Alice Cooper – The Revenge Of Alice Cooper (Album Review)

They’re back!

The Alice Cooper band has returned after a five-decade hiatus with one of the most anticipated releases in recent memory. Yes, Alice Cooper — the man, the myth, the legend — has remained active as a solo artist, with a series of rotating band members, since 1975’s classic Welcome To My Nightmare, as the last studio album featuring the original Alice Cooper band was 1973’s exceptional Muscle Of Love. Yes, Michael Bruce, Dennis Dunaway, and Neil Smith have all collaborated and recorded with Alice in recent years, but it was via a series of tracks rather than an entire album. So, after so many years, could the original Alice Cooper band’s magic be recaptured?

The results speak for themselves. The Revenge Of Alice Cooper is not only a triumphant return, but it’s one of the finest album experiences in recent rock history.

Let’s be honest, not all legacy comebacks are noteworthy. Voyage failed to live up to ABBA’s legacy. AC/DC’s Power Up was adequate, at best. The Rolling Stones, however, proved that an exceptional new release, from a legendary band, was indeed possible with the release of Hackney Diamonds in 2023. And now, Alice Cooper joins that rarified group of artists who’ve managed to deliver a genuinely compelling modern release, not just for the longtime fans, but for music lovers the world over.

As you listen to The Revenge Of Alice Cooper, it becomes abundantly clear that this record is, above all else, an album experience. There may not be a runaway hit on the scale of “School’s Out” or “I’m Eighteen,” but that’s beside the point. This is a cohesive, confident, and utterly enjoyable record from start to finish. Yes, “Crap That Gets In The Way Of Your Dreams” and “Famous Face” feel like natural single choices, but neither has been released as a single. Even “What A Syd” would have been single-worthy as its whimsical nature, tongue-in-cheek lyricism, and unmistakable flair is quintessentially Alice, without the shock-rock elements, of course. Interestingly, the single release schedule mimicked the album’s linear structure. Perhaps the intent was to focus on the album’s overall structure and flow, but it feels as if this was a missed opportunity to highlight some of the album’s standout tracks, despite the first three being highly compelling.

From the first spin, it’s clear that this isn’t some half-hearted reunion. The Revenge of Alice Cooper sounds like a natural continuation of the band’s classic 70s output, but with modern production values. There’s a fluidity and tightness here that suggests the band never really went away; they were just biding their time to release what will most likely become a landmark record. That’s no accident, and much of the credit goes to long-time producer Bob Ezrin, who also mixed the record. A vital architect of the original Alice Cooper sound, Ezrin’s fingerprints are all over this release, just as they were on Love It To Death, Killer, School’s Out, and Billion Dollar Babies. He knows how to get the best out of Alice, usually, and it shows. His return ensures that The Revenge of Alice Cooper not only sounds authentic but fresh, bridging the gap between the past and the present without ever sounding like a nostalgia trip.

Speaking of how the album sounds, the Lossless Apple Music stream is mastered a little louder than I’d ideally like, resulting in a touch of listening fatigue that may have you turning the volume down, rather than up. There’s minor crunching at the top end of the audible spectrum, which is a shame given how exceptional the music as a whole is, but if you can handle a little cymbal crunching, or dial back the treble on your system, you’ll likely find that it is more than acceptable as the album is, otherwise, sonically beautiful.

Of course, it isn’t only the music that’s appealing when it comes to this release, as the artwork invites the listener in. The visual aesthetic is unmistakably Alice Cooper, and it sets the tone before a single note is played. As to which version I intend to pick up for my collection, I’m going with the CD release. While I’ve no doubt one of the vinyl variants would look extraordinary, the price of vinyl is a little too high these days for this music lover. Plus, I’ve grown weary of double LP releases as the flipping of sides gets old, and at 54 minutes long, a single record release would have been far from ideal, as it would either need to be sonically compromised or truncated.

The Deluxe Box set looks incredible, but as there are only 5,000 available worldwide, all you super duper Alice Cooper fans have, seemingly, already purchased your copies. Truth be told, I love the concept, but I would rarely wear the T-shirt, and while the bonus 7-inch vinyl, exclusively containing Return Of The Spiders 2025 and Titanic Overunderture, is desirable, I prefer focusing on core album experiences these days. So, with that in mind, join me as I take a look at the songs that make up The Revenge Of Alice Cooper.

Black Mamba launches the album in the sinister tone that is trademark Alice Cooper, with a spoken word introduction that has become a notable element in much of Alice Cooper’s music. While I question if it was the best song to be released as the lead single, there is an undeniable vibe that will see you toe-tapping and head-bopping along, and it’s, therefore, the perfect song to open the album with.

Wild Ones picks up the tempo, and while you may not be toe-tapping or head-bopping, you’ll feel compelled to pull out your air guitar on this fast, yet mid-tempo number as Cooper’s tempered vocal, atop the thunderous musical bed, ensures that Wild Ones is highly compelling.

Up All Night is a killer tune with an incredible rhythm and magnificent guitar tuning. The chorus, however, is a little campy, despite working exceptionally well with Cooper’s cheeky lyrical approach.

Kill The Flies is the song where I feel the album really starts to ramp up for the narrative-driven story arc, along with some incredible musical licks, is Alice Cooper 101 and will especially appeal to longtime fans. It’s, without a doubt, one of the best songs from the album and amongst the greatest the band has ever recorded.

One Night Stand is an interesting song for it’s got a Nick Cave & The Bad Seeds feel, and while it may not have appealed to me upon first listen, the more I play The Revenge Of Alice Cooper, the more I find myself captivated by this tune.

Blood On The Sun is a modern masterpiece. It sees Alice Cooper at their very best, and Ezrin’s production and mixing style can be heard throughout as it’s one of the most elaborate musical performances on the record. The layering of musical elements and overall soundstage is extremely enticing and is not only amongst the greatest they’ve ever recorded, but I feel that this will be a standout from the album in the years and decades to come.

Crap That Gets In The Way Of Your Dreams flows perfectly from Blood On The Sun, and if you haven’t turned the volume up, now is your chance, for this hard rocker deserves to be heard at ear-bleeding levels. There’s a ton of attitude to be heard here, but it’s the catchy chorus, guitar solo, and solid rhythm that will make this a fan favourite, especially when performed live.

Famous Face is another that has legendary status written all over it, for the fat guitar tuning, rock-solid rhythm, and Alice’s incredible vocal prowess make this a memorable tune that will have you coming back time and time again. It also helps that the chorus is catchy enough, so much so that Famous Face will likely become an earworm for many of us.

Money Screams has a ‘60s meets the ‘70s feel to it with a touch of punk. It isn’t, however, the strongest song on the album, yet I can’t quite put my finger on what is missing. Alice’s chosen vocal style is a little too different to what we normally expect from him, but it also has teeny bopper film vibes to it that take away from the song itself. Still, as an album-only number, it’s solid, but should have probably been excluded from the record and kept as a B-side for a later release.

What A Syd has a jazzy rhythm that harkens back to Cooper’s blackout era, particularly that which was heard from 1977’s Lace And Whiskey. As such, given that it is one of my all-time favourite Alice Cooper records, I adore this tune and only wish that it were longer, or that there were more songs on the album that were written and recorded in a similar manner.

Inter Galactic Vagabond Blues is a solid hard rocker with a blues-band feel that, along with the harmonica, could only have been improved if it had included the use of a cowbell.

What Happened To You, aside from being a killer tune, is a tribute to Glen Buxton, who is sadly no longer with us, having passed in 1997, for his original guitar licks can be heard throughout.

I Ain't Done Wrong is a song that you’d expect more from Aerosmith than Alice Cooper. It isn’t bad, it just lacks a little bit of Alice Cooper’s originality.

See You On The Other Side is the only misstep on the record, for as a would-be farewell song, it falls just short of its emotional target. While the intention is there, the execution feels too reserved, particularly in Alice’s vocal delivery, which doesn’t quite reach the vulnerability of a cracked note in his upper register. For reference, Kenny Rogers nailed this aspect on his posthumous release, Life Is A Song, with the song Goodbye. Still, this minor disappointment doesn’t detract from the album, and you’ll find yourself rewarded upon repeat listens, for this is one record that is going to get better the more often you listen to it.

Ultimately, The Revenge Of Alice Cooper is so impressive that if this were to be the final Alice Cooper album, it’s an ideal closing chapter to a spectacular career, and to do so with the surviving members of the original lineup is a dream come true for Alice Cooper fans.

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Icon – Night Of The Crime (Album Review)

Released in 1985, Icon’s Night Of The Crime is an underappreciated gem from the glam metal and hard rock scene of the mid-80s. While it may not have achieved massive commercial success, it has since become a cult classic. Combining infectious melodies, searing guitar solos, and strong vocals to deliver a polished and dynamic sound, Night Of The Crime has a timeless quality about it, an aspect that will keep you coming back for more.

Part of the appeal is, most certainly, the album’s artwork as it’s stunning. While I haven’t been fortunate enough to own a copy on vinyl, there’s no doubt that it would look fantastic on the larger canvas, certainly far better than on streaming platforms. Yes, the artwork will never match the physical counterpart, but while not as impressive as one would hope, the lossless CD-quality Apple Music stream is utterly perfect.

It’s unclear whether this is the original mastering, or a remaster. Still, if we look at the details on Apple Music, it clearly states a publish date of 1985 and the files are supplied by Capitol Records, rather than Rock Candy; the label that reissued a remastered version on CD in 2005. Nevertheless, as I listen to the Apple Music stream I remain confident that it’s the original mastering as every musical element is perfectly positioned in the mix and there’s plenty of headroom meaning that you’ll feel compelled to turn the volume up and rock out.

Naked Eyes kicks the album off with a hard-hitting style that immediately sets the tone with its driving guitar riff and punchy rhythm section. Stephen Clifford’s vocals soar masterfully above the energetic instrumentation, delivering an anthemic chorus, thereby ensuring you’ll be immediately captivated.

Missing is one of the more melodic numbers on the album, but don’t let that aspect diminish this song for the mid-tempo groove is bolstered by atmospheric synths and another idealistic vocal performance from Clifford. Missing, ultimately, offers a perfect example of how a band balances power and vulnerability to create a lush and layered performance that still resonates today as much as it would have upon release.

Danger Calling embodies everything great about Night Of The Crime for the catchy hooks and galloping rhythm captures the excitement of the era. Danger Calling is, without a doubt, one of the best songs from the album and has all the markings of a radio hit. It’s interesting to note that it was never released as a single. What a missed opportunity!

Shot At My Heart is a driving song, there's no doubt about it, but be careful as you’ll find yourself toe-tapping and head-bopping as you pound your hands on the steering wheel. The power ballad structure, which then blends into a full-fledged rocker, is another example of the musical prowess of the band and Clifford’s exceptional vocal control. Seriously, he’s one of the best, and most underrated, vocalists in the history of rock music and Shot At My Heart further validates that statement.

Out For Blood has an incredible melodic opening with some killer guitar shredding before launching into a fast-paced rocker with a rebellious attitude. Capturing both the highly produced and polished nature of Icon, as well as their raw energy, Out For Blood is one of the best songs Icon ever recorded.

Raise The Hammer is exceptional! If you haven’t already, turn the volume up, for this hard rock number is magical and showcases the band’s technical skill, Dan Wexler’s guitar wizardry, and more of Clifford’s incredible vocal licks.

Frozen Tears is a power ballad in its purest form. The song’s cinematic instrumentation is a highlight and ensures Clifford’s impassioned vocals have the perfect sonic bed to lay upon. While it isn’t necessarily a standout, from the album or amongst ballads from the era, Frozen Tears is a lovely song that ensures the album experience is maintained.

The Whites Of Their Eyes returns the album to its faster, grinding, guitar-driven styling. The Whites Of Their Eyes may be easily overlooked as a straight-up rocker with an aggressive edge, but this thunderous tune would be incredible live as it has stadium filler written all over it.

Hungry For Love is another masterful tune that holds one’s attention, for its driving rhythm, electrifying guitar performance, and Clifford’s soaring vocals all combine to deliver another hidden gem.

Rock My Radio is a quintessential glam metal anthem, one with a sing-along styling that will leave a lasting impression. It’s the perfect way to close the album as it will not only encourage you to play the record again but will compel you to reflect on the music that you’ve just heard; a collection of songs that are amongst the greatest ever recorded.

Night Of The Crime is a stellar album that bridges the gap between hard rock and melodic metal, for its polished production, memorable songwriting, and skilled musicianship make it a must-listen for fans of 80s rock. Icon may not have reached the same heights as their contemporaries, but don’t let that dissuade you for Night Of The Crime has a deserving place amongst the greats and is, subsequently, one of the greatest albums from the era.

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Metallica – Ride The Lightning (Album Review)

While Metallica Killed ‘Em All with their first album, they were determined to Ride The Lightning on the second; a record that has not only stood the test of time but remains one of the greatest thrash metal albums ever recorded.

Marking a pivotal moment in the evolution of thrash metal, Metallica’s second studio album, Ride The Lightning, not only cemented the band’s legacy within the genre but showed that they were capable of a more mature and thematically deep album than was presented on their 1983 debut Kill ‘Em All. Retaining the intensity of their debut, Ride The Lightning, struck a perfect balance between speed, aggression, and intricate musicianship that would not only set them apart but would result in a collection of timeless tunes and one of the very best albums released in 1984.

Visually striking, as many of the albums within Metallica’s discography are, Ride The Lightning looks stunning on the larger vinyl canvas and while I’ve been fortunate to have owned various editions of this classic album throughout the years, all are not created equal and in some cases it comes down to the mastering, whilst others come down to the quality of the vinyl pressing; such as the less-than-impressive Blackened Recordings 2014/5 vinyl reissue (BLCKND004-1). What is pleasing, however, is that the 2016 remaster brings about greater consistency across all formats. As such, it no longer matters how you choose to listen to this classic release, but what I can say is that streamers are in for a treat for the Apple Digital Master rocks; despite it being, technically, more compressed than previous editions.

Of course, give it a listen and see for yourself as we explore the songs of this legendary release.

Fight Fire With Fire opens with a killer acoustic guitar intro that quickly erupts into one of Metallica’s most ferocious thrash metal tunes. Blending melody with aggression sees Fight Fire With Fire set a chaotic and intense tone that continues throughout the record; thereby making it the perfect album opener.

Ride The Lightning flows perfectly from Fight Fire With Fire for the guitar riff continues the non-stop assault on the senses. If you haven’t already, this title tune will encourage you to get your air guitars out for it is impossible to sit still as this legendary song is playing. However, it isn’t just the relentless riffing that’s a highlight here, for the shift between the frantic thrash riffs and the slower, doom-laden sections, demonstrates Metallica’s evolution and ability to blend tempo and mood. Ultimately, Metallica’s music doesn’t get much better than this and words seem somewhat meaningless to explain the impact of this song. Hence, you need to experience it for yourself as that’s the only way to truly appreciate and understand Metallica’s impact on not only thrash and metal, but music in general.   

For Whom The Bell Tolls is EPIC! From the tolling bell, to the slower and more methodic tempo that builds tension and atmosphere, to the musical interplay between the band, For Whom The Bell Tolls is one of the album’s most memorable moments and is, undoubtedly, one of the greatest songs Metallica ever recorded.

Fade To Black is a slight departure from their core thrash roots, but when you combine a slight country twang and a more melodic tempo you end up with a power ballad worthy of Metallica. Of course, the song ebbs and flows between the semi-acoustic and full-on electric, adding to the overall appeal and merging this new style with their thrash origins. Yes, some detest 80s power ballads, but this is no ordinary ballad for its masterful composition sets it apart from its 80s counterparts. And, if nothing else, Kirk Hammett’s closing solo seals the deal on this being one of the greatest power ballads ever recorded.

Trapped Under Ice returns the album to a faster, more chaotic pace with aggressive riffing and frantic drumming that create an overwhelming sense of urgency that perfectly mirrors the song’s theme. Trapped Under Ice may be one of the more straightforward thrash tunes on the record, that would have been perfectly suited to Kill ‘Em All, but it doesn’t let up for the entire duration.

Escape has a killer riff and rhythm with a groove that is widely appealing. That said, Escape can be best described as a quintessential album-only tune and as much as I enjoy it, I’ve always felt it wasn’t the strongest song from a vocal perspective. However, had it been an instrumental tune, it would have been exceptional.

Creeping Death is a monumental tune and a thrash masterpiece due to its relentless energy and perfect balance of storytelling, technical prowess, and visceral intensity.

The Call Of Ktulu is, without a doubt, one of the greatest songs ever recorded in all of music history. If you haven’t checked out the live performance from their legendary S&M concert, you really should because it bests this original. The Call Of Ktulu’s strengths are on full display across the song’s sprawling 8-minute runtime. Building tension with atmospheric guitar work and ominous riffs, along with a thunderous percussive element, The Call Of Ktulu isn’t easily forgotten and will compel you to play the album again because Ride The Lightning can seldom be listened to once.

Ride The Lightning is nothing if not a milestone release for Metallica and the thrash metal genre. Its combination of raw power, thematic depth, and technical brilliance set it apart from its peers and showcased Metallica’s growing ambition. It also expanded the boundaries of what thrash metal could be, incorporating new levels of complexity, emotion, and atmosphere without sacrificing the core aggression. No matter which way you look at it, Ride The Lightning was a monumental achievement in metal, and its influence can still be felt today as it’s one of the greatest thrash records ever released.

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Iron Maiden – Powerslave (Album Review)

Released in 1984, Powerslave is Iron Maiden’s fifth studio release and vocalist Bruce Dickinson’s third outing with the band. While opinions will differ, Powerslave is arguably the strongest, early-80s, release for Maiden as The Number Of The Beast and Piece Of Mind both have exceptional songs but aren’t quite the cohesive album experience that Powerslave is. If nothing else, Powerslave is the embodiment of the heavy metal genre featuring intricate compositions and powerful performances that marked a high point in the band’s career, both in terms of their musical evolution and global popularity.

As is always the case with Iron Maiden, the album artwork is exquisite. Of course, with a keen interest in Ancient Egypt, I may be a little biased, but Powerslave doesn’t disappoint in that regard for it is as bold as the music contained within. However, when you get down to the sonic elements of Maiden’s records, while the production and overall mix are generally superb, the mastering of their albums, particularly the remastered releases, has been a point of contention amongst fans. Some prefer the original releases, others the 1998 remasters. Add to that the 2015 remasters and you’ve got three quite different interpretations of the same music.

While I haven’t been fortunate enough to hear the original release, of Powerslave, those familiar with the 1998 remaster will likely agree that it’s thin, shrill, and fatiguing to listen to; particularly at higher volumes. In contrast, the 2015 remaster offers a smoother presentation with a boost to the mid and low-end while simultaneously dialling back the treble range slightly. It’s certainly an improvement, from my subjective perspective, and the good news is that this most current remaster is available not only via streaming but it has also been released on CD and Vinyl, meaning that there is consistency across the board.

Aces High opens the album superbly with an opening riff that’s not only iconic but sets the tone for the entire record. The relentless assault on the senses captures the intensity of fighter pilots during the Second World War (the subject matter of the song) and is, subsequently, musical storytelling at its very best. Add to that Bruce Dickinson’s soaring vocals and you’ve got an incredible song from start to finish.

2 Minutes To Midnight is an anti-war song that utilises the idea of the Doomsday Clock to formulate a message against hostility. While I rarely focus on literal intent and song meanings, instead preferring to appreciate the human vocal as an instrument within the mix, 2 Minutes To Midnight makes you sit up and pay attention. It also happens to be one of Maiden’s most enduring classics, one that balances melodic hooks with a heavy, ominous atmosphere. Most notable, however, is the instantly recognisable riff and duelling guitars between Adrian Smith and Dave Murray; pure genius.

Losfer Words (Big ‘Orra) may be the only instrumental track on the album, but as much as I love Dickinson’s vocal prowess, Losfer Words (Big ‘Orra) showcases Iron Maiden’s musical chops without the need for lyrics. There’s part of me that appreciates it so much that I’d love to see Maiden release a series of albums, or songs, sans lyrics for they truly offer a different perspective. As you listen to the song, you’ll no doubt appreciate the complex arrangement for each member’s contribution shines through the mix with the interplay between guitars, and Steve Harris' bass, creating a layered and intricate sound that is both powerful and melodic. It, truly, is one of Maiden’s greatest tunes.

Flash Of The Blade features a sharp, stabbing riff, with an almost frenzied tempo that is Maiden 101. While it was never going to be a highlight from the album, Flash Of The Blade is an example of a quintessential album-only tune; one that drives the album forward and ensures that it’s a memorable experience.

The Duellists, similarly to Flash Of The Blade, enhances the album but was never destined to be a standout. That said, there are some magical musical aspects to be heard throughout as the band is on fire. The Duellists, in my opinion, would have been another ideal instrumental tune as Dickinson’s vocal ultimately detracts from the performance of the band.

Back In The Village is frenetic and is one of the more aggressive songs on the album, but it isn’t great. Dickinson’s vocal performance on this number is unsuited to the song and while I can look the other way, when it comes to listening to the album in its linear structure, Back In The Village is one of the poorest songs Iron Maiden has ever recorded. That said, the duelling guitars and overall musical bed, particularly mid-song, are incredible.

Powerslave, as the title track, was always going to be the centrepiece of the album and it delivers. The instrumental section is a masterclass in Iron Maiden’s ability to build tension and atmosphere, culminating in a powerful crescendo, but it’s the guitar riff and interplay that is, again, a standout element.

Rime Of The Ancient Mariner is the album’s epic closer. Musically, it’s a journey in itself, shifting through various tempos and moods, from the eerie quiet of the middle section to the thunderous conclusion. Without a doubt, it is one of Maiden’s most ambitious compositions, but it’s a testament to their skill and creativity that they were able to pull it off. Yes, at over 13 minutes, it was never going to be released as a single, but it is single-worthy and deserving of more recognition than it often receives.

Overall, Powerslave is an incredible album that showcases Iron Maiden at the peak of their creative powers. Each track contributes to the record’s overarching sense of grandeur and adventure, making it a cohesive and immersive experience. For fans of heavy metal, Powerslave is an essential listen and it’s not only one of Maiden’s greatest releases, but it’s amongst the very best albums released in 1984.

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Diamond Head – Borrowed Time (Album Review)

Diamond Head's 1982 studio album, Borrowed Time, stands as a pivotal release in the band's discography, for it’s a musical masterpiece that further cemented their enduring legacy and influence on the metal genre; despite a shift towards more mellow compositions. While their unique blend of New Wave and British Heavy Metal resulted in Diamond Head being a core influence to the likes of Metallica, commercial success was sadly not achieved. However, as music lovers know only too well, what is successful with the masses is seldom representative of the greatest music ever recorded. 

Given the early 80s was still dominated by the vinyl record, as the predominant format of the era, it amazes me that the album didn’t see more success, for who wouldn’t have wanted to have that incredible artwork on display in their homes? Rodney Matthews certainly created a magnificent piece of visual art; one that is perfectly aligned with the music contained within and it is as fresh today as it was when first released.  

Sonically, while the band is in fine form, Borrowed Time could do with a remaster. I know, remasters are a dirty word when it comes to classic albums, but the lossless Apple Music stream, a direct counterpart to the current CD releases, is a little thin. You may need to adjust the EQ levels in order to increase the bass in both the low and midrange. Doing so gives Borrowed Time a greater sense of presence. Some fans may not be fussed by this aspect, and while EQ can indeed address some of the elements, the modern EQ settings are an all-or-nothing approach and if you don’t have access to a manual equaliser, you’ll likely agree that a remaster, by a skilled engineer, would be a better approach. That said, it’s a minor quibble and Borrowed Time is so good that I can usually look past this aspect and thoroughly enjoy the music; a selection of songs that when combined in the album format result in one of the greatest hidden gems the metal industry has ever known. 

In The Heat Of The Night opens the album with Diamond Head’s signature rhythmic heavy metal sound, killer riffs, and incredible vocals by Sean Harris. Ultimately, it’s one of Diamond Head’s greatest tunes; of course, that could be said about nearly all of the songs from Borrowed Time. 

To Heaven From Hell flows seamlessly and continues the driving rhythm while slightly increasing the aggression of the guitar riffs. The bass tracking by Colin Kimberley is fantastic, even if it is a little concealed in the mix. One thing that you’ll notice immediately is the sing-along nature of the song, for you won’t be able to help but sing along to the song’s chorus. 

Call Me is one of the greatest songs ever recorded in all of music history. If you were singing along to To Heaven From Hell, you’ll be chanting Call Me as the catchy chorus demands interaction. Harris shines even further on lead vocal, but so does the entire production as the melodic styling, coupled with the soaring musicality, ensures Call Me is nothing less than a masterpiece. 

Lightning To The Nations appeared on Diamond Head's debut album Lightning To The Nations but as solid as that original recording is, I much prefer the spit and polish that has been applied to the version on Borrowed Time. It’s simply more powerful and polished when compared to the original recording. The result is that this version sounds optimal while the original has always been closer to a demo than a fully-fledged recording.

Borrowed Time has a slightly darker tone, but that bass performance is exceptional and can be heard as an influence throughout Metallica’s first three records. Yes, dear reader, I adore the bass guitar and when it features prominently, especially as a buildup to a song, there’s nothing better.

Don't You Ever Leave Me is, arguably, the only B-side to be heard on this remarkable album. That isn’t a bad thing for it’s a solid and thoroughly enjoyable tune. What is lacking here, however, is a driving rhythm. Yes, it’s a slower-paced tune that showcases Diamond Head’s versatility as musicians, but I’d argue the tempo, and the length of the song, is the core reason why it’s not a standout. That said, that guitar and intertwining bass solo mid-song is a highlight. Hence, as I alluded to earlier, B-sides and album-only tunes aren’t always a bad thing for they offer further insight into the musicianship of an artist and quite frankly, every song need not be a hit for the album to be extraordinary. 

Am I Evil? is one of Diamond Head’s most recognisable tunes and it certainly helps when Metallica covered, and continues to perform, this classic. Metallica's rendition, as I previously declared, was bloody brilliant and if Satan has a playlist, this song would most certainly be on it. That statement can easily expand to this edition of the song and while it originally appeared on Diamond Head’s debut, Lightning To The Nations, I find myself continually gravitating towards this version on Borrowed Time as I simply prefer their second album. That said, if you’re after a rawer, more demo-styled, interpretation, the original has you covered. With a dark and brooding atmosphere, combined with truly captivating performances, Am I Evil? is not only a perfect closer, but it will encourage you to play Borrowed Time, time and time again for this is one album that can be seldom listened to only once. 

Borrowed Time, ultimately, is not only one of Diamond Head’s greatest releases, it's one of the best metal albums of all time. With a diverse range of tracks, showcasing the band’s musical prowess, this is classic metal at its very best. It really is a shame that this album didn’t receive the recognition from music lovers that it deserves, but thanks to their peers’ latching onto the album as inspiration, and covering a number of their tunes, we’re incredibly fortunate to still be able to appreciate Borrowed Time; even if it remains a niche release in music history. Of course, dear reader, if we share it as I have done here, then new listeners will be able to experience the music we know and love. So don’t be shy. Share this album with anyone who appreciates music for it may be metal-focused but Call Me, amongst others, will appeal to just about any music lover.  

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Slipknot – .5: The Gray Chapter [Special Edition] (Album Review)

Released in 2014, Slipknot's fifth studio album, .5: The Gray Chapter, marked a significant moment in the band's history. It came six years after their previous album, All Hope Is Gone, and was the first without their founding member and bassist, Paul Gray, who tragically passed away in 2010. Additionally, it was also their first album without drummer Joey Jordison, making it a crucial test for the band's ability to adapt and evolve while staying true to their signature sound. 

Alessandro Venturella would be the new bassist from this release onwards, as was Jay Weinberg on drums, but neither musician took anything away from the founding members they replaced for they not only brought their unique style to Slipknot, but they ensured that the legacy of Gray and Jordison was maintained. The result was a seamless transition that would allow the fans to embrace the music, rather than constantly contrast one performer against another.

What isn’t up for debate is the production quality of .5: The Gray Chapter for this is an incredible release with a mix and master that, especially for the genre, is the definition of perfect. While I’ve yet to pick up a physical copy of this exceptional album, the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is an experience in and of itself and has to be heard firsthand in order to fully appreciate just how spectacular every aspect of this recording is. The stream is subsequently so mind-blowing that I wonder if a physical counterpart is necessary as there isn’t a single element that I would change, nor is there any aspect that I feel could be improved upon. Yes, dear reader, it is that good! 

XIX is an eerie, atmospheric opener, that sets the tone for the entire album. Even if the rest of the album had been lacklustre, XIX is about one of the best opening tracks you’re ever likely to hear, from any album, in all of recorded music history.

Sarcastrophe flows seamlessly from XIX, but it isn’t long before Slipknot’s renewed burst of energy comes blaring out of the speakers with pounding percussive elements and frantic guitars accompanied by Corey Taylor’s intense vocals. Sarcastrophe is Slipknot 101 and while it may not be the first song that you think of when looking forward to listening to .5: The Gray Chapter, it harks back to their origins and longtime fans will no doubt appreciate the rawness of the recording. 

AOV is a melodic and aggressive tune that highlights Slipknot’s dynamic and ever-evolving style. However, as exceptional as the music is on AOV, it’s Taylor’s vocal delivery that is of particular note here for the verses are poetic and the chorus is soaringly perfect. 

The Devil In I is the expected radio-friendly tune with a catchy chorus, sensational grinding guitars, and a rhythm that when turned up to 11 will collide with your soul. Yes, purists may feel these commercial-based tracks are a distraction, but just as I adore ballads, I absolutely love Slipknot’s more accessible tunes for they not only rock, but open the door for new fans to enter the fold.

Killpop showcases Slipknot’s softer side, for even the greatest headbangers need a palette cleanser from time to time. Additionally, the depth and level of detail in the soundstage of Killpop is sublime and while Slipknot's music has always been multi-layered, Killpop is a masterpiece in that regard.

Skeptic is an appropriate tribute to Gray, but it sounds a little too disjointed in places. It, subsequently, isn't one of my favourite songs from the album, but remains a worthy inclusion.

Lech is relentless and while it’s most certainly an album-only tune, .5: The Gray Chapter wouldn’t be the same without it.

Goodbye is another emotional song discussing Gray's death and the impact his passing had on the band. It’s an exceptional song with a gorgeous soundstage and vocal presentation. Its placement, mid-album, is interesting though. I would suggest it would have been better placed towards the beginning of the album or as the final track.

Nomadic is a high-energy, aggressive tune, that flows so seamlessly from Goodbye that you’d be forgiven for thinking of the two as a single song. 

The One That Kills The Least is a more melodic piece with an addictive rhythm, killer guitar licks, and more of Taylor’s exceptional vocal dexterity.  

Custer is a ferocious song with explosive energy, featuring Taylor's screaming vocals and aggressive instrumentals. It’s classic Slipknot!

Be Prepared For Hell is pure filler and should have been omitted from the album; despite leading us sonically into The Negative One.

The Negative One is a heavy, chaotic track that captures Slipknot's signature aggression and will appeal to long-time fans.

If Rain Is What You Want is an intriguing tune, but is it really a Slipknot song? I'm not sure! It sounds more like a repurposed Stone Sour tune, but that’s just me. That isn’t to say it's bad, just that I don't feel this qualifies as a Slipknot song per se. Nevertheless, it’s a haunting and atmospheric ballad that displays the musical talent within Slipknot. For those of you who collect vinyl, however, it is a rather strange way to close a Slipknot album as it’s the last song on the physical counterpart. 

Override is a dynamic, hard-hitting, track that suits Slipknot significantly better than If Rain Is What You Want. In fact, it’s one of their greatest recordings that many wouldn’t have heard, unless they checked out the Special Edition release, that is.

The Burden is a sombre closing to the Special Edition release of .5: The Gray Chapter and instead of going out with a bang, The Burden is more akin to a whimper. That isn’t to say that it’s fundamentally bad, but it isn’t the strongest song to close a Slipknot album on.

.5: The Gray Chapter is a powerful and emotional journey that explores themes of loss, grief, and rebirth. Slipknot manages to strike a balance between their familiar aggressive sound and a more melodic and introspective side. The result is that .5: The Gray Chapter is the definition of a perfect album; if it were a little shorter, that is. Had the runtime been reduced to that of a standard-length album, it would have been even stronger. Nevertheless, .5: The Gray Chapter is a testament to Slipknot's ability to evolve and grow with resilience while staying true to their roots. While it may not surpass their earlier classics, for many fans, it's a strong addition to their discography, nonetheless, and a must-listen as well as one of the best albums released in 2014.

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Iron Maiden – Killers (Album Review)

Released in 1981, Killers solidified Iron Maiden's status as heavy metal pioneers. Building on the foundation laid by their self-titled debut album, the band pushed their boundaries and continued to evolve by delivering a record that combined adrenaline-fueled energy with thought-provoking lyrics and some of the greatest riffs you’re ever likely to hear. 

It’s also Paul Di’Anno's final album, as vocalist, with Maiden and is somewhat bittersweet for as incredible as Bruce Dickinson is on the microphone, Di’Anno’s gravelly singing style was perfect for Maiden’s musical style. That said, I can’t imagine Maiden’s albums post-Killers had Di’Anno remained a member of the band. 

What has remained consistent, throughout the years, is Maiden’s album artwork and Killers is one of their very best. Eddie’s demonic grin is captivating and if the music doesn’t grab you, the artwork certainly will. 

Speaking of the music, for that is the real reason we’re here, the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is thoroughly enjoyable. There’s a tiny bit of muddiness to be heard, but it isn’t a detraction and once Wrathchild comes in, as the second track, all is forgotten for it is quite an audible treat. Yes, some may suggest that the Apple Digital Master is overly compressed, but for Maiden’s style of music, I find it to be perfectly suitable and the latest remasters have a little more heft in the mid to low end of the audio spectrum meaning that the thin sound of the legacy CD releases, from the 1998 remastering sessions, is no longer a cause for concern; unless you enjoyed that style of reproduction, that is. 

The Ides Of March is an incredibly ominous instrumental that sets the tone for the entire album with its haunting guitar melodies and riffs that help to form a foreboding atmosphere before leading into the high-octane anthem, Wrathchild.

Wrathchild kicks things off with Steve Harris' thundering basslines and Paul Di'Anno's gritty vocals. The song’s relentless rhythm, soaring guitar work, and catchy chorus have ensured that it’s a signature tune within Maiden’s back catalogue.

Murders In The Rue Morgue initially slows the tempo considerably with a focus on the melody, before launching into the dynamic metal-driven style that showcases Maiden’s ability to craft complex compositions while staying true to their signature sound. 

Another Life is a killer tune with so much musical depth that your mind will want to connect with every musical aspect, yet you’ll need to find an element to latch onto before the pace of Another Life gets away from you. This kind of frantic song isn’t likely to appeal to everyone, but as far as I’m concerned the shifting styles, throughout, are trademark Maiden; it’s part of what makes them so compelling.

Genghis Khan is the album’s second instrumental piece and while the vocalists of Maiden have always been commanding, I love Maiden sans the vocalist for their music is so emotive and you really get a sense of their instrumental power. From Clive Burr's drumming and Harris’ bass skill to the twin guitar attack of Dave Murray and Adrian Smith, you’ll be left speechless as many aspects of Maiden’s musical accompaniment are lost when lyrics are laid atop the musical bed. The result is that Genghis Khan is one of the greatest pieces of music Maiden ever recorded; a true masterpiece in every sense of the word. 

Innocent Exile flows nicely from Genghis Khan but it’s ultimately an album-only tune. A solid one, yes, but as a song on its own, it’s somewhat unremarkable. 

Killers is a true heavy metal classic that can be best described as an unforgettable sonic experience.

Prodigal Son is a departure from the album’s heavier tracks for this acoustic-driven tune offers a moment of introspection. The folk-inspired melodies and storytelling lyrics further demonstrate Maiden's versatility and while hardcore metal rockers may feel that Prodigal Son is nothing but filler, I’d go as far as suggesting that it’s one of Maiden’s greatest songs; a hidden gem!

Purgatory is a fast-paced relentless onslaught of music; a polar opposite to Prodigal Son. If nothing else, Purgatory is indicative of Maiden’s early raw sound signature. 

Drifter closes the album with a final burst of palpable energy that will compel you to play the album again, for Killers can rarely be heard a single time. 

Killers marked a significant step forward for Iron Maiden, both in terms of musical complexity and thematic depth; even though I consider their self-titled debut to be a masterpiece. Regardless, when you combine the band, Steve Harris’ driving basslines, and Paul Di'Anno's raw vocals, you get a sound that has not only influenced generations of metal bands but stands as an influential chapter in Iron Maiden’s legacy. 

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