AC/DC – For Those About To Rock (We Salute You) [Album Review]

Released in 1981, For Those About To Rock (We Salute You) is AC/DC's eighth studio album and is built upon the success of their previous records; particularly Back In Black. With a collection of hard-hitting tracks that showcase AC/DC’s signature energy and riff-driven style, For Those About to Rock is one of the best albums released in 1981 and still stands as an exceptional entry in the band's discography. 

AC/DC has always had compelling cover art and For Those About To Rock (We Salute You) is no different in that regard. Plus, if you haven’t already, take a look at the animated artwork on Apple Music; it’s fantastic and one of the best examples of the feature. While the physical counterparts will never be able to replicate such wonder, unless a lenticular cover is produced, the vinyl and CD artwork, which is usually embossed, is thoroughly pleasing as well.

Speaking of the Apple Music stream, it’s exceptional! Presented as an Apple Digital Master, it rocks and with plenty of headroom available, you’ll find yourself turning the volume up and rocking out throughout the entire 40-minute masterpiece, with zero fatigue. While I do not doubt that the physical counterparts would be on par with the stream, as they’re derived from the same remastering sessions, when a stream sounds this good it really does make one wonder if they should pick up a physical release. Regardless of how you choose to enjoy For Those About To Rock (We Salute You), one thing is for certain, you’re going to love it.

For Those About To Rock (We Salute You) is the quintessential slow-build opening track that sets the tone for the entire album. With its marching beat, killer riffs, and Brian Johnson’s soaring vocals, you’ll find yourself singing along to the catchy chorus while simultaneously rocking out to this blues-based masterpiece. 

Put The Finger On You is a straightforward rock 'n' roll track with a driving rhythm that captures AC/DC’s classic sound. It may not be a standout in the traditional sense, but Put The Finger On You is one of AC/DC’s hidden gems.

Let's Get It Up offers listeners a fluid transition from Put The Finger On You and keeps the momentum going with a catchy riff and infectious chorus. The lyrics, as most of their songs do, play on suggestive themes that are characteristic of AC/DC's cheeky style.

Inject The Venom, with its heavier edge, is a killer hard rock tune. It’s songs such as Inject The Venom that showcase not only the band’s incredible musicality, and Young’s skill on lead guitar, but that they are far greater than their biggest-selling albums.

Snowballed is a mid-tempo rocker with some memorable hooks and bluesy guitar licks, but it’s one of AC/DC’s most uninspiring songs.

Evil Walks has an incredible rhythm and a menacing riff that captures your soul from the very first note. Your body will move involuntarily to the groove, as you strum your air guitar, all while belting out the chorus as if playing on stage with Malcolm Young to one side and Cliff Williams to the other. Evil Walks is another of AC/DC’s greatest recordings that has rarely received the recognition it deserves. 

C.O.D. is a straightforward rocker with a catchy chorus, but don’t let that deter you for a run-of-the-mill tune for AC/DC would be a hit for any other band.

Breaking The Rules retains AC/DC’s trademark hard rock edge while being a little more melodic. The chorus is particularly infectious and showcases Johnson’s vocal range. It’s one of their songs, with Johnson on lead vocals, where you can understand the lyrics through his trademark growl, thereby making the song even more compelling than it otherwise would have been.

Night Of The Long Knives with its pounding rhythm and aggressive guitar riffs, stands out as one of the album's heaviest, and most enjoyable, moments. The song's dynamic shifts will keep you engaged throughout and while Night Of The Long Knives was never destined to be a stadium-filling tune, as an album-only track, it’s incredible.

Spellbound closes the album on a high note, despite the song being a more mellow and sonically sombre tune. It’s the rhythm, guitar hooks, and Johnson’s vocals that will capture your attention. It’s also the perfect closer as Spellbound doesn’t only compel you to listen to the album again, but if you choose to reflect on what you’ve just heard, you’ll sit in wonder at the masterful musical experience that is For Those About To Rock (We Salute You).

While For Those About To Rock (We Salute You) may not have achieved the same level of commercial success as its predecessor, it remains an exceptional release and is amongst AC/DC’s finest recordings. Full of memorable riffs, powerful vocals, and energetic performances, For Those About To Rock (We Salute You) is often overlooked which is a shame for had it not followed one of the biggest-selling albums of all time, it would have been more highly regarded. Nevertheless, this is one album that is a must-listen for fans of classic hard rock and AC/DC alike.

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Alice Cooper – Constrictor (Album Review)

Released in 1986, Constrictor was Alice Cooper’s first album in three years since the release of the masterpiece that is DaDa. Although, Cooper would likely contest that declaration as part of the reason for the break between album cycles was to deal with his addictions; some of which nearly consumed the shock rocker and influenced his prior releases. Subsequently, Constrictor is a very different album to Cooper’s “blackout” releases (Special Forces [1981], Zipper Catches Skin [1982], and Dada [1983]) as it’s less artsy, thereby returning Cooper’s style to a more traditional hard-hitting rock album with radio-friendly tunes. That aspect alone shouldn’t deter fans, or newcomers, for his artistry has always been diverse, but Constrictor can be seen as a significant turning point in his career; a shift that would ultimately send him back to the top of the charts a few years later with Trash.

Visually, it’s one of Cooper’s more comical album covers and the snake still looks fake. That’s a good thing for it’s not only indicative of the era but also showcases Cooper’s more light-hearted persona. While I’ve yet to own a copy on vinyl, Constrictor is one album that needs a reissue on the format as the larger album artwork would look incredible amongst his other albums. 

On the topic of sonic quality, however, Constrictor is in desperate need of a remaster. It’s 80s rock, raw ,and hollow sounding, resulting in a little too much treble and not enough mid to low-end oomph. Some may suggest that it is perfect the way it is as many classic 80s rock albums have a thinner sound, but I find that I have to apply some EQ to get Constrictor to sound half decent. Granted, it’s not the end of the world, but it would be nice to hear what the master recording sounds like for the CD quality stream is merely adequate. 

Teenage Frankenstein kicks things off with a thunderous roar. Cooper’s distinctive snarl combined with the gritty guitar riffs and a rock-solid rhythm perfectly captures the spirit of the album. 

Give It Up has an infectious chorus and catchy hooks, but it’s the memorable pop-rock styling that is most notable. 

Thrill My Gorilla is an incredible tune. The soaring guitars with a playful tongue-in-cheek lyrical perspective ensure that Cooper’s combination of humour and shock rock remains at the forefront of the music.

Life And Death Of The Party slows the tempo, but it’s one of the greatest songs on the album and is a hidden gem in Cooper’s back catalogue. Additionally, that solo is what air guitar dreams are made of. Brilliant!

Simple Disobedience with its infectious hooks and drilling rhythm injects a dose of energy into the record. It’s one of those songs that has rarely been heard outside of the album and it’s a shame for Simple Disobedience is a stadium-filling tune. 

The World Needs Guts has a driving rhythm, anthemic chorus, and powerful guitar solos that create an empowering atmosphere that encourages listeners to face life's challenges head-on. I love it!

Trick Bag may channel the spirit of classic rock 'n' roll with a bluesy undertone and groovy rhythm, but it isn’t the strongest song on the album. While the musicality is solid, there’s too much vocal processing that makes Cooper sound as if he’s singing in a silo. 

Crawlin’ is a dark and brooding track with haunting guitars and eerie synths. Cooper's vocal delivery adds a touch of menace but it’s the song's heaviness that ultimately makes it a standout tune on Constrictor.

The Great American Success Story has a catchy melody and is a solid tune, but it’s too campy in the chorus to be notable.

He's Back (The Man Behind the Mask) embodies the essence of '80s glam metal with its driving guitars, synthetic elements, and anthemic chorus. As it was recorded for the Motion Picture, Friday the 13th Part VI: Jason Lives, it perfectly captures the dark and mysterious allure of the film. Yet, it also provides listeners with a perfect album closer; one that allows for reflection as well as encouragement to spin the album again. 

Overall, Constrictor showcases Cooper's ability to adapt to a changing musical landscape while maintaining his signature style. The album strikes a balance between catchy radio-friendly tunes and darker introspective moments. While it may not be considered one of his greatest releases, Constrictor is severely underrated and is a thoroughly enjoyable album that captures a pivotal moment in Cooper’s career.

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Mötley Crüe – Too Fast For Love (Album Review)

Released in 1981, Mötley Crüe's debut album, Too Fast For Love is a seminal piece of rock music that defined the glam metal genre via ten tracks of hard-hitting, high-energy rock that captured the Crüe's raw and rebellious sound.

With cover art reminiscent of The Rolling Stones’ Sticky Fingers, Mötley Crüe were demanding the world sit up and take notice and notice they did for the RIAA (Record Industry Association Of America) has certified Too Fast For Love as Platinum; selling over 1,000,000 units. Not bad for a debut!

While most fans lean towards their second album Shout At The Devil, along with Dr. Feelgood, fans should avoid Too Fast For Love at their peril for it is an astonishingly good album that is not only addictively compelling but gets better each time you listen to it.

Sonically, however, the lossless stream, via Apple Music, fails to truly impress. It’s your classic case of a memorable recording being remastered to meet modern loudness standards. It’s been mastered so hot that even tone controls have little to no beneficial effect concerning dialling the album to your personal preferences for the soundstage is unnecessarily muddy from the get-go. Look, it’s adequate, but it could have been so much more dynamic.

The Dolby Atmos stream also on Apple Music, disappointingly, does little to improve things. Other than being a little fuller, there really is no difference between this edition and the stereo mix. That’s not uncommon, especially considering the album was originally intended to be delivered in stereo, but it also feels as if it was a missed opportunity and only done to say that it was done rather than being undertaken because it offered music lovers another way to experience this classic album.

Despite the lacklustre remastering and reissue attempts, Too Fast For Love is really all about the music, so join me as we take a look at the songs, some of them classics, that make up this 1981 debut.

Live Wire is a killer opener. From the thunderous drum beat that sets the tone for the rest of the album, to Vince Neil's gritty and powerful vocals, and guitar riffs that are simply electrifying, Live Wire is nothing short of a classic hard rock anthem that has stood the test of time.

Come On And Dance has an incredible rhythm and a strong blues-inspired sound that works incredibly well with just enough distortion to amplify the song rather than detract from it. It is, without a doubt, one of my favourite Mötley Crüe songs.

Public Enemy #1 flows beautifully from Come On And Dance and Mick Mars’ licks are off-the-charts good. I don’t know about you, dear reader, but my air guitar is worn out from playing along to this high-energy punk-influenced track.

Merry–Go–Round slows the album down a little, but this ballad-styled song shouldn’t be overlooked for it is thoroughly enjoyable; even if it isn’t a standout. Although, Mars’ solo certainly amplifies the song and showcases the direction that he would take on future Mötley Crüe recordings.

Take Me To The Top is a fast-paced rocker with a killer guitar riff and a catchy chorus. The duelling guitar and bass rhythm is pure gold and while the shifting elements change the tempo throughout, it is these aspects that make Take Me To The Top one of the best songs off Too Fast For Love.

Piece Of Your Action has a killer riff and chorus that will get stuck in your head for days. It’s 80s rock and roll at its best. Magnificent!

Starry Eyes is a slower, more melodic, tune with a great hook, addictive rhythm, and some stunning guitar work.

Too Fast For Love is a high-energy rocker but it’s also a mixed bag. It isn’t fundamentally bad, but Neil’s vocal, in particular, is lacklustre and diminishes the impact that the song could have had. Also, the shifting direction of the song throughout drives me nuts. It’s Crue 101 but I simply don’t feel it’s a great title track.

On With The Show slows things down again, with a more ballad-like sound, that features some beautiful guitar work and some of Neil's best vocals on the album. Yes, it’s a little dated to the era and has a campy sound, but it’s solid nonetheless. As the album’s closer, however, it’s underwhelming and doesn’t always encourage me to spin the record again or stay within Mötley Crüe’s back catalogue; a shame considering a shift in sequencing may have had a vastly different impact.

Packed with high-energy rockers, melodic ballads, and killer guitar work, Too Fast For Love is a must-listen debut album that has not only stood the test of time but it showcases the drive and musical talent of this motley crew. While it isn’t their best creative output, it offers an insight into the monster of a band that they would ultimately become and is therefore essential for any fan of Mötley Crüe or the 80s hard rock music scene.

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Alice Cooper – From The Inside (Album Review)

There are concept albums, and then there are Alice Cooper concept albums. Other than The Who, I can’t think of another artist that is Cooper’s peer with regard to his superior capability of telling stories through music. Naturally, I’m being obtuse for the list of concept albums and artists that have explored this idea is extensive, to say the least. I could list all the best ones, but this is an Alice Cooper review and such a list would be better suited to the Ranked area of Subjective Sounds; a place where From The Inside will reside as one of the best albums released in 1978.

From The Inside tells a series of interconnected stories from Cooper’s time in the Cornell Medical Center, a sanitarium that would ultimately help him break the chains of substance abuse. It gives those of us an insight into the inner workings of such a place and in particular the people that co-inhabit the space and their associated psychologies. Of course, Cooper’s story couldn’t have been told as eloquently without the inclusion of the great Bernie Taupin and while there are other notable writers collaborating on these songs, From The Inside is very much a Cooper and Taupin collaboration. In fact, From The Inside could almost be classed as an album whereby Alice Cooper meets Elton John for Davey Johnson plays lead guitar throughout while Dee Murray plays bass on the title track. Even Kiki Dee is involved as a backing vocalist.

Looking through the liner notes, you’ll come across a who’s who of the music industry at the time for there are some heavy hitters involved in the production of From The Inside and it’s, therefore, no surprise that this album has endured throughout the decades. Is it Alice Cooper’s greatest album? No, but it’s up there! While this review will largely focus on the lossless Apple Music stream, I want to bring your attention to the physical counterpart before we look at the music itself.

The 70s was potentially the greatest time for physical media, as it pertains to album artwork, for the designs, from various artists, are simply incredible. From The Inside visually took you within the asylum as the vinyl cover opened out from the centre, gatefold style, as if the doors were opening up and we were going into Cooper’s psychotic mind, thereby living virtually through his experiences. However, many of the reissues have lacked the hidden flaps, thereby limiting the impressive, almost origami-styled, design of the original pressings. Nevertheless, the design elements are utterly incredible and there isn’t a streaming platform on earth that can compete with that. 

While Music On Vinyl (MOV) would reissue the album in 2014, partially replicating the original artwork, I never really connected to the mastering of that particular reissue. The artwork, however, was impressive. It didn’t replicate everything perfectly, but what it did do was enough to please the modern music collector who didn’t wish to track down original pressings. Nevertheless, for this music lover, the music still comes first and if I’m not going to play the record, because of the sonics, I would prefer to sell it and let someone else enjoy it for we all appreciate music differently. 

The pressing itself was flat, with a low noise floor, but I found it lacked emotion. In fact, I found more sonic pleasure was achievable from the lossless streaming counterpart; a CD equivalent. While a few adjustments to the EQ dial were able to bring some life back into the presentation, it just never quite sounded right. Granted, Music On Vinyl reproduces their records from high-resolution digital sources, rather than analogue masters, but I have plenty of their releases that are warm and enveloping. It’s on a case-by-case basis, obviously, but in this particular instance, it just didn’t work for me. That said, I’ve no doubt there will be plenty of fans who will be happy with the clean and crisp reproduction.

For those of you that enjoy the CD format, most editions have been released sans the intricate and expansive artwork, but Warner Bros. Records in Japan released a mini-LP replica in 2012 that included some of the gatefold goodness. The smaller canvas, naturally, makes it a little more difficult to reproduce on mass and, unfortunately, it’s no longer available and fetches a pretty penny on the secondhand market but if you can get it for the right price, it would be a perfect addition to any Alice Cooper collection. Similarly, The Studio Albums 1969-1983 box set, released in 2015, replicates the artwork nicely, even if not completely, but has also been out-of-print for a while thereby making it difficult to come by. Either way, the artwork is done so well that you should try to track down a physical release if you’re a fan of this classic Alice Cooper album. 

While I’ve discussed the sonic reproduction of the vinyl reissue, the lossless Apple Music stream is respectable. You may find that you need to boost the mid and low end a smidgen, but it retains the emotion that I feel was missing from the vinyl reissue. Is it the final word in sound quality? No, but it will suffice until a high-quality remaster is undertaken and if one is never done, I could listen to the stream, without issue, indefinitely.

Moving on to the music, while many who adore concept albums may be looking for a detailed analysis of each and every tune, here at Subjective Sounds the focus is on the music, and the emotion it evokes, more so than the lyrical interpretation. No doubt countless others have explored the lyrical greatness of From The Inside in great detail; a Google search will likely point you in the right direction.

From The Inside is a solid opener. Davey Johnson’s addictive guitar licks are of particular note and while not an immediate hit, this is one tune that will most certainly grow on you.

Wish I Were Born In Beverly Hills kicks things up a notch. It’s got a classic Cooper band feel to it with a modern twist, for the era, but you’ll also hear a little Saturday Night’s Alright For Fighting influence; not that that’s a bad thing. Wish I Were Born In Beverly Hills is classic rock 101; no bells, no whistles, just a rocking tune.

The Quiet Room is where I truly feel From The Inside begins. It is the more mellowed approach that I appreciate and while the first two songs needed to be a little more rocking, The Quiet Room is simply stunning and showcases Cooper as more than just a shock rocker for his vocal is extraordinary. While I could point to numerous songs, The Quiet Room is one that truly highlights Cooper’s vocal prowess and is, in my opinion, one of his greatest recordings. The musicality is also second to none with a mix that is a musical wonderland for each time you listen, you’ll hear different audible elements; pure magic! 

Nurse Rozetta is head-bopping toe-tapping gold and its tempo shifts are the key to its success; an exceptional tune by any standards. 

Millie And Billie flows beautifully from Nurse Rozetta and while not billed as a duet, Marcy Levy’s duet-styled vocals are magnificent; what a performance! The symphonic styling of the musical backing is equally impressive and while Millie And Billie isn’t the most well-known Cooper track, those who haven’t heard it are missing out for it’s one of his greatest.

Serious is considerably more frantic and while you wouldn’t think it would work, being positioned between two ballad-styled tunes, it doesn’t cause this listener’s mind to miss a beat. Admittedly, it is the Side 2 opener and while streaming doesn’t permit a delay in the playback of the music, as vinyl does, it remains seamless. Ultimately, it isn’t a song you’re likely to seek out on its own, but as part of the concept album experience, it works.

How You Gonna See Me Now is a stunning power ballad that will appeal equally to Barry Manilow fans as much as it will to Alice Cooper aficionados. 

For Veronica’s Sake is a raw rocker. It sits perfectly within the tracking of the album, but it’s more filler than a highlight.

Jackknife Johnny is a much better album-filling tune than For Veronica’s Sake ever could hope to be. That said, Jackknife Johnny has something about it that makes it an intriguing deep cut within Cooper’s back catalogue, yet I can’t quite explain the appeal. Take a listen for yourself and see if you thoroughly enjoy it, for no reason at all. Sometimes that is the magic of music as we don’t necessarily need to analyse why music appeals to us. As long as it moves us, then sometimes it has done its job.

Inmates (We’re All Crazy) would be an ideal song should Cooper ever choose to perform with a symphony orchestra. That said, I can’t help but declare that Inmates (We’re All Crazy) is perfect as it is an example of an ultimate closing tune; one that encourages repeat plays.

From The Inside is one of those albums that can be difficult to get into, especially if you’re not a fan of its story-driven style, but if you let yourself get drawn into the psychology, as well as the music, there’s little doubt that it becomes a therapeutic musical experience. 

The songs, either on their own or as a collective, are amongst Cooper’s greatest and while they may get displaced in his illustrious back catalogue, if you take the time to listen, you’ll likely position them more prominently in your own Alice Cooper playlist as From The Inside is an exceptional, but criminally underrated album.

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AC/DC – Powerage (Album Review)

As a longtime fan of AC/DC, I’ve been fortunate enough to collect all their releases, yet despite a massive back catalogue of music, there are some albums, such as Powerage that simply don’t get spun that often. Yet upon putting it on the turntable, I marvel at the sonic masterpiece before me and wonder just why I don’t seek Powerage out more often. 

Released in 1978, Powerage is the rock legend’s fifth studio album and is easily one of the best Bon Scott era recordings. Despite loving Highway To Hell, I may even go as far as declaring Powerage the best 70s release from AC/DC. Yet, I just don’t seem to reach for it. It’s as if it has been overshadowed by Highway To Hell, Back In Black, and Scott’s unfortunate passing in 1980.

As a result, underrated, is likely the best way to describe Powerage for it’s a monster of an album but it just isn’t the one that everyone talks about, nor is it the album that you immediately think of when you think of AC/DC. While I acknowledge that I prefer Brian Johnson’s vocal style, and that leads me more to his side of the AC/DC catalogue, Bon Scott was an incredible vocalist in his own right and no more is that true than when listening to his searing vocals on songs such as Rock ’N’ Roll Damnation, Riff Raff, and Sin City.

Of course, Powerage is more than one single man as it is also Cliff Williams’ first recording with AC/DC. Bass player aficionados can best debate his appointment, but you won’t find me criticising Mark Evans; the man he replaced. In fact, and this will undoubtedly be blasphemous to some, I don’t hear a radical shift between the two players. Perhaps Williams played it safe, and in many ways, he was never a flashy bass player, but I’d argue that he never really stood out because his main role was to keep a steady pulse that connected all band members thereby guaranteeing the hard rock blues-based vibe all AC/DC fans know and love.

Speaking of AC/DC’s sound, let’s shift our attention to the sonic presentation and distribution of Powerage. While I’m fortunate to own the 2003 vinyl reissue, along with having access to the Hi-Res Lossless Apple Music stream, it is imperative to note, for those who are fans of Powerage, that different mixes exist. Yes, dear reader, the UK release was originally issued with an entirely different mix of the album. That mix is subsequently no longer available, as the US mix was chosen as the gold standard. Hence, if you wish to delve into the minutia of Powerage, you might want to seek out an original UK vinyl or cassette pressing. To be clear, I’ve never heard it and for me, at the moment, I’m content with the worldwide reissue from the 2003 remastering sessions. 

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As with all AC/DC vinyl reissues from 2003, Powerage is immaculately presented with an inner sleeve that details the era in relation to what was happening within the band and how those shifts impacted the music. In many respects, it is akin to a short biography that offers fans a little insight into the recording process of the album. 

While the liner notes are well presented regarding the outline, band photographs, and production details, it is sans lyrics. In many respects, that isn’t really an issue, as the original releases of the album didn’t come with lyrics either, but if you’re a fan wanting to ensure you don’t embarrass yourself with a mondegreen during your next karaoke night, you’ll have to turn to Apple Music’s lyrics, rather than the physical counterpart, for that aspect. 

As you’ll likely be able to tell from the photographs, the record itself is visually magnificent. Simply designed album labels really play to the no-nonsense approach that has been an AC/DC trademark for decades. Plus, and even more importantly, the sonic reproduction that comes off the record is spectacular with plenty of headroom, thereby allowing you to turn the volume knob up and rock out. 

Similarly, the Apple Music edition, an Apple Digital Master, sounds great but arguably is a little more shrill and compressed, unless you boost the bass, thereby resulting in a sound that doesn’t hold together as smoothly as the vinyl counterpart; especially when pumping the volume. That isn’t to suggest that you’ll be disappointed with the digital counterpart, but if you have access to a quality turntable, you’ll likely have a more immersive experience. 

The differences are particularly noticeable on Sin City. As solidly as the bass solo is reproduced, on the digital release, the surrounding musical elements, outside of the solo, are simply less dynamic and jarring on the senses. When listening to the vinyl record, however, you’ll feel the bass in the deepest depths of your soul. Similarly, the opening of What’s Next To The Moon is incredibly open on the vinyl reissue but feels more restricted in soundstage depth and width on the Apple Music release. 

The result is that, for this fan, the vinyl release is simply more enjoyable to listen to. That doesn’t mean that I don’t listen to, or thoroughly enjoy, the streaming version, for you can’t take a vinyl record with you everywhere you go. It’s simply a case of, if given a preference, I would choose the analogue format over the digital version in this particular instance. The delta is small, however, and if you don’t compare the versions, as I have, you’ll not know what you’re missing out on.

Rock ’N’ Roll Damnation is a killer opening track that harks back to It’s A Long Way To The Top (If You Wanna Rock ’N' Roll); another exceptional opener on High Voltage. The guitar work here is exceptional and Scott’s vocal is searing. Interestingly, Rock ’N’ Roll Damnation only saw the light of day as the record label felt Powerage needed a radio-worthy tune. I’d argue there are several single-worthy songs to be heard on Powerage, but radio-friendly, perhaps not. Nevertheless, Rock ’N’ Roll Damnation has become a fan favourite and a mainstay in AC/DC’s back catalogue, even appearing on their compilation soundtrack Iron Man 2. Plus, it’s about the coolest song to have ever featured handclaps; an often overused and somewhat corny musical technique. 

Down Payment Blues could have very well ended up on Stiff Upper Lip; an incredible album in its own right. Just take a listen to this full-bodied blues-based rhythmic rock masterpiece and you’ll see the correlation. It’s an incredible song, one of my all-time favourite AC/DC tunes and another Bon Scott vocal extravaganza. This is blues-based hard rock at its very best! 

Gimmie A Bullet is a solid rock and roll tune, but it’s nothing to write home about, and certainly pales in comparison to Down Payment Blues. Still, Powerage wouldn’t be the same without it.

Riff Raff is an off-the-charts riff-driven song that will have you air-guitaring every time you hear it. The riff is so memorable that you’ll even hear the influence on Rick Springfield and Dave Grohl’s The Man That Never Was, from the Sound City – Reel To Reel documentary soundtrack.

Sin City is a monster track for the opening of Side Two of the record. Just like the seductiveness of Las Vegas, which the song is influenced by, Sin City will reach down to the lowest depths of your soul, infusing it with a masterful rhythmically charged, bass-focused, sonic masterpiece. What more could one ask from AC/DC? More music, certainly, but Sin City is utterly perfect!

What’s Next To The Moon has a guitar tuning that I adore as the level of distortion is spot on. A great song!

Gone Shootin’ is a barebones rock and roll tune but it has such an incredibly addictive rhythm that it becomes an instant classic and a highlight of Powerage. 

Up To My Neck In You continues the rhythmically charged attack on the senses and while Up To My Neck In You was never going to be a standout tune, Angus’ lead guitar licks ensure that Up To My Neck In You is a hidden gem. 

Kicked In The Teeth has a killer, primarily, vocal introduction that is simply incredible. From a vocal perspective, I’d suggest that this is one of the best vocal performances of Bon Scott’s career. If nothing else, it’s a perfect closer for Powerage with a drilling rhythm that will make you want to play Powerage again and stay within AC/DC’s extensive catalogue of music.

Powerage, while underrated, is amongst AC/DC’s greatest recordings as it highlights the raw power and energy of their music. It’s all killer, no filler, pure blues-based rock and roll. If you’re a fan you already know this, but when was the last time you spun this 1978 rock classic? You may be surprised just how long it has been but if you’ve made it this far, you’ve got no excuse; give it a spin!

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AC/DC – Back In Black (Album Review)

Following Bon Scott’s unfortunate passing, it wouldn’t have been far-fetched to have seen AC/DC disband. After all, how could anyone match, surpass, or even complement Scott’s vocal prowess? I think by now we can all attest that Brian Johnson achieved those feats and was the ideal replacement. That said, it’s imperative that we remember Scott as a master vocalist, with a larger-than-life personality, that was pivotal in setting the stage for what AC/DC would ultimately become; an unbridled hard rock powerhouse that appealed to everyone.

As one of the best-selling albums in history, with sales exceeding 50 million units, Back In Black needs no fanfare, or even this review, for the album is a timeless classic. Some will declare it AC/DC’s greatest release, and I’d certainly put it towards the top of the list, but the strength of Back In Black is that it is a cohesive album experience. In fact, part of the appeal is that AC/DC was never drawn to the double-album hype, instead choosing sub 50-minute runtimes. Okay, so Black Ice is a 55-minute monster, but you get the idea. Back In Black comes in at 42 minutes and is the perfect length with never a dull moment or a B-side to be heard. 

Naturally, the band and Johnson need to be celebrated for such a masterpiece, but the production team with Robert John "Mutt" Lange, once again, in the producer’s chair ensured that Back In Black was a further evolution and the perfect followup to Highway To Hell. Lange was also pivotal in suggesting Johnson to the band; a suggestion that is arguably one of the most influential in all of music history. While it may be blasphemous to suggest such a thing, as I listen to Back In Black, I can’t for the life of me consider how Scott would have recorded these songs. Yes, we’ve heard Johnson sing Scott’s tunes live over the years, but my mind doesn’t work in the opposite direction. Well, except for You Shook Me All Night Long, but that’s likely a controversy that we’ll never truly have a conclusive answer to as it has been suggested that it, or certain parts of it, was penned by Scott. Nevertheless, had Scott not died, I dare say Back In Black would have sounded considerably different. Not bad, by any means, just different! 

While the music is iconic, so is the album artwork. You can’t help but think of Scott when you look at the cover art. It’s perfect!

What is also the definition of perfection is the (Hi-Res) Lossless Apple Digital Master. I’ve been fortunate to have owned the 2003 remastered CD and vinyl releases and both didn’t come close to the sonic reproduction I’m getting from Apple Music. The CD was a victim of the loudness wars but still sounded rather nice. The vinyl counterpart, however, suffered from inner groove distortion on the closing track for each side. It was the type of distortion that would irritate the senses every time I’d play the album. A shame, yes, but that is the nature of the format as it’s never quite perfect. While no format is without fault, the Apple Music stream is stunning with crystal clear sound, and an immersive and spacious soundstage, while also having the desired level of distortion that we all expect from AC/DC. 

Hells Bells has the greatest opening of any song or album ever recorded. Seriously, the haunting bell toll is next-level and the entire mix is utterly brilliant (thank you, Tony Platt). Add the exceptional guitar work from both Angus and Malcolm Young, and the contributions from the rest of the band, and you’ve got an exceptional tune by any standards. 

Shoot To Thrill is a monster tune. It’s the quintessential arena-filling song and remains as fresh in the modern era as it was when first released in 1980. There’s little doubt that Shoot To Thrill will exist in the social consciousness well after we’ve all taken our leave.  

What Do You Do For Money Honey offers listeners a seamless transition and therefore leaves little doubt as to why so many declare that AC/DC simply record the same song over and over again with minute changes. While I don’t disagree with that position, a large part of their appeal is that we know exactly what we’re going to get.

Givin The Dog A Bone continues the rhythmic driving sound that we all love. While Back In Black isn’t necessarily my favourite AC/DC album, the blues-driven Stiff Upper Lip fills that position, there isn’t a bad song to be heard on the album and Givin The Dog A Bone is one of their best. 

Let Me Put My Love Into You shifts the tempo slightly and there’s a real focus on a blues-based rhythm. No, AC/DC never recorded a ballad, but if you’re after a slower song that could, with a stretch of the imagination, make its way to a ballad playlist, then Let Me Put My Love Into You is the song for you. 

Back In Black needs no introduction or fanfare. Just turn the volume up and enjoy!

You Shook Me All Night Long is a killer tune and if you’re listening on speakers, in the stereo sweet spot, there’s nothing quite like it. Yes, headphones give you a sense of the immersive soundstage, but via speakers that are correctly set up, you’ll feel as if you’re in the studio with the band. It’s an ethereal experience! That said, was it lead single material? I’m not sure it was the right decision but it’s hard to argue with a song that is so revered and is one of the best tunes to incorporate a double entendre.

Have A Drink On Me as a song on its own is perfect, but the transition from You Shook Me All Night Long presents a jolt to the senses that takes time to adjust to. It’s a minor frustration, as it’s got a killer blues-based rock and roll rhythm that I adore, but I sincerely hope you don’t suffer the same experience when listening to Back In Black linearly.

Shake A Leg has, as much of AC/DC’s music does, an incredible guitar tuning with the notes being held the perfect length of time while also maintaining just the right amount of distortion. Yes, Shake A Leg is a carbon copy of numerous other AC/DC songs, but I don’t care. I love it!

Rock And Roll Ain’t Noise Pollution is the perfect closer and is literally accurate. Although, don’t tell my neighbours for I detest their music choices and I don’t want them to think that their music is anything but noise pollution. That drawl slow-build opening is what rock and roll dreams are made of. Absolutely incredible! The result is that Rock And Roll Ain’t Noise Pollution encourages me to listen to Back In Black again; for you can never listen to this album only once. Additionally, as I listen to this final track, I can’t help but remain wowed and appreciative of the music that AC/DC has given us. No matter what life dishes out, we are incredibly blessed to have AC/DC's music to keep us company along the way. 

Back In Black may have catapulted AC/DC to a level of success that dwarfed everything they had previously achieved, but it simultaneously became one of the greatest hard rock albums ever released while memorialising their former frontman. Back In Black truly knows no equal, it's a masterpiece! 

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Alice Cooper – Flush The Fashion (Album Review)

Released in 1980, Flush The Fashion is Alice Cooper’s fifth album post the Alice Cooper Band era and sees a slight shift in style compared to Cooper’s prior releases. With a new wave feel, one that was particularly relevant to the era, Cooper recorded an album that is nothing short of an underrated masterpiece. 

Flush The Fashion is perhaps most notable, however, for being the first of four albums that Cooper has a minimal recollection of writing and recording due to substance abuse. A shame, considering that this album, Zipper Catches Skin, and Dada are amongst his finest releases.

While the music, as we’ll see shortly, is exceptional, so is the 2018 vinyl reissue. There’s a fullness present that is simply missing on the lossless Apple Music stream. It isn’t a night or day difference, for it rarely is, but if you’re after gaining every emotive element out of a recording, then I can say with certainty that picking up the vinyl reissue is worthwhile as it is my preferred way to appreciate Flush The Fashion. 

While the sonic reproduction of the digital counterpart isn’t bad, you’ll find yourself reaching for the EQ settings to reduce the album’s harshness. It’s not a dealbreaker, but it would be nice to see Warner Records head back to the archives and re-release a (Hi-Res) Lossless, Apple Digital Master, edition of this classic album. Sure, it may not be considered a landmark release within Cooper’s back catalogue, but for those of us who adore it, it would be welcomed with open arms. 

Talk Talk is a cover of The Music Machine’s debut single from 1966, but Cooper’s recording is uncompromising thereby making it a perfect opening tune and one of my favourite songs from Flush The Fashion. This is one of those rare, but not unheard of, examples whereby the cover surpasses the original.

Clones (We’re All) flows masterfully from Talk Talk and where the opening tune was new wave in style, Clones (We’re All) somewhat follows that styling but kicks up the rock elements while adding disco influences. If you’re like me, you would have already turned the volume up for this is one rhythmically addictive tune and a great asset to Cooper’s extensive back catalogue. 

While I consider Cooper’s recording to be the only one worth listening to, The Smashing Pumpkins recorded a killer version that you need to check out if you haven’t already heard it. 

Pain sounds as if it was taken directly from the Welcome To My Nightmare recording sessions. If for no other reason, that should be enough to get your attention; a brilliant song!

Leather Boots presents us with quite the sonic shift. While it’s grown on me, over the years, it takes a little getting used to. Truth be told, it isn’t the strongest song on the album but I’d miss it if it wasn’t there. 

Aspirin Damage, however, offers a much better transition and is a fun little tune. Perhaps fun isn’t the correct term to use, given the context of the song, but I can’t help but find it lighthearted in tone; most likely due to the musical style of the song. 

Nuclear Infected is a standard run-of-the-mill rock tune. It isn’t anything to write home about, but it’s solid nonetheless. Similarly, to Aspirin Damage, it’s quirky enough that it becomes rather enjoyable the more you listen to it.

Grim Facts has some great guitar work courtesy of Davey Johnstone, but it isn’t only his tracking that’s impressive here for the band is on fire and Cooper delivered his vocal perfectly. A hidden gem? Absolutely!

Model Citizen continues with the grinding rock and roll styling and it’s songs such as this that make me wonder how Flush The Fashion flew below the radar for so many years as it’s right up Cooper’s alley. Regardless, thanks to streaming, we can now all enjoy the lesser-known tunes that, at times, have the potential to be a hit, even if it wasn’t during the era in which it was released. 

Dance Yourself To Death is a solid album tune. While it neither stands out nor should be skipped, sometimes a standard song is all that’s needed to hold an album together. Not every song has to be a hit for an album to be enjoyable. 

Headlines is the perfect closer and Davey Johnstone’s work here is once again appreciated. While some may question the new wave feel to the entire album, especially with Headlines being focused in that sonic direction, it works incredibly well in bookending Flush The Fashion.

With an approximate runtime of 28 minutes, Flush The Fashion is certainly succinct but this is one of the album’s most endearing aspects for it’s repeatable and if you’re like me, you’ll find great pleasure in listening to Flush The Fashion again and again.  

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