Alice Cooper – Zipper Catches Skin (Album Review)

Zipper Catches Skin is often regarded as one of the more experimental and unconventional albums in Alice Cooper's extensive discography. Released in 1982, this studio album represents a shift from Cooper's earlier hard rock sound as he further embraced new wave and post-punk influences. It’s also fair to say that it wouldn’t be an Alice Cooper album if it had been a carbon copy of his previous works for one constant aspect of his career, a key aspect to his longevity in the industry, is his ability to pivot and incorporate modern styles with his classic sound.  

To say that Zipper Catches Skin is a complete departure from the theatrical and shock rock elements, that defined Alice Cooper's earlier works, would be erroneous. Yes, this album has a stripped-down rawness to it but the whimsically edgy and lo-fi aesthetic perfectly suits Cooper’s style. In fact, if you’re a fan of the Alice Cooper band's early releases, Pretties For You and Easy Action, you’ll thoroughly enjoy this release as it takes cues from those albums but ups the production quality.  

Given the chosen musical style, one needs to adjust their expectations when listening to Zipper Catches Skin, for it is never going to be the greatest sounding record. While I’m fortunate to own the 2018 vinyl reissue, the difference between that edition and that heard on the lossless Apple Music stream is small and can be mainly attributed to the smoother (warm) sound of the vinyl format. As a result, I find the Apple Music stream, a CD facsimile, to be more than adequate and given the 32-minute runtime, it means that I don’t have to get up and flip the album after approximately 15 minutes. Yes, it’s a first-world problem, but streaming is so good these days that the vinyl counterpart has to offer an appreciable difference over the stream and in this case, the delta just isn't great enough to warrant the additional ritual.

What is, undoubtedly, more appealing regarding the vinyl reissue is the album's artwork. The minuscule cover art, via streaming, simply doesn’t present the album artwork adequately. You can barely see Alice Cooper’s name in red, at the top of the artwork, and the lyrics that are present on the album cover are unreadable on the small screen. You can’t even make out the album title located above the blood stain. While I’m a proponent of streaming music, some aspects simply can’t be replicated by modern technologies and will forever be lost to time. Album artwork is one such element that used to be essential and while I acknowledge that is no longer the case, for those of us who appreciate the intricate nature of album artwork, it’s these small details that allow the album to exist beyond the audible spectrum and become a trinket forever ensconced in our memories. 

Zorro's Ascent kicks off the album with an energetic and quirky vibe that sets the tone for the music that is to follow with catchy hooks and an experimental sense of mystique. 

Make That Money (Scrooge's Song) is a perfect satirical statement on greed and capitalism. The upbeat tempo and electronic elements contribute to its energetic and electronically synthesised atmosphere. More than that, however, it’s a killer tune and is one of the best songs from Zipper Catches Skin. I’d even go as far as saying that it is one of the best songs Alice Cooper has ever recorded and one that you’ve likely never heard before; that is unless you’re already familiar with this album.

I Am The Future leans into new wave influences on a song that is most certainly cemented in the 80s for that musical style is unmistakably associated with the era. As a solid album-only tune, I Am The Future is thoroughly enjoyable, but it is unlikely that you’ll feel compelled to seek it out, outside of the album’s linear structure. 

No Baloney Homosapiens is a fantastic tune. Everything from the elemental opening, to the driving rhythm, and Cooper’s vocal delivery ensures that once the chorus enters the mix, the wittiness of the lyrics is a highlight. That said, the sound effects throughout, particularly in the middle of the song, take away from the song itself. It’s a shame as the inclusion ultimately results in a distractive element in an otherwise exceptional tune. 

Adaptable (Anything For You) introduces a more melodic style to the album, with a memorable chorus attached to a pop-influenced sound. It’s a great tune! 

I Like Girls flows seamlessly from Adaptable (Anything For You), but it’s the bouncy rhythm that’s the highlight here as its catchy nature furthers the sense of fun that is the undercurrent of the entire album. What a great song!

Remarkably Insincere, as with I Like Girls, offers a seamless transition that is punk-inspired with straightforward instrumentation that will have you rocking along every time you play the album. 

Tag, You're It has a killer opening that is fast-paced with a rebellious energy. It is, however, the rhythmic drive that will reach into your soul and compel you to move involuntarily to the beat. That said, the only component that I find to be somewhat annoying is Cooper’s spoken word element. Yes, I get the intent to further explore Cooper’s psychotic personas, but I feel it would have been a stronger song sans those inclusions. 

I Better Be Good has a straightforward punk-rock feel; sometimes that is all that’s required for a song to be noteworthy. 

I'm Alive (That Was The Day My Dead Pet Returned To Save My Life) serves as a fitting conclusion to the album, leaving listeners with a sense of the unexpected. There are only a few musicians capable of recording such a tongue-in-cheek song that can also be taken seriously. Ultimately, it’s a killer tune and a fantastic closer that leaves you wanting more.

While Zipper Catches Skin was not as well-received as some of Alice Cooper's earlier albums, it has gained a cult following over the years, due to its experimental nature and departure from the artist's more traditional sound. Of course, Cooper’s addictions had an impact on this release but the unique and unconventional styling has long been a Cooper trademark that fans, such as you and I, thoroughly enjoy. Subsequently, Zipper Catches Skin is an unintended masterpiece that only gets better with age and the more frequently it is played.

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Slash - Self-Titled (Album Review)

Released in 2010, Slash is the legendary Guns N' Roses guitarist's long-awaited debut solo album. Featuring a star-studded lineup of guest vocalists and musicians, this self-titled album showcases Slash's exceptional guitar skills and his ability to craft a diverse collection of rock songs.

Slash is so synonymous with rock and roll that it would have been easy for him to release a run-of-the-mill Slash & Friends release. However, he didn’t disappoint on this record as he was active in writing and co-writing the entire album. Perhaps this is where other artists have come unstuck as they tend to simply re-record their classics, or record tunes that were never worthy of release, with their friends, resulting in a less-than-stellar release. The result is that Slash is an album experience first and foremost and is arguably his greatest musical achievement outside of Guns N’ Roses. 

Part of the album experience is the artwork and Slash’s self-titled album is magnificent in that regard. Although, I do still feel that the artwork for Slash’s Snakepit It’s Five O’Clock Somewhere is superior. Regardless, Slash’s output has often been adorned with incredible cover art; well, that is until recently as the last great cover art he was associated with was Apocalyptic Love. 

Of course, there’s more to the album experience than the visual element for it must sound compelling in order to garner the attention of music lovers. While this album has been mastered loud, it works well for the hard rock genre. Yes, I’d like a little more breathing room as the drums can sound a little concealed and rather than a shimmer in the cymbals, we’re often met with hideous crunching as the album has been recorded well into the redline. Nevertheless, it rocks and while you won’t necessarily want to turn the volume up to ear-bleeding levels, it can rock loud enough to drive your neighbours insane. That all said, a remaster would likely yield better results, or better yet another vinyl pressing, for the limitations of the analogue format permit a greater dynamic range in order to play correctly. Plus, who doesn’t want that killer artwork on a larger canvas? 

The lossless Apple Music stream, a direct counterpart to the CD release, is subsequently adequate and will appease most fans. The only difference is the stream includes the bonus track Paradise City (feat. Cypress Hill & Fergie); a great interpretation, certainly, but one that I feel isn’t worthy of inclusion here. As a result, I’m sharing a playlist of the album with this track omitted. 

Ghost (feat. Ian Astbury) kicks the album off with a haunting and bluesy number. Ian Astbury's gritty, yet smooth, vocals are the perfect accompaniment to the backing musical performance; a performance that is off-the-charts good.   

Crucify The Dead (feat. Ozzy Osbourne) transitions seamlessly from Ghost and quickly becomes a hard-hitting rock anthem that is a match made in heaven with Slash's riffing and Ozzy's iconic vocal delivery. It’s one of the best songs from the album, but more importantly, it’s one of the best performances in their careers, for both musicians created a masterpiece. 

Beautiful Dangerous (feat. Fergie) is one of the greatest, and most unexpected, rock and roll recordings of all time. Most of us know Fergie from the Black Eyed Peas and while her contribution to that band was extraordinary, and her subsequent solo career has been admirable, she takes her skills as a vocalist to another level on this song. Truth be told, Fergie should be fronting a rock and roll band full-time for she’s got the sultry vocal chops to pull it off.  

Back From Cali (feat. Myles Kennedy) is the first of two masterful Myles Kennedy additions to Slash. As you listen to this song, you’ll be left with little doubt as to why Slash and Kennedy have formed a long-term collaborative partnership for they complement each other perfectly on this melodic rock track. 

Promise (feat. Chris Cornell) is sensational! I’ve adored Cornell’s vocals ever since I first heard Soundgarden’s Superunknown and Promise only intensifies my admiration of the late, great frontman. It may be a little more melancholic than you’d otherwise expect, but Promise allowed both Cornell and Slash to display their musical prowess. 

By The Sword (feat. Andrew Stockdale) is a bluesy masterpiece with Stockdale's unique vocal delivery complementing Slash's commanding guitar work.

Gotten (feat. Adam Levine) adds a pop-rock flavour to the album with this acoustic-driven ballad and Levine’s smooth vocals. It may be a departure from the album’s heavier tunes, but don’t let that deter you as it’s simply stunning.

Doctor Alibi (feat. Lemmy Kilmeister) is hard and fast with an addictive rhythm; a fitting song for Kilmeister’s distinctive growl. 

Watch This Dave (feat. Dave Grohl & Duff McKagan) is the only instrumental track on the album and while Grohl and McKagan are legends, it’s lacklustre and nothing more than filler. Given Grohl’s history as frontman for the Foo Fighters, one would have thought that a killer rock and roll tune, with him on lead vocals and Duff on backing vocals, would have been the perfect combination. As it never happened, it can only be considered a missed opportunity.

I Hold On (feat. Kid Rock) brings a little southern rock to Slash but as much as I enjoy, almost everything, that Kid Rock releases, I Hold On could have been a heavier tune, one that I feel would have been more fitting to this collaboration. Nevertheless, I appreciate it for what it is and it’s a solid rock tune that’s perfect to toe-tap along to.

Nothing To Say (feat. M. Shadows) is characterised by aggressive riffs and powerful vocals. It’s a match made in heaven for it’s reminiscent of the style on Avenged Sevenfold’s Self-Titled 2007 release and is, therefore, perfectly suited to Shadows. 

Starlight (feat. Myles Kennedy) is incredible! Not only is it one of the best songs from the album, but you’d be hard-pressed to find a recording, from Kennedy’s entire career, that is better than Starlight, for this melodic and soulful ballad will leave a lasting impression. 

Saint Is A Sinner Too (feat. Rocco DeLuca) has a slower, more reflective quality that adds depth to the album. It’s a lovely song and a hidden gem that will only be known to those of us who listen to the entire album.

We're All Gonna Die (feat. Iggy Pop) is a song that only Iggy Pop could have sung; one filled with raw, high-energy rock. It’s the perfect way to close out the standard edition of Slash.

Slash is an incredible album that has and will continue to stand the test of time. While I’d love to see another multi-artist collaborative release from Slash, sometimes less is more and this is one instance whereby a singular release is all that is needed. From blues-based hard rock to ballads, Slash's iconic guitar playing remains front and centre with each of his guest vocalists bringing a unique element to each track, making it a must-listen for fans of classic and modern rock alike.

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Guns N' Roses – Use Your Illusion I (Album Review)

Released in 1991, Use Your Illusion I stands as a landmark release in the annals of rock music history as it is the first instalment of the Use Your Illusion albums; one of the greatest release schedules the world has ever seen.

Use Your Illusion I was also a pivotal moment for Guns N’ Roses as the sprawling and ambitious work showcases the band’s musical prowess, lyrical depth, and unbridled energy. Of course, the very same statement could be said about Use Your Illusion II; an album that leans more towards a melodic style, featuring ballads and experimental tunes, which further showcases Guns N’ Roses’ versatility. As to which I prefer, or consider the better of the two albums, I find that difficult to answer as together they’re a collective masterpiece. That said, while I thoroughly appreciate both, I know for certain that I listen to Use Your Illusion I far more often than I do it’s sister album.

Speaking of preferences, I’m not a fan of the 2022 remaster. It isn’t that I find the remaster to be fundamentally bad, but I’m dead against the new orchestration elements on November Rain. It’s blasphemous and is not an accurate representation of Use Your Illusion I. Perhaps I’d be less judgemental had this modification been included as a separate offering, but as it pertains to physical releases, the album in its original mode is no longer available meaning that the original is somewhat lost to history. A shame, certainly, but someone with some common sense has permitted the original album to remain available on the iTunes Store and Apple Music. Subsequently, this original release will be the focus of this review, for classic albums should never be replaced with rerecorded or remixed versions. It’s bad enough that they remaster them when the need often isn’t there. Honestly, I never recall putting Use Your Illusion I on and pondering if it needed a remaster. It was perfect the way it was and that is the way that I choose to enjoy it henceforth.

Right Next Door To Hell kicks the album off with a relentless burst of energy, but as the album opener, I’ve never been convinced that it was the right choice. It’s certainly no Welcome To The Jungle, is it?

Dust N' Bones is an incredible, severely underrated, tune but it’s great to hear Izzy Stradlin sharing vocal duties with Rose as they complement each other perfectly.

Live And Let Die is an incredible cover. Guns N’ Roses performed it admirably and put their own spin on this Paul McCartney and Wings classic. I’d even go as far as suggesting that this edition bests the original recording, partially due to the pop-rock styling that isn’t ideal for the song. That said, if you listen to the live recording from Wings Over America, you may have a different opinion for it’s a great performance that is more in line with the Guns N’ Roses interpretation.

Don't Cry is simply stunning and is not only one of the album’s standout ballads, but it's one of the very best songs that Guns N’ Roses ever recorded. The same, unfortunately, can’t be said for the alternate lyrics version found on Use Your Illusion II.

Perfect Crime returns the album to its hard rock roots with a fast-paced rocker that showcases the band’s raw energy. The only problem is it, like Right Next Door To Hell, isn’t perfectly positioned. Perhaps if the opening track was resequenced closer to Perfect Crime, these album-only tracks would have flowed more convincingly.

You Ain't The First is a hidden gem. Its slower, semi-acoustic-styled presentation, is simply fantastic and presents a perfect interlude before Bad Obsession kicks things up a notch.

Bad Obsession is one of the greatest songs off the album, but it’s that killer blues-infused groove, along with the unique introduction, that will ultimately captivate you.

Back Off Bitch is incredible with killer riffs, a rebellious spirit, and Axl Rose’s ferocious vocals. It’s, without a doubt, one of the best songs from the Use Your Illusion recording sessions.

Double Talkin' Jive is gritty with rapid-fire lyrics and a compelling rhythm that will immediately capture your attention. As with Dust N' Bones, Stradlin’s lead vocals on this tune are superb and while Rose is generally the lead vocalist of Guns N’ Roses, I can’t help but wonder what Guns N’ Roses would have sounded like had Stradlin been the sole lead singer as he’s got a vocal drawl that simply sounds right for their blues-based rock and roll sound. Nevertheless, there are songs that only Rose could have recorded so this may well be a case of appreciating both musicians for their unique qualities.

November Rain is Guns N’ Roses’ magnum opus. It’s arguably the greatest ballad in all of rock and roll history. From the piano-driven intro, to Slash’s iconic guitar solo, to Rose’s emotive vocals, November Rain is a timeless epic.

The Garden, featuring Alice Cooper, is a dark and brooding tune that is utterly brilliant with both Rose and Cooper complementing each other. The Garden is, most certainly, a hidden gem and had it been released as a single, there’s no doubt that it would have gone to the top of the charts.

Garden Of Eden could have been an incredible straight-up rock and roll tune, but the overproduced nature of the song, particularly regarding the synthesised elements, resulted in a lacklustre recording.

Don't Damn Me is full of brute energy, with an incredible riff, and is amongst the greatest music Guns N’ Roses has ever recorded.

Bad Apples isn’t a bad apple, pun intended, but it isn’t a standout either. It is, however, a perfect album-only tune.

Dead Horse is raw, with a killer rhythm, that melds perfectly with Rose’s impressive vocal prowess. It’s a hidden rock and roll gem.

Coma is a sonic masterpiece and the perfect closer to Use Your Illusion I. The rollercoaster intensity will keep you captivated throughout this 10-minute epic while also leaving a lasting impression that will compel you to play the album again or proceed to Use Your Illusion II.

Use Your Illusion I is nothing if not a hard rock masterpiece, brimming with passion and creativity; the likes of which we’re unlikely to see again. While many may reject that statement, this is an album that encapsulated Guns N’ Roses’ multifaceted talents, from hard-hitting rock anthems to soulful ballads, the first instalment of the Use Your Illusion albums has a little bit of everything. The result is that Use Your Illusion I has become an enduring classic that continues to resonate with listeners decades after its release.

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Alice Cooper – Lace And Whiskey (Album Review)

Released in 1977, Lace And Whiskey is Alice Cooper's tenth (third solo) studio album. Following his previous landmark solo works, Welcome to My Nightmare and Alice Cooper Goes To Hell, Cooper continued to explore theatrical and conceptual approaches to his music. While Lace And Whiskey may not have achieved the same level of commercial success as its predecessors, it offers a unique blend of rock, with influences from the 40s and 50s, and a theatricality that showcases Cooper's versatility as an artist. 

For the physical music collectors amongst us, Lace And Whiskey may not be the most elaborately designed vinyl release of the 70s, but it’s extremely compelling. The 2018 vinyl Rocktober reissue, which I’m fortunate to own, is a lovely replica, albeit with modern elements such as a barcode and in place of black vinyl, you’ll get a magnificent whiskey brown-coloured vinyl record that looks as good as it sounds. The result is that these design choices further captivate the mind and draw you into the album experience. 

Sonically, while it may not be quite as remarkable as Dada, it’s not too far behind and is a considerable improvement over its digital counterpart. That isn’t to suggest that the lossless Apple Music stream isn’t enjoyable, for it’s a solid facsimile that is clean and detailed. It is, however, the vinyl distortion (warmth) that adds to the sonic smoothness of the album. Nevertheless, I can’t take the record with me everywhere and for those moments the stream is more than adequate; although I usually need to adjust the EQ slightly, particularly in the low to mid-range, to get the stream sounding as good as it possibly can.  

Of course, if you wish to keep your sanity in check, your aim should be to never compare the two as I have done. With that in mind, let’s just say that if you have no interest in vinyl, you won’t feel disadvantaged for Lace And Whiskey sounds more than acceptable via the Apple Music stream. It would be nice, however, if Cooper’s back catalogue was given the white glove treatment across the board for the lossless Apple Music stream is nothing more than the CD counterpart as Warner has yet to go back to the master tapes and deliver a higher resolution version. 

It's Hot Tonight kicks the album off with a song that can only be described as a rock classic; had it been more widely accepted, of course. Although, the Beastie Boys did sample the tune on their second album, Paul’s Boutique, on the song What Comes Around. I’ve no doubt my following statement will irritate Beastie Boys' fans but as it pertains to What Comes Around, the best thing about that song is Cooper’s sample.

Lace And Whiskey is a thoroughly enjoyable title track that has a bluesy rock swagger that is not only compelling but works seamlessly with Cooper’s vocal presentation. 

Road Rats is a high-energy gritty garage rocker. It’s one of Cooper’s most overlooked masterpieces but it is with hope that it will no longer be cast aside for it was reworked for his 2023 release Road; featuring a heavier rock sound that works perfectly for the song.

Damned If You Do is another of the album’s highlights for it is immediately appealing with its catchy melody and infectious chorus. Yes, it’s a little campy, but if you consider it as part of a concept album, that leans into the music of yesteryear, then it makes perfect sense with its country twang and rockabilly styling.

You And Me is a masterpiece! Cooper may be commonly referred to as a shock rocker, but his ballads are impeccable and, in many cases, best that of his broadly accepted rock persona. Either way, You And Me is soft rock at its very best.

King Of The Silver Screen is sensational and is musical storytelling at its very best. The theatrical and cinematic elements of the song play into the tune and while some may consider these aspects to be cliché, I consider the mix to be the very definition of perfection. Additionally, there are some killer guitar licks to be heard on this tune that will light up your stereo. Incredible!

Ubangi Stomp is a lively rockabilly number. It’s fun and energetic, but one has to question if it was ideally suited to the record as it’s quite a shift from the rest of the tunes. As such, it’s the weakest song from the album, but that doesn’t stop me from enjoying it when I play the record.

(No More) Love At Your Convenience is a touch of pop with a dash of soft rock and a dollop of disco. It works!

I Never Wrote Those Songs is another of Cooper’s masterful ballads that is simply gorgeous. Only Cooper could have recorded such a wonderful tune for even Barry Manilow couldn’t match Cooper’s performance here. The band is on fire, the mix is perfect, and it is one of the greatest ballads ever recorded, by anyone. 

My God starts as if it were a tune for British Royalty. While that can be a distraction, the song doesn’t maintain the cathedral focus for long as the song quickly comes into its own grandiose musical moment that is perfectly aligned with Cooper’s overarching style. Subsequently, it’s a great closer that encourages you to contemplate the music you’ve just heard while also compelling you to play the album again. 

Lace And Whiskey may not be amongst Cooper's most celebrated works, but it offers a diverse range of songs that demonstrate his artistic versatility and is a personal favourite of mine. From hard-hitting rock numbers to heartfelt ballads, Cooper's ability to convey emotion and tell stories through his music never ceases to amaze. Lace And Whiskey is, subsequently, a worthwhile addition to any Alice Cooper fan's collection and if you’ve previously overlooked this masterpiece, may I suggest you give it another chance for it's one of the best albums released in 1977. 

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Disturbed – Evolution (Album Review)

Released in 2018, Disturbed’s seventh studio album, Evolution, marked a significant shift in the band’s musical direction. Known for their heavy and aggressive sound, Disturbed took a more diverse and melodic approach with this album, exploring themes of personal growth, change, and, as the title suggests, evolution. While some long-time fans may have been surprised by this shift from their signature style, Evolution proved to be a bold and intriguing addition to Disturbed's discography. 

Sometimes the only way for an artist to remain relevant, and continue to grow creatively, is to evolve. Disturbed has done just that, but it comes at a cost for as exceptional as Evolution is, it sounds as if it would have been better suited as a side project. Think Corey Taylor's Slipknot versus Stone Sour styles and you'll likely understand where I'm coming from. Granted, David Draiman has the vocal chops to perform in multiple styles, and the cover of The Sound Of Silence certainly opened doors to a broader fanbase than Disturbed had previously had, but was a shift absolutely necessary? 

In retrospect, I believe it was. The problem is that until you get used to the stylistic shifts throughout, it reminds me of the disjointed mess that is John Lennon and Yoko Ono's Double Fantasy. I can’t help but wonder if Evolution would not have been better being expanded, resequenced, and presented with one half in their traditional manner, the other their newfound ballad-focused style. That didn’t happen, of course, but what you’ll find is that the chosen sequencing grows on you the more you listen to the album.

Speaking of listening to the album, the lossless Apple Music stream, an Apple Digital Master, is understandably compressed but perfectly suited to the music. About the only time the compression becomes an issue is in the drums whereby the cymbals lack a delicate taper as they ring out. Instead, and it’s quite noticeable one some songs, the crunching cymbal effect of such mastering results in a less-than-ideal sonic presentation that can be jarring on the senses. There’s little doubt that this is one area where the vinyl counterpart may be better suited because of the more stringent mastering limitations. That’s no guarantee that it will be better, but if you’re after a copy of Evolution with an even greater dynamic range (less compression) then it could be worth the time and investment to track a copy down on vinyl. That’s certainly what I’ll be endeavouring to do, but until then the Apple Music stream is a perfect facsimile that allows me to enjoy this album. 

Are You Ready is a signature stadium-filling song that combines Disturbed's classic heaviness with anthemic melodies. Its energy and finesse are addictive and will appeal to longtime fans and newcomers alike with its radio-friendly styling.

No More continues the album's powerful start with an incredible rhythm, killer guitar licks, and Draiman's distinctive vocal delivery. 

A Reason To Fight is a beautiful ballad. If you thought their cover of Simon & Garfunkel’s The Sound Of Silence, from Immortal, was impressive, you'll be blown away with A Reason To Fight. It’s arguably the best song on the album and one of the best songs Disturbed has ever written and recorded.

In Another Time introduces a more experimental sound and while it isn’t what I’d call classic Disturbed, it grows on you the more you listen to Evolution; so much so that it has quickly become one of my favourite songs. 

Stronger On Your Own is different and simply doesn’t blow me away. Subsequently, I think it’s fair to say that this is one song that no one will seek out on its own as it’s the weakest song from Evolution. 

Hold On To Memories is a welcome change following Stronger On Your Own for while it’s another ballad, Disturbed knocks them out of the park.

Saviour Of Nothing returns the album to Disturbed’s renowned heavier sound and while it isn’t a standout, Saviour Of Nothing is a perfect album-only tune.

Watch You Burn is somewhat similar to Saviour Of Nothing in that it isn’t exceptionally good, except for the incredible symphonic elements later in the song, but repeat listens have ensured that I’ve come away with a greater respect for the tune. This is one of those examples where it is imperative to listen to an album more than once, in its intended sequencing, for sampling tracks or listening via a playlist will never truly allow you to engage with the music.

The Best Ones Lie sounds as if it was left over from the Believe sessions. That's a good thing if you were wondering.

Already Gone closes the album out beautifully with a contemplative ballad that will either encourage you to play the album again or reflect upon the music you’ve just heard.

While some fans may have initially been resistant to the shift in musicality, Disturbed showed their willingness to evolve and experiment with their music and that should be celebrated. The album's strength, subsequently, lies in its introspective and emotional lyrics, as well as Draiman's powerful vocals, which shine throughout. If given the chance, after repeat listens, I’m certain that you’ll find much to love as Evolution is an excellent addition to Disturbed’s discography.

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Detective – Detective (Self-Titled Album Review)

Released in 1977, the self-titled debut album by Detective is a hidden gem from the era. With their blend of bluesy hard rock, soulful vocals, and tight musicianship, Detective showcased their raw talent and distinctive sound on this record; one of only two released, the other being It Takes One To Know One. Neither album charted well, yet the inability of Detective to become a household name has, upon reflection, resulted in them attracting a cult-like status. 

When you take the time to listen to their music, particularly this debut, you’ll be left bewildered as to how such an incredible band came and went seemingly unnoticed by the majority of music lovers the world over. Yes, the album artwork may be a little nondescript, but the music is anything but. In the absence of a physical copy, I find that the lossless Apple Music stream is sonically superb with a bold hard rock soundstage that has plenty of headroom and separation between all musical elements while simultaneously creating an immersive and impressive soundstage. If nothing else, it’s wonderful that modern music lovers have access to such incredible recordings; especially considering Detective isn’t, necessarily, at the top of everybody's list of the best albums from the 70s and such releases are often forgotten in the annals of the music industry. 

Recognition sets the tone for the entire album with its energetic guitar riffs, driving rhythm section, and powerful and emotive vocals from Michael Des Barres. Even if you’ve never heard Detective before, you’ve likely heard this classic tune as it's one of the best ever recorded and has likely been featured on numerous classic rock playlists and radio stations. 

Got Enough Love is a great tune with a fluid transition from Recognition that maintains the core energy, catchy hooks, memorable chorus, and blues-influences. 

Grim Reaper is a hard-hitting rocker with a memorable chorus and infectious energy. By this stage, if you’re not as amazed as I am as to how underrated Detective is (the band and the album), that’s a shame for the band’s tight musicianship and powerful vocals puts them on par with Led Zeppelin. Additionally, there’s little doubt in my mind that they were a perfect match for being signed to Zepplin’s own Swan Song Records, but I dare say some music lovers would still class them as imitators. 

Nightingale is a gorgeous ballad, that shifts styles throughout, and is perfectly positioned in the sequencing of the album. Des Barres’ vocal delivery is utterly perfect and further showcases just how underrated he was as a vocalist. 

Detective Man, with its swaggering groove and infectious chorus, is a standout tune on the album. Blues with a gritty edge perhaps best describes this late 70s hidden gem and when listening to Detective Man I can’t help but think that music doesn’t get much better than this.

Ain't None Of Your Business brings back the high-energy rock sound with its blistering guitar licks and a driving rhythm that showcases the band’s chemistry and overall tightness. As with much of Detective, Des Barres’ vocal delivery is as memorable as the music itself and that is certainly the case with this song. Ain't None Of Your Business is another incredible late 70s hard rock tune that should have been a landmark release for the entire genre. It just goes to show how easily greatness can be overlooked. 

Deep Down really leans into the blues and, initially, it may seem a little disjointed, but your mind quickly adapts and while Deep Down is an album-only tune, and possibly even filler, there’s some incredible playing, especially with regard to Michael Monarch's guitar performance, to be heard on this instrumental tune.

Wild Hot Summer Nights is a spirited performance with a touch of funk and soul added to Detective’s hard rock style. The result is a catchy tune that is an instant toe-tapper. 

One More Heartache is the quintessential closer that encompasses the very best elements of the entire album into a single song. With an incredible guitar riff, vocal delivery, and an electrically charged musical atmosphere, there’s little doubt that One More Heartache will compel you to listen to the album again for once you find Detective, you’ll likely put them at the very top of the greatest hard rock bands of not only the 70s, but of all time. 

Overall, Detective's self-titled debut album is a testament to their musical prowess and versatility. From high-energy rockers to introspective ballads, the band effortlessly navigates different styles while maintaining a cohesive sound. The raw and passionate performances, combined with well-crafted songwriting, make this album a must-listen for fans of classic hard rock with a touch of blues. 

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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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