just enough low-end and treble reach that ensures the album has a full and immersive sound that can be appreciated at both lower and ear bleeding levels. While some may suggest that this is the AC/DC house sound, and I don’t necessarily disagree, the spit and polish applied to the songs ensured that it stands out from their earlier albums and most other hard rock albums of the era, many of which have a thinner sound that simply isn’t compelling to many rock and roll fans.

As fans would no doubt agree, there really isn’t a bad way to experience Highway To Hell and I’m fortunate to own the 2003 vinyl reissue which is nothing short of spectacular. From the reproduced and expanded artwork liner notes to the pressing itself, if you’re a fan of AC/DC, you need to add a copy to your collection. Thankfully, this remaster was done with kid gloves and while I haven’t listened to every release available, this particular re-issue is about as perfect as the album will ever sound. Naturally, some may be wondering how it compares to the (Hi-Res) Lossless Apple Digital Master and what I can say is that, without a doubt, I prefer the vinyl edition for its darker sonic presentation compared to the flatter sound via the Apple Music stream. Of course, if you tweak the EQ of the stream, a little, the difference is negligible. That said, with a song such as Walk All Over You, Phil Rudd’s drumming in both the introduction and throughout the song sounds more three-dimensional on the vinyl reissue than it does on the streaming counterpart. It’s a minor difference, but one that you’ll notice should you compare the two. It is then personal preference as to which reproduction you prefer over the other.

Highway To Hell is one of the greatest openers of all time. Both the riff and rhythm are infectious, setting the tone for the entire album, while compelling you to turn the volume up. Angus’ solo is also exceptional, although, even though it would have been nice if it had been longer, it’s also the perfect length. Sadly, however, Highway To Hell would forever be altered in the perception of fans following Scott’s death. Originally written as a reference point to the excessive demands of touring, following Scott’s death, Highway To Hell would become a song that was more about personal excesses than the demands of a rock and roll band. Of course, it’s also fair to say that personal excesses are often a byproduct of fame so the two do go hand in hand.

Girls Got Rhythm is rhythmic magic; pun intended! Seriously, the flow from Highway To Hell to Girls Got Rhythm is seamless, indicating just how similar all AC/DC songs are, but that’s a positive element as you know exactly what you’re going to get.

Walk All Over You temporarily slows the tempo and as I mentioned earlier has some exquisite drumming. Love or loathe him, Phil Rudd executed his position as drummer perfectly. That said, I’ve always preferred the looseness of Chris Slade as Rudd can be a little accurate, from a timing perspective, thereby introducing a click-track style backbeat. Walk All Over You as a song, however, is solid but isn’t anything to get excited about. It’s mainly the droning backing vocal in the chorus that grates me, thereby reducing the song’s appeal.

Touch Too Much is a killer tune; its demo…not so much! Yes, there are a few chords that remain but Touch Too Much, as re-recorded for Highway To Hell, is far superior. While I acknowledge that fans often want to have access to early or varied recordings of the music they love, this is one example whereby I feel justified in overlooking bonus non-album tracks for they’re seldom worthy of listening to.

Beating Around The Bush has a recognisable riff; check out Fleetwood Mac’s Oh Well, Pt. 1 and you’ll see what I mean. Regardless, it gives you a greater appreciation for the too often overlooked original lineup and style of Peter Green’s Fleetwood Mac; less radio-friendly but killer blues-based rock and rollers in their own right. Still, it amazes me that Fleetwood Mac never sued AC/DC, especially considering liner notes claim all songs, and this one, in particular, was written by Angus Young, Malcolm Young, and Bon Scott. Of course, if I ever wrote a killer lick and AC/DC decided to cover it, I’d be honoured, so there is always that possibility.

Shot Down In Flames is a killer blues hard rock tune.

Get It Hot continues the blues rhythm, executing it even more satisfyingly than on Shot Down In Flames. Again, many will point to AC/DC simply recording the same song over and over again, with slight shifts, and to that end, I’m grateful for Highway To Hell is a fluid album experience that warrants inclusion on every best albums list of 1979.

If You Want Blood (You’ve Got It) may have been lifted from the title of their live recording in 1978, but who can argue with that, for the title is incredible. As for the song itself, it’s killer!

Love Hungry Man is AC/DC’s answer to the simultaneously loved and hated ballad. Look, it’s got a killer groove, but it’s about as corny as you can get.

Night Prowler has forever been associated with Richard Ramirez’s serial killings but I do not believe that music can force you to become someone you’re not. I strongly believe in music as an art form and I’d further suggest that almost any aspect of art can be taken too literally. The problem is when an unbalanced individual takes suggestive interpretation to be gospel; then you’ve got a real problem! Of course, such associations are disappointing because it shifts the relationship to the music itself, even if we try to disassociate the two highly circumstantial elements. The problem is that once you’ve been made aware of it, it remains difficult to ignore it when the song comes on or when we discuss it with others. Regardless, it is imperative that we try for Night Prowler is musically one of the best songs that AC/DC ever recorded. Angus’ licks are off-the-charts and Scott’s growl and the backing vocal are about the best harmony-driven style you can imagine for a band of hard rockers.

As the closing song, Night Prowler is hard to beat and certainly encourages me to listen to the album again, with one exception. Scott’s spoken word outro drives me nuts as it wasn’t needed and is, for some reason, much more pronounced on the vinyl reissue than it is on the associated Apple Music stream; an oddity of mastering for the format, no doubt!

Overall, Highway To Hell is one of the hardest rocking albums of the 70s and is certainly the best Bon Scott performance we were ever fortunate to have heard. To say he went out on top is an understatement. While the band would continue without Scott, his legacy lives on through these recordings and while Johnson would adopt a slightly different vocal style, his was complementary to Scott’s thereby ensuring the former frontman has never been forgotten.

Aerosmith – Get Your Wings (Album Review)

1 Comment

Aerosmith – Get Your Wings (Album Review)

The rawness is gone. So is Steven Tyler’s faux vocal style. Instead, Aerosmith’s Get Your Wings, their 1974 sophomore release, focuses on a more polished production with vocal licks from Tyler that are arguably some of his greatest. Unlike many, I never disliked Tyler’s vocal delivery on the eponymous debut for that album is 100% Aerosmith, but even I have to admit that his natural singing voice, as we heard on Dream On, is far more appealing, thereby making Get Your Wings a stellar release that would further refine the band’s unique sound and style. 

It wasn’t just the band that would refine their sound and be truer to themselves, for Jack Douglas’ role as Producer, and overall collaborator, really positions him as the sixth member of Aerosmith; certainly throughout the 70s. From an observer’s standpoint, I wouldn’t suggest that Adrian Barber did a poor job producing their eponymous debut, but it is fair to say that he didn’t quite capture their sound; Dream On being the exception. Nevertheless, Douglas would guide Aerosmith through their classic era until tensions and substance abuse, during the recording of Night In The Ruts, meant he was no longer in control and Columbia Records ultimately decided to replace him with Gary Lyons; not a bad choice by any means but Douglas was as important to Aerosmith as Bob Ezrin was to Alice Cooper. Douglas would go on to produce Aerosmith’s Rock In A Hard Place, Honkin’ On Bobo, and Music From Another Dimension! but as with Ezrin and Cooper, the flow was never quite the same on post-prime releases. Speaking of Ezrin, he acted as Executive Producer for Get Your Wings; a role that focuses on the business decisions relating to the production of the album rather than the musical output commonly associated with the producer’s role. It makes you wonder what Get Your Wings would have sounded like if he was the producer.

Much like the eponymous debut, Ryan Smith’s 2013 Record Store Day (RSD) vinyl remaster is stunning with a detailed and full-bodied sound that is about as good as you’re going to find on a vinyl reissue of this album. This mastering also wasn’t limited to the RSD release meaning that you can still pick up a copy and experience it for yourself. The only difference is the post-RSD releases aren’t numbered and come with a different hype sticker. 

Switching our focus to streaming, you’ll find the (Hi-Res) Lossless Apple Digital Master, on Apple Music, to be a perfect digital facsimile. Yes, it’s a fair bet that the vinyl reissue was pressed from a digital intermediary, but the process of putting the music on vinyl shifts the sound of the music ever so slightly making it warmer in tonality. That isn’t to suggest that the stream is cold or shrill, anything but, but the vinyl counterpart can be enjoyed without any EQ changes, whereas when listening to the stream, I find myself wanting to reduce the treble and increase the bass slightly. It’s a small difference, granted, but if given the choice I’d gravitate to the vinyl reissue for it has a slight edge over the digital stream. 

The artwork itself, on the vinyl reissue, is a lovely replica. Naturally, there are some differences such as the updated publishing dates, and the numbered imprint, but even the record label is astonishingly close to an original. Hence, if you’ve been looking for a copy, and have not yet found an original in decent shape, you won’t be displeased with this release.

Same Old Song And Dance has a great beat and rhythm with some killer guitar licks from both Joe Perry and Brad Whitford. The brass performance by The Becker Brothers is stunning and was the perfect addition as it makes it more of a standout than it would have otherwise been. However, I've always felt that the drum track is inadequate on Same Old Song And Dance. It’s almost as if the skin tension is loose on the drum heads, or the microphone placement was poorly chosen, for the drum track lacks depth and makes the overall rhythm section sound as if it’s concealed. It could even be a result of a mixing decision but it is not as prevalent on the other songs on Get Your Wings; a shame considering it’s a killer tune. 

Of the live recordings, the edition found on A Little South Of Sanity is excellent. As the song progresses, you get a sense they’ve loosened up and are simply jamming. The Classics Live! II performance is solid, but not exceptional. It has a similar concealed drum tracking, to the studio recording, and I subsequently can’t help but wonder if it is merely a lack of presence in the drum tracking on this particular song. Hence, it’s then plausible to suggest that it was a mixing decision more than any other aspect.

As Lord Of The Thighs begins, the drum track is noticeably cleaner and more authoritative, remaining this way throughout the rest of the album. As a song, Lord Of The Thighs is exceptional with a killer infectious blues rhythm throughout and is foundational as far as Walk This Way is concerned, from Toys In The Attic, as the rhythmic beat is repurposed on that legendary tune to great effect.

Of the live performances, the recording from Live! Bootleg is energetic and full of attitude, while the Classics Live! rendition is similar in length but isn’t nearly as bombastic. The Texas Jam performance from 1978, as heard on Pandora’s Box, is more rhythmic than that on Classics Live! But lacks the attitude and energy of Live! Bootleg.

Spaced commences with low, audible, atmospheric sounds. I don’t know about you, but I thoroughly enjoy it when rock and roll songs start this way and there’s so much complexity to be heard in Spaced that I never tire of the experience it offers. 

Woman Of The World is blues-driven rhythmic rock 101. 

S.O.S. (Too Bad) has nothing to do with saving souls, although that may have seemed appropriate for the band as they were regularly on the precipice of destruction. Instead, it stands for Same Old Shit and that’s one adage I’m sure we can all get behind. S.O.S. (Too Bad) is a fantastic bluesy rock song with a beautiful intermingling of guitar, bass guitar, and a drum rhythm that holds the song together.

Train Kept A-Rollin’ is arguably the most successful song from the album, despite not charting upon release. Aerosmith may not have written or performed it initially, but the boys from Boston certainly mastered it. 

Of the live performances, you really need to check out Classics Live! if for no other reason than the grungier tone that works extraordinarily well with the style of the song. The Live! Bootleg recording is lackadaisical by comparison. Plus, let’s be honest, the tip of the hat to Strangers In The Night, an incredible tune in its own right, somewhat tarnishes the Live! Bootleg performance.

Seasons Of Wither begins with almost a minute of faux audience and wind sounds in an attempt to set the seasonal stage, yet it is the gorgeous guitar work that stands out here. It’s subtle and doesn’t overshadow the song itself, but is notable nonetheless. But, is it a great tune? Yes and no. Without the extensive introduction, it becomes much more appreciable but it’s also true to say that it isn’t one of Aerosmith’s better ballads. It should, however, have been the closing song on Get Your Wings.

I do wish that Pandora’s Box was re-tracked to appear before Seasons Of Wither. It isn’t that it’s a bad song; it just doesn’t flow well after the soothing Seasons Of Wither. Plus, the long-held guitar riff and drum outro on Seasons Of Wither would have made for a far better closer than Pandora’s Box; a solid tune nonetheless.

Overall, Get Your Wings is a must-own for any fan of Aerosmith or 70s rock and roll. It really is quite exceptional and has stood the test of time.

1 Comment

KISS – Dynasty (Album Review)

KISS – Dynasty (Album Review)

What a thunderous record! 

Okay, so in 1979, KISS had to contend with the monster that was AC/DC’s Highway To Hell but if there is one truth to be said it is that rock certainly wasn’t dead in the late 70s despite the disco boom. KISS certainly played into the disco rhythm with Dynasty, as it’s a little more pop-driven than their preceding output, thereby making it more accessible to a broader audience, but you’ve got to be listening with disco in mind to pick up on it otherwise it comes across as a rhythmic hard rock masterpiece. 

Dynasty has always divided fans and if nothing else it has kept the album at the forefront of the KISS back catalogue because of this divisive nature. Still, KISS were well and truly in their stride when they released Dynasty, their seventh studio album, and while others may disagree, I feel Dynasty is one of their best albums and one of the best records released in 1979. 

As to the quality of the recording, mix, and mastering; it’s astonishingly good! The soundstage is wide and immersive with a warm tonality and slight boost in the low-end while remaining crystal clear across the entire sound spectrum with just enough distortion to make Dynasty really rock. While this is one album that should be in every KISS fan’s vinyl collection, the lossless Apple Digital Master, on Apple Music, is the very definition of perfect. Don’t get me wrong, I love vinyl, but when a stream sounds this good it’s difficult to look beyond it for you never quite know what you’re going to get with used or new vinyl. A double-edged sword, yes, but it’s a serious consideration that each music collector must ponder as the cost of vinyl continues its upward trajectory. It is with this in mind that streaming, when done right, can be the perfect accompaniment to your physical music collection. The trick is to download albums to your device so that it plays seamlessly and is uninterrupted by the instability of the Internet. Doing so gives you a sense of having the record; a psychological anomaly perhaps, but one that allows me to feel as if the digital collection has more permanence.

I Was Made For Lovin’ You is iconic with Gene Simmons’ bass tracking rhythm, Anton Fig’s driving drum beat, Ace Frehley’s killer guitar licks, and Paul Stanley’s falsetto vocal. It’s a perfect (KISS) song and while some may point to its disco-driving groove, I class it as pure rock and roll. Admittedly, KISS didn’t help issues with the disco-style music video, but as a fan of both genres, I consider this merging to be nothing short of perfection. It was, after all, representative of the era. 

2,000 Man has too much of a Cheap Trick sound, particularly with regard to the vocal echo, for it to be fully KISS. Frehley does an adequate job on vocals, but I’ve never really been a fan of his vocal presentation, except perhaps on Hard Times, subsequently preferring Stanley and Simmons on lead vocals. Yes, KISS’s 2,000 Man is more rock and roll than the original Rolling Stones recording; but it was far from a stellar song from the Stones so it’s a wonder that KISS decided to cover it. 

Sure Know Something is rhythmic gold. While I’d suggest that it isn’t Stanley’s greatest vocal performance, it sure is compelling.  

Dirty Livin’ is the only Peter Criss song on Dynasty and what a killer tune it is. Criss’ vocal melds perfectly into the mix and is understated thereby allowing the music to take prime positions and therefore not allow the listener to be distracted by the lyrical intent. That said, it would be interesting to hear a mix with Criss’ vocal sitting atop the musical bed. Regardless, Dirty Livin’ is a great song that is worthy of inclusion here.

Charisma has a killer rhythm and is, without a doubt, one of my favourite KISS songs. Simmons recorded a masterful dreamy vocal performance and those guitar licks are utterly perfect.

Magic Touch is a solid rock tune but isn’t as strong as many of the other songs from Dynasty. It’s as if it’s missing something and that dip, mid-song, in tempo and drive takes the listener out of the mix somewhat. Magic Touch is akin to a highly polished demo but it just needed a little boost to make it great. It would be interesting to hear it sped up, just a little, to see if that shifts the song to a bolder, more KISS-like approach. 

Hard Times is a far better Frehley performance than that which was heard on 2,000 Man. The gruffness, and distortion, throughout the chorus in both his vocal and the accompanying musical backing make Hard Times a killer tune and one of the best KISS songs of all time.

X-Ray Eyes is a fun tune and is a perfect album track. However, you’re unlikely to seek it out on its own for it isn’t amongst Simmons’ greatest and I’d argue the tempo is a little too slow to be truly great and I would love to see an additional kick drum element placed in the mix. 

Save Your Love closes out Dynasty with a drilling rhythm that compels me to play the album again. Yes, as with a number of the songs on Dynasty, it may never make it to a compilation, but songs like Save Your Love are the backbone of KISS and ensure that the album is notable for more than a couple of killer tunes. 

From start to finish, Dynasty is hard rock at its very best. The firestorm of rhythm, followed by an incredible mix and lyrical styling makes this one of the greatest KISS albums of all time with memorable and engaging tunes. While we can all lament Gene Simmon’s suggestions that rock is dead, I find it hard to argue with his position when listening to classic KISS albums such as Dynasty for no musician makes hard rock music like this anymore. 

Aerosmith – Aerosmith (Album Review)

Comment

Aerosmith – Aerosmith (Album Review)

Released in 1973, Aerosmith’s eponymous debut is, in retrospect, somewhat of an anomaly as it is arguably more unique than any other album in their illustrious career. While Aerosmith would hit their stride, and greater success with Get Your Wings (1974) and Toys In The Attic (1975), the self-titled Aerosmith would see Steven Tyler sing in a faux blues vocal style that has often been referred to as being closer to Kermit the Frog than Tyler’s intended mimicry of traditional blues singers. Yes, dear reader, once you’re made aware of the Kermit reference, it’s difficult to un-hear the correlation but, if nothing else, it offers a unique perspective. 

Naturally controversial, especially upon reflection, not all of the songs on Aerosmith would be sung in this style for Dream On is delivered beautifully in Tyler’s natural range. That isn’t to say his faux-styling is distracting, for I rarely recognise it and accept that this debut, while a little rough around the edges, is arguably perfect with a series of songs, with catchy hooks, that blend well together and have in most cases stood the test of time.

What isn’t controversial is just how good the 2013 Record Store Day vinyl remaster is. Mastered by Ryan Smith at Sterling Sound, this release sounds amazing. While the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is beautiful in its own right, the vinyl re-issue is slightly more fluid in its delivery with the same level of detail that is present in the digital stream. The fullness of sound that is a vinyl trademark certainly plays a role here and helps the album to really shine, thereby making it more personable and allowing you to become further immersed in the music. Of course, these are not night and day differences and are only apparent when comparing releases.

The record itself comes housed in a high quality, clear (with a pink hue), anti-static sleeve and is flat and heavy. While 180-gram vinyl isn’t an indication of quality, despite marketing to the contrary, this pressing has a significantly low noise floor thereby allowing the music to be at the forefront of the experience. 

As it pertains to the reproduction of the album artwork, this reissue is a solid facsimile. It isn’t an exact match, as other artist reissues have aimed to be, but it is close enough that most fans will be thoroughly happy with the release. These particular pressings were also numbered and I’m fortunate to have number 1978 of 5000, but the same mastering has been available for years since this release was issued; sans the pressing number. If only I had gotten number 1973, I would have been in Aerosmith heaven. Although, given the impressive quality of the pressing, I’m already there.

Make It is raw to the bone with a killer guitar twang. While it hasn’t always been my favourite song on the album, it has grown on me to such an extent that if I consider this early recording as being done by a garage band, with a live club performance feel, then it is extraordinary. 

For those who wished for a little more production value, Aerosmith did re-record Make It in 2007 for release on Guitar Hero: Aerosmith. This re-recording is interesting and certainly, from a musical perspective, offers a little more spit and polish, but Tyler’s vocals aren’t great on the re-recording and in all honesty, whenever I hear this edition, I’d prefer to put on the original. It isn’t readily available, but a quick search on YouTube will allow you to hear it. 

Regardless of which version you end up preferring, Make It is one of those underrated songs that should be included in every inspirational playlist for we all want to make it in whatever we do. 

Somebody has a country-rock vibe that borders on rockabilly. As solid as Somebody is on Aerosmith, the recording as heard on 1971: The Road Starts Hear is significantly better. Not only are Tyler’s vocals more natural, but the band is on fire with some killer playing that simply didn’t make it to the studio recording. 

It’s also the first time on the album that we hear Aerosmith’s trademark cowbell. The inclusion matches the music perfectly and is as welcome as Tyler’s harmonica; both helping to define that signature Aerosmith sound.  

Dream On is the power ballad to end all power ballads. While it didn’t chart well upon release, a re-release in 1975 took it to the top of the charts. Despite being played ad nauseam, I never tire of Dream On as it’s the standout on this eponymous release if for no other reason than it features Tyler’s natural singing voice. 

As one of Aerosmith's most popular songs, it stands to reason that it’s been played extensively in their live performances. Of the live versions available, the edition on Live! Bootleg is an absolute masterpiece. The performance on A Little South Of Sanity is pure bliss for it doesn’t change the fundamentals of the song but adds more filler thereby making it a great rendition. While the Classics Live! recording is adequate, if you were hearing this edition for the first time you’d likely wonder what all the fuss was about. That, however, doesn’t set you up for the horrendous live recording that is featured on the Last Action Hero soundtrack. Seriously, what were they thinking about allowing this version to go out? I’m not opposed to the symphonic elements, but the band sound as if they’re bored and just couldn’t have been bothered. Even Perry’s solo is sloppy and uninteresting.

What isn’t sloppy, however, is the cover by Ronnie James Dio & Yngwie Malmsteen on A Salute To Aerosmith. Dio is a vocal god, but it is Malmsteen’s guitar work that is otherworldly and should put Joe Perry to shame. Even as incredible as the performance by Tyler and Perry, with the Southern California Children’s Chorus is, it doesn’t match the Dio/Malmsteen recording.

If you’re interested in how music can be interpreted across genres, you’ll likely enjoy Eminem’s Sing For The Moment as the master of hip-hop/rap sampled the song superbly thereby introducing an entirely new audience to the music of Aerosmith in a manner similar to the Aerosmith/Run-DMC version of Walk This Way. 

One Way Street introduces that trademark harmonica and an addictive foot-tapping rhythm. One Way Street is arguably the most underrated song on the album, likely due to its raw but reserved nature, but it is in this element that it becomes a true masterpiece. 

Mama Kin kicks the album up a notch with a killer guitar riff and momentarily pauses at just the right time. It’s blues rock and roll at its finest and the inclusion of the saxophones is a subtle but welcome addition. 

With regards to the available live recordings, unlike Dream On, the performance on A Little South Of Sanity is a muffled mess, especially where the guitar mix is concerned. That said, Tyler sings it well and I appreciate how he goes in and out of his natural voice and that which he used on the eponymous debut as it offers an interesting contrast. The Live! Bootleg edition isn’t much better, but the Classics Live! recording is somewhat redeemable but it’s nowhere near as good as the Guns N’ Roses’ cover on G N’ R Lies. 

Write Me (A Letter) is a solid rock and roll tune. While it hasn’t been performed extensively, the performance from Boston in Nov. 1976, as featured on Pandora’s Box is, in my opinion, superior to the studio recording as it’s a little more rock and roll with a greater sense of energy and band synergy. 

Movin’ Out starts with yet another classic Perry guitar riff that sets the tone for the song and is most notable for being the first song penned by Tyler and Perry. It’s one of my favourite tracks on the album with a chorus that belongs in rock and roll heaven. That said, you can tell the band is still finding their sound on this track. I’d love to have them re-record this song to see what they could do with it as it reminds me of a demo tape release; an albeit exceptional one!

The alternate rendition, as heard on Pandora’s Box, has a more solid start than the album version. It’s stripped back with an overall simpler mix and recording style thereby making it my preferred version of the song. 

The live recording, as featured on Classics Live! II, focuses strongly on Joey Kramer's drum beat and Tom Hamilton’s bass accompaniment thereby making it a killer recording and one worth checking out if you haven’t already heard it. 

Walkin’ The Dog is an awesome bluesy rock and roll standard that has been covered extensively. While Aerosmith performs it well, with an interesting introduction that includes the use of the Wood Flute, it is amongst the best covers of Rufus Thomas’ original, more pop-focused, hit. Many fans would be familiar with The Rolling Stones cover and in comparison to Aerosmith’s it’s less rock and roll and more closely aligned with the original song, including some of the quirkiness from the original tune.

Overall, Aerosmith’s eponymous debut is a must-own for any Aerosmith fan, even those who prefer their latter highly polished releases, but if you’re remotely interested in blues-inspired rock and roll, with a rough-around-the-edges feel to it, you’ll love this album. 

Comment

ZZ Top – Eliminator (Album Review)

Comment

ZZ Top – Eliminator (Album Review)

With a signature sound like no other, ZZ Top is the very definition of blues-rock and roll; a no-frills trio that are, in my opinion, only topped by AC/DC. Although, let’s be honest, as cool as Angus' schoolboy uniform is, the signature beards remain unchallenged.

Eliminator is the eighth studio album by ZZ Top and is arguably their most polished release as Eliminator plays like a Greatest Hits compilation with no B-sides to be found. It’s easily one of the greatest rock and roll albums in music history and one worthy of inclusion in every music-lover’s collection. 

Before you even listen to the music, the artwork for Eliminator will amaze and looks simply fantastic on display or in the hand. However, I have always been perplexed by the coloured box within the artwork itself. Initially, I had thought it was an indicator guide for other formats that were simply left in the final artwork, but that isn't the case as the reformatting, of even the cassette version, crop tighter into the artwork. It is an absolute mystery. If you have any thoughts regarding this interesting design decision, I'd love to hear from you.

The 30th Anniversary vinyl reissue that I’m fortunate to own is a collector's dream come true. Despite its simplicity, the print and pressing quality is exquisite. Sonically, the 2013 vinyl reissue is flawless. Beautifully quiet, although not a major issue for rock music, and sonically pure. I’ve never heard the album sound better. It’s honestly a 10 out of 10. There is something to be said for reissues that provide you with the very best the format and album have to offer without the bloat of demos and other unnecessary elements. At the time of release, it was priced in the budget range at sub $30 ($AUD), yet the sonic performance of this record trumps many of my more expensive audiophile pressings, thereby proving that one does not need to go broke in the collecting of new vinyl for one's passion.

Although, there are some caveats that one may wish to be aware of when considering picking up the vinyl release, specifically with regards to how it compares to the CD and streaming counterparts. 

The CD, by comparison, sounds concealed and lifeless, as if a blanket has been thrown over the speakers. This is particularly noticeable when comparing it to the lossless 24-bit/48kHz ALAC edition streamed via Apple Music. The stream is effortless in its delivery ensuring that you’ll not only hear every aspect of the recording but will get the fullness of sound that this album demands. 

Usually, this fullness, or warmth, is associated with the vinyl record, but it is also true to say that the vinyl reissue, despite sounding right, isn’t as detailed as the Apple Music stream. Now, that may concern some music lovers who prefer accuracy in their music, but I’m more than happy to lose a slight amount of fidelity for a more relaxed listening experience. That is, subsequently, why the vinyl reissue is my preferred version but the differences are so small that you’ll undoubtedly be pleased with the streaming edition. I would, however, only select the CD as a last resort as it simply doesn’t deliver the album as I believe it would have been intended. The bottom line is that this is one record that plays well, and should be heard, on vinyl; but you won’t be disappointed with the Apple Music stream.

Turning our attention to aesthetics, the vinyl reissue is printed in a high-gloss that looks incredibly impressive but quickly becomes a fingerprint magnet. Inside, you get a singular printed inner sleeve with Eliminator (the car) on one side while the other side remains black. Yes, it is a basic design but appeals to purists as it remains faithful to the original 1983 release.

The CD by comparison has a standard booklet, sans lyrics, and a CD that is about as plain as you can get. Of course, the vinyl reissue doesn’t feature the lyrics either, but Apple Music does! 

SIDE XI

Gimme All Your Lovin’ has an incredible rhythm and is the perfect song to start the album with as it sets the tone for the entire record.

Got Me Under Pressure continues the toe-tapping head-bopping rhythm. Sensational!

Sharp Dressed Man is a song that defies explanation. Just turn the volume knob to 11.

I Need You Tonight slows the rhythm, but increases the blues. It's absolutely gorgeous and that guitar is, as with most ZZ Top recordings, pushing the distortion right to the limit while remaining hauntingly clear. I love it!

I Got The Six is a perfect rock and roll song.

SIDE X2 

Legs is iconic! Interesting fact: every time I hear the first few chords, I'm reminded of the Mythbusters television series theme song. I’m honestly surprised there wasn't a lawsuit around this unless they obtained permission, of course. Either way, after watching an episode it makes me want to listen to Eliminator so I’d consider it a win-win.

Thug is a solid tune and despite not being one of my favourite songs on the album, I would miss it if it wasn’t on Eliminator.

TV Dinners is one of my all-time favourite ZZ Top songs. Seriously, to take something as mundane as a TV dinner and turn it into a rhythmic blues rock and roll masterpiece; that takes exceptional skill! It’s soloing heaven and features some of the best musicality heard on the album. I also adore those mid-song pauses as they're executed perfectly.

Dirty Dog is a great song with a tone and overall style that is borrowed from Legs. While plagiarism is bad, in and of itself, self-plagiarism in music ensures an identifiable sound signature. 

If I Could Only Flag Her Down is rhythmically engaging but the vocal tracking, in particular, gets lost in the mix. It’s more Motörhead than ZZ Top. 

Bad Girl has an addictive rhythm and I thoroughly enjoy the rawness of the pseudo-live performance. As the closing track, it certainly compels me to spin the record again. One thing I don’t like, however, is the final spoken words at the end of the record just before the runout groove. It isn’t present on any other releases and while I acknowledge that it is a form of artistic expression, it detracts from the listening experience. 

What isn’t a distraction, however, is the culmination of songs that make up Eliminator. It’s not only one of the best albums ever recorded by ZZ Top, it’s one of the greatest rock and roll albums of all time.

Comment

Alter Bridge – Fortress (Album Review)

Alter Bridge – Fortress (Album Review)

Released in 2013, Fortress may not have broken new ground as Alter Bridge were already on a roll following Blackbird and III, but if it ain’t broke, don’t fix it. After all, AC/DC has been applying the same formula for decades and fans adore it, for a little more refinement is often better than a complete shift in style.

Speaking of style, one of the most compelling aspects of picking up the vinyl record, if you can find a copy, is the artwork and gatefold design. It is elegant with a touch of simplicity that works extraordinarily well when sitting and holding the album; an aspect that is sadly missing from the streaming counterpart. 

While the Apple Music stream may lack the tactility of the vinyl record, the lossless 24-bit 44.1 kHz ALAC stream is impressive with a clear separation between all musicians and elemental aspects while maintaining a solid low end; a feat that I’ve often been disappointed with on various streamed albums within this genre. In the past, it was as though, the fullness of sound suffered as a result of the compression applied and thankfully this is no longer the case as streaming services are increasing their quality across the board. 

While Ted Jensen did an admirable job on the vinyl record, and it still has greater dynamics, the Apple Music stream has a more rocking feel to it. You know, the kind where you feel compelled to get out your air guitar and rock out with the band. It also, arguably, has greater detail and a clearer vocal presentation than the vinyl record which sounds, by comparison, a little concealed. 

One may point to the addition of the vinyl warmth that many of us know and love and while that is naturally lacking from the digital stream, I increasingly find that as soon as music is delivered in 24-bit, rather than the CD-based 16-bit format, that the fullness and warmth transfer to the digital file. Not as much as via the vinyl record, of course, but it tends to sound more realistic and less treble focused. 

The bottom line on sound quality is this: If you love vinyl, you’re going to love the vinyl release of Fortress for it hits all the right notes, but if you’re focused on streaming, then rest assured that the Apple Music lossless stream is spectacular. 

Cry Of Achilles opens the album beautifully with an acoustic element that I feel works extraordinarily well. Although, it is a little too compressed for the cymbals have that crunchy sound that is detracting from the song; a shame, but given it is present on the vinyl release as well as the streaming alternative, you can almost guarantee that it was created in the studio with either poor microphone placement or a bad mix. Nevertheless, if you can get past that aspect, you’ll likely find something to like about Cry Of Achilles and for me, it is the guitar solo and the final minute of the song which I feel takes on a life of its own. 

Addicted To Pain is, where I believe, Fortress really begins. Its rapid and rhythmically fired vocal and musical aspects ensure this lead single would be a stadium pleaser if for no other reason than its killer guitar solo.

Bleed It Dry has a chorus style that I don’t dislike, but I find it challenging to listen to at times. Something about it doesn’t gel with my internal rhythm, but you may love it. 

Lover is my favourite song on Fortress. If I were the band, or their record label, I would have most certainly released Lover as a single.

The Uninvited kicks things up a notch, following the more melodic Lover, but despite a promising opening, I find The Uninvited is lacking a cohesive focus. 

Peace Is Broken is another song, not unlike lover, that I feel should have received greater attention than it did. A gorgeous song that needs to be turned up to 11 as you rock out with your air guitar. One of Alter Bridge’s finest songs! 

Calm The Fire is a dynamically shifting song that can take a few listens before connecting with your soul. Once a connection is made, however, the song can be thoroughly appreciated. Although, I do wish that the soundstage was significantly wider and it would have been nice to have heard Calm The Fire with a mix that focused more on the lead and backing vocal aspects of the song as I feel they get lost in the mix; a problem that results in a wall of sound but not necessarily a memorable song. 

Waters Rising switches vocalists with lead and rhythm guitarist, Mark Tremonti, taking the reins while Myles Kennedy delivers strongly on backing vocals. While one may be concerned as to the flow of the album, it need not be an issue because Tremonti does a phenomenal job and while Kennedy could have belted out this tune, I’m glad the microphone was passed because it showcases a different approach and launched my interest in Tremonti’s other band, Tremonti. Plus, it’s one of Alter Bridge’s greatest tunes with some killer guitar work.

Farther Than The Sun is rather mundane until that mid-shift guitar solo enters the mix. I hope you’ve got your air guitar with you! 

Cry A River has a solid lyrical hook, with a heavy-hitting musical accompaniment, but Cry A River was never going to be a stadium filler. A solid B-side, yes, but far from a defining song. 

All Ends Well is a gorgeous vocal-focused ballad with a country style and a killer chorus. What’s not to like?

Fortress as the title track, and album closer, is utterly spectacular. As with all closing songs, you should be left wanting more and Fortress certainly achieves this goal ensuring that I’ll spin the album again and stay within Alter Bridge’s catalogue for the rest of the day.

Fortress was amongst the best hard rock albums of 2013, joining the ranks of Avenged Sevenfold’s Hail To The King, AFI’s Burials, and Rob Zombie’s Venomous Rat Regeneration Vendor, but despite being a stellar release, and valued addition to Alter Bridge’s catalogue, Fortress simply isn’t as strong, or cohesive, as III is from my perspective. 

Aerosmith – Get A Grip (Album Review On Vinyl, CD & Apple Music)

2 Comments

Aerosmith – Get A Grip (Album Review On Vinyl, CD & Apple Music)

It was 1994, the Grammys were playing on television, and Aerosmith came out on stage and performed Livin’ On The Edge. In my mind, it was a faultless performance and while I know that I can re-experience it on YouTube, I don’t want to. Something as powerful as this first exposure, that would result in a life-long love of Aerosmith’s music, should be left to my interpreted memory and not toyed with.

Memories of this performance, and the album Get A Grip, came flooding back recently when my son decided that he wanted to go through my CD collection and find an album to listen to. I said nothing, didn’t encourage him either way, and he selected Aerosmith’s Get A Grip; it was a proud parenting moment.

As a music-loving father, I try to ensure that my library of music is always accessible. I don’t believe in taboos and while this album isn’t overly explicit, it is Aerosmith. Everything is an innuendo. I also believe in the freedom of artistic expression and subsequently have never purchased a ‘clean’ version of any album. I know many people are opposed to profanity, but I strongly believe music is art, hence a ‘clean’ version is akin to an abridgement of the artist’s original intent. I also feel that it is better to have questionable subjects raised in the home, rather than in the controversial and often erroneous schoolyard. While my son may be naive with regards to many of the innuendos, laughing when Tyler speaks the words ‘come here baby’ on Crazy, I want him to know that through our shared love of music, he can come to me and discuss song meanings as he begins to understand more adult-based themes.

For the moment, however, he is content to play his air guitar when listening to Livin’ On The Edge and laughs contagiously when Eat The Rich concludes and the burp is heard at the very beginning of the following track. I’ve no doubt they programmed the CD to play the burp at the beginning of Get A Grip, rather than at the end of Eat The Rich, to ensure we would all keep hitting the back button. This morning I played it really LOUD on my main system. The house rumbled to, I assume, Steven Tyler’s guttural belch and while I haven’t taught my son to burp the alphabet, this was a priceless father-son moment. Thank you, Aerosmith!

Speaking of the CD, it is glorious to behold for the liner notes are extensive with associated artwork that is slightly more extended than the vinyl counterpart. Yes, the CD artwork, on the disc, is a little risqué but it’s not like Aerosmith has a clean-cut image to uphold. 

Sonically, the CD is flat and brittle, meaning that it is challenging to listen to for long periods as it simply lacks the kind of emotive energy that will captivate you. The clarity, however, is incredible, but I look for fullness of sound. I want to hear fat riffs and feel every drum beat and the CD just sounds a little too thin. Comparing it to the Apple Music Stream, an Apple Digital Master, it is smoother and more dynamic, yet I still wouldn’t say that this edition blows me away. Does it sound better than the CD to my ears, yes, but how does it compare to the 2017 vinyl re-issue that I’m fortunate to own? 

The vinyl reissue is superior in sonics to both the CD and streaming editions, as it has a greater sense of emotive energy that will get your body moving involuntarily. It also has a fuller sound, which is most likely due to the inherent distortion of the format, but it simply sounds right. The brittleness and absence of flatness are no longer present but the overall muffled sound of the recording can be easily heard across all versions. It is as if someone turned on Dolby NR (Noise Reduction) in the recording and mastering process. That’s not necessarily a negative aspect, but if you’re looking for a cleaner, or clearer, reproduction, I’m honestly not sure one exists for these three editions offer a good overview of the different tonalities available across each format. As to which you prefer, that will be to your own subjective preferences. I find that I can comfortably enjoy the Apple Music stream, but my preferred version is the vinyl release. The CD, I’m sure, would sound fantastic on a less revealing system but as it is, it is just a little too clinical for my music tastes. 

As for the vinyl packaging, it’s presented in a slipcover where both records’ inner sleeves are also the associated liner notes. It’s impressive to hold and is one of those albums that I find myself as captivated by the packaging as I do the music itself. Unlike some vinyl releases, the design here is fantastic as the text and overall layout is perfectly sized, meaning that you won’t just put the album aside, but enjoy it for what it is; a piece of art. 

The records are similarly magnificent. They’re flat and the noise floor is incredibly low. You’re really only going to hear the dead wax with headphones, or if you tend to turn the stereo up so loud that you annoy your neighbours. They are, for lack of a better term, flawless. Even the way the records have been cut impresses, for a song like Livin’ On The Edge should, as the final track on Side One, suffer from a little inner groove distortion, but it doesn’t as the record has been pressed well within the threshold, meaning that this killer song isn’t tarnished by the format’s limitations. Side 3, ending on Crazy, is similarly pressed and while it may be a little thing, these elements are important to music-lovers who choose vinyl as their format of choice. Nothing is more disappointing than putting on a record that sounds superior to other formats, only to be disappointed towards the end of each side when inner groove distortion can rare its ugly head. 

SIDE ONE

INTRO is self-explanatory, but I’ve heard worse album openings. That said, it wouldn’t be far-fetched to suggest that the Intro could have been merged into Eat The Rich. 

EAT THE RICH is witty with a great sense of rhythm that will likely see you singing along throughout the chorus. Plus, who doesn’t love that guttural burp at the end?

GET A GRIP is a killer rock tune, but I’d love to hear Tom Hamilton’s bass guitar be a little more prominent in the mix as it's the driving force behind the rhythm of the song. 

FEVER lacks cohesion for Get A Grip, yet it would have been perfect on Permanent Vacation. Despite that, it’s a solid tune. 

LIVIN’ ON THE EDGE is one of Aerosmith’s greatest and one of my favourites.

SIDE TWO

FLESH is utterly brilliant; that is until the chorus kicks in. Flesh is one of those songs where the verse structure is perfect but the chorus is a letdown. A shame, for I want to love Flesh, but find it is just too distracting. That said, the smoother nature of the vinyl edition means that it is a little less jarring on the senses and subsequently can be enjoyed when listening to the album via this format. 

WALK ON DOWN is classic Joe Perry as it reminds me of much of what I love about The Joe Perry Project. As an Aerosmith song, it works perfectly with the other songs on Get A Grip and is one tune that I feel should have got more attention than it did.

SHUT UP AND DANCE is lyrically brilliant as the double entendres will put a smile on your face. Musically, it features some of Brad Whitford and Joe Perry’s best guitar tracking on the album; fantastic!

SIDE THREE

CRYIN’ is one of Aerosmith’s best power ballads and one of the greatest blues-rock tunes they ever recorded. 

GOTTA LOVE IT says everything that needs to be said in the title. You gotta love it for it just works. While you’ll never find Gotta Love It on a career perspective release, or an Essentials Playlist, I’d add it to a playlist of the very best Aerosmith songs that you’ve never heard before. It has a little bit of everything and is what I’d consider to be quintessential Aerosmith.

CRAZY as a power ballad works extremely well. The chorus is catchy, you’ll likely sing along, and it is just corny enough to be considered a classic power ballad. 

SIDE FOUR

LINE UP has an addictive energy that will see you head-bopping and toe-tapping from the first note.

AMAZING is a ballad masterpiece. It’s amongst Aerosmith’s greatest recordings and helps to close out Get A Grip perfectly. 

BOOGIE MAN as the final track on Get A Grip is interesting, for it is arguably not needed, yet as I have heard this album countless times, over the years, I wouldn’t want Get A Grip to end without hearing Boogie Man; a great tune in its own right, even if its inclusion is questionable. 

Overall, Get A Grip is a fun album to listen to and has a groove that is reminiscent of the classic 70s Aerosmith style while also being uniquely modern to their 90s sound. It’s a rock masterpiece that has stood the test of time and is just as compelling today, as it was when released in 1993.

2 Comments