Metallica's ...And Justice For All has been marred with controversy since its release in 1988. While I wouldn’t experience the album until I became captivated by Metallica, following their Self-Titled (Black Album) and Load-era releases, I found an instant liking for the raw production of …And Justice For All.

Yes, there are those who dislike the album, often due to the minuscule bass element with the new bassist, at the time, Jason Newsted following Cliff Burton's death. However, while I acknowledge the bass is lacking, I look at the album from a different perspective whereby one could suggest the lack of bass emphasis was a fitting tribute to Burton. Subsequently, I don't subscribe to the ...And Justice For Jason memes. While anything is possible, I’ll be content if the mix is never altered as it wouldn't be the same album. There is an undeniable sonic signature to …And Justice For All, similar to the rawness of St. Anger, that I admire. Change the mix and you risk changing the magic that is ...And Justice For All.

That said, with the recent Deluxe Edition reissues, …And Justice For All has never sounded so good. While this review includes aspects of the 2014 Blackened Recordings Vinyl Reissue (BLCKND007-1), this particular release should be avoided at all costs. Yes, Stephen Gorman's artwork is exquisite on the larger canvas. Although, the green lettering hasn't aged well in my opinion and always reminds me of Mötley Crüe’s Dr. Feelgood cover art as the green tonality is so similar. While I’d love to say the artwork has been faithfully reproduced, the liner notes in this pressing are available as an extra slip-in sheet, versus being used as vinyl inner sleeves. Instead, we get the most god-awful rice paper sleeves that scuff the vinyl. Sandpaper may have been kinder! Seriously, I know these sleeves are cheap to produce, but if you release a premium product, commanding a premium price, you would be best advised to invest a little more in the manufacturing. Perhaps most disappointing is that this is released on the artists' own record label. Metallica has full control over Blackened Recordings, so this cheapness amazes me and is an insult to fans.

Another change that defies explanation is the removal of the album artwork from the centre of the records. We now get a black background with green text. While it doesn't look bad, it doesn't look nearly as good as early pressings in my opinion. Nevertheless, it is all about the music, so let’s discuss that aspect.

This particular vinyl re-issue is a sonic nightmare and is adequate at best. The surface noise is distracting and the overall sound signature is flat. Like really flat. Flat as a tack with little to no dynamic prowess to speak of. Yes, it is mastered quietly, thereby encouraging you to turn the volume up, but it doesn’t help. Now, you might be saying that this is a byproduct of Newsted’s limited bass tracking being heard in the mix. I’d have to disagree as the TIDAL Master 24/96 kHz edition blows my mind…literally! I’ve honestly never heard the album sound so good. There is an Apple Digital Master equivalent, but as close as it comes to the TIDAL Master, it falls short in dynamics and ultimate drive. When listening to the TIDAL Master edition, you’ll likely forget the lack of bass as this edition will reverberate through your soul. While I was considering picking up the 2018 vinyl reissue, when music sounds this good streamed, one has to question what the end goal is. It’s a case of once bitten, twice shy.

Blackened is symphonic metal heaven, as much of Metallica's music is. It’s heavy, raw, and distorted to hell and back, but turn that volume to 11 as it’s the best way to enjoy this exceptional album starter.

...And Justice For All has a gorgeous acoustic introduction before the metal elements take control. Such a wonderful composition! Despite its length, I’ve never felt the song is self-indulgent and every note is thoroughly appreciated. Plus, Hammett’s guitar solo is what air guitar dreams are made of.

Eye Of The Beholder has a slow burn, to begin with, but once the volume hits its peak, and that riff kicks in, it's fantastic. Well, that is until Hetfield starts singing. I’ve always had a love/hate relationship with the vocal presentation on this song and its overly processed nature. That said, the rhythmic chorus is thoroughly addictive and it’s the perfect attitude-fuelled song to listen to when you're angry.

One is exceptional!

The Shortest Straw is the perfect song, with the perfect tempo, to follow on from One. It’s head-banging gold. You have to love that chorus, one of Hetfield’s best in my opinion.

Harvester Of Sorrow has a killer rhythm, but I have always felt the introduction for the song is just too long. As the first single off the album, it was an interesting choice, especially considering the intro wasn't edited. While I love this song, it simply isn’t single material in my opinion.

The Frayed Ends Of Sanity is demonic. I love it!

To Live Is To Die, again, has that gorgeous acoustic element to it. Part of me just wants it to continue every time I listen to the song, but as a fan of Metallica's epic instrumental tracks, I know only too well that they must come to an end.

Dyers Eve is my song. I live for it. It identifies me. It may not be the strongest song on the album, but just as it is a homage to Hetfield's parents, so too is it to mine. There is literally no other song, by any artist, in any genre, that I identify with more. Dyers Eve is textbook thrash metal and while I may have a biased viewpoint, I think it’s fair to declare this as one of Metallica’s best songs and one of their last true thrash masterpieces.

Overall, there isn't a bad song to be found on ...And Justice For All. If you can get past the bass controversy, you're going to find an album that is arguably more riff-driven than any other in history.

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Few album titles invoke as much mystery in the listener’s mind as Iron Maiden’s Seventh Son Of A Seventh Son. Seriously, I can’t be the only one to ponder that title and the associated mystic folklore. Of course, further philosophical interpretation may be for nil as Seventh Son Of A Seventh Son was Iron Maiden’s seventh album; hence the naming is somewhat logical. Still, that won’t dissuade me from folklorish thoughts as I marvel at the artwork and musical masterpiece that is, arguably, Iron Maiden’s greatest album.

The Limited Edition Picture Disc release, from 2013, is one such marvel but it is one picture disc that simply has too much background noise (a result of the picture pressing process) to be consistently enjoyable. Yes, there are those who would suggest that picture discs are only to be displayed, never played, but that is not how I enjoy my music collection, nor have I found that to be consistent across all picture disc releases. Aerosmith’s Pump sounds fantastic, as does Katy Perry’s Prism. Don’t get me wrong, I’m not suggesting that picture discs are superior or even match the sonic quality of a standard black vinyl record, but some are done well. That said, if you know that you dislike surface noise, don’t buy them. As much as I love Seventh Son Of A Seventh Son, I have no desire to collect other Iron Maiden picture discs moving forward as the punch that I want to hear from them is sadly missing. Think early CD quality, with all the harshness and next-to-no low end. Yes, it could be argued that Iron Maiden has never had the heaviest sound in the low end, but the sound is really thin on this particular picture disc release meaning you’ll be riding the tone controls to get the very best out of this record.

Comparing this vinyl release to the Apple Music stream, you immediately notice a sonic improvement, across the entire album and soundstage. It is how Iron Maiden should sound. While we could point to this as being further evidence of how poor the sound quality is on picture discs, one must note that the Apple Music stream is an Apple Digital Master, derived from the 2015 remastering sessions, and in my opinion offers some of the greatest remasterings I’ve ever come across. Remastering is not always an improvement, but in this case, I feel it is as it also bests the 1998 Enhanced editions that I’m also familiar with. With that in mind, I must also acknowledge that the Iron Maiden catalogue has been reissued and remastered so many times that it is difficult to consider every possible edition and therefore while I consider the 2015 remasters to be perfect, your opinion may differ based on your own experiences.

SIDE ONE

Moonchild opens to a euphonic wonderland that envelops you in sound. That entrance, against the acoustic guitar, that bookends the album is superb. Moonchild is classic Iron Maiden and while I wouldn’t call it a standout song, I couldn’t imagine Seventh Son Of A Seventh Son without it. If there is one complaint, however, it would be in the decay and compression of the drums. Even on the Apple Digital Master, the drum track is lacklustre in my opinion. Yes, it allows the bass guitar to flourish, but the drums sound distant in the mix and I would have preferred greater focus on the drums, such as heard in Infinite Dreams.

Infinite Dreams flows beautifully from Moonchild and thankfully the drum track is much improved. The shifting style throughout particularly appeals to me as it shouldn’t work but does incredibly well. Other bands have tried, many have failed, Iron Maiden mastered the song within a song approach and I feel Infinite Dreams is the greatest example of this. Plus, that guitar solo, is incredible. Infinite Dreams is, without a doubt, one of the best songs Iron Maiden ever recorded and while it was later released as a single from Maiden England, I have always felt that this song was strong enough to be a leading single from Seventh Son Of A Seventh Son.

Can I Play With Madness is a great tune, but the chorus becomes tiresome and has subsequently aged the song badly in my opinion; sounding campy at this stage.

The Evil That Men Do is utterly brilliant. The guitar interplay is off-the-charts and while the drums form the backbeat of the track, it is the guitar element that ultimately drives this song. This is one song that you can’t dance to, but if you’re like me you’ll be singing along at the top of your lungs and shredding that air guitar.

SIDE TWO

Seventh Son Of A Seventh Son is a masterpiece. If you haven’t turned the volume up to 11, you’re missing out! If there is one criticism to note, it is the sibilance in Bruce Dickinson’s vocal. Sibilance is, unfortunately, one element of the human vocal that can be distracting for this music lover, and to be completely honest, it is often outside of the control of the vocalist, but while I notice it when listening to Seventh Son Of A Seventh Son, I have to acknowledge just how exceptional Dickinson has sung the lyric for I don’t know many that could have sung it with such precision. Yes, dear reader, my comment is both a complaint and a compliment but regardless on which side of the fence you find yourself on, I suggest you listen to yourself singing the lyric ‘seventh son of a seventh son’ and you’ll see just how much sibilance there is in that catchy, yet difficult phrase.

The Prophecy has an incredible entrance and is stunning from start to finish! I particularly love the vocal mix, especially when listening via headphones, as the soundstage opens up and the disconnected vocals can be easily heard in the separate channels and spaces within the soundstage.

The Clairvoyant is a great tune but I’m a little surprised that it was considered to be single-worthy, especially when Infinite Dreams was overlooked during the immediate album cycle. It isn’t that I dislike The Clairvoyant, I just don’t feel it is one of the strongest songs off Seventh Son Of A Seventh Son. Yes, I acknowledge the groove-driven rhythm that is ultra appealing, but I still feel there were better songs that could have been released such as the closing track, Only The Good Die Young.

Only The Good Die Young is a great closer. I’ve said it many times before, but I adore shorter albums that leaves you wanting more. It encourages me to play the album again and explore an artist’s catalogue further.

Overall, Seventh Son Of A Seventh Son is not only one of the best Iron Maiden albums ever recorded, but it is one of the greatest Heavy Metal albums to ever see the light of day. There isn’t a bad song to be heard and while I know each and every Maiden fan will have their own preferred favourite album, I have to say that Seventh Son Of A Seventh Son would be mine.

Sadly, however, I can’t recommend the Limited Edition Picture Disc release, unless you simply want it for display purposes. It really is stunning to hold and Derek Riggs’ artwork really pops. It is, however, a poor sounding pressing, that only becomes marginally better with adjustment of EQ and tone controls via your receiver. If I were to pick up another vinyl copy, I’d likely consider the 2014 re-issues on black vinyl that have been rather well-received. That said, it may be a case of once bitten, twice shy, and given how good the Apple Digital Master sounds, I may just stick with that.

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Reviews

Metallica – ...And Justice For All (Album Review On Vinyl, TIDAL Hi-Fi & Apple Music)

Iron Maiden – Seventh Son Of A Seventh Son (Album Review On Limited Edition Picture Disc & Apple Music)