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

2 Comments

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

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.

2 Comments

Michael Crawford – Performs Andrew Lloyd Webber (Album Review)

Michael Crawford – Performs Andrew Lloyd Webber (Album Review)

Michael Crawford Performs Andrew Lloyd Webber was not only astonishing when first released in 1991, but it has arguably stood the test of time and I challenge you to find a more complete and concise exploration of Lloyd Webber by an artist that is Crawford’s vocal peer. I’d suggest it is impossible, but I’d be happy to be proven wrong. Yes, it would be easy to dismiss Michael Crawford following his slapstick role as Frank Spencer, but doing so would be detrimental to one’s love of music for his vocal presentation is perfectly suited to Andrew Lloyd Webber’s compositions.

The album, Michael Crawford Performs Andrew Lloyd Webber, is near impossible to pick up on CD these days and while available on streaming services, the Apple Music edition, a non-Apple Digital Master sounds flat and lifeless. Thankfully, TIDAL Hi-Fi has the CD-quality stream that sounds just the way it should. Sonically, the album is marvellous as the soundstage is wide with Crawford positioned perfectly centre and the instrument separation of the Royal Philharmonic Orchestra is consistently clear and not at all congested. If there is one criticism to be had it is that the sound signature is so clean that it can be a little clinical. I prefer a warmer tonality to my music, you may of course differ, but increasing the bass slightly addresses this issue. Either way, it is a lovely recording and one that takes full advantage of your stereo system. 

Any Dream Will Do is a lovely song to open the album with and while I’m not a major fan of Joseph and the Amazing Technicolor Dreamcoat, Crawford does a far better job than Jason Donovan ever did. Yes, their styles are somewhat different, but Any Dream Will Do most certainly appeals to vocalists with a broader classical range.

All I Ask Of You is simply stunning although I’ve always considered the opening to be too long, wishing that the vocals would have been introduced a little sooner. The duet is done with Barbara Bonney and she is nothing short of a musical gift from the gods. 

Wishing You Were Somehow Here Again is beautifully recorded and one of my favourite songs on the album. 

And The Money Kept Rolling In (And Out) is a great song but the tempo is significantly different to that of Wishing You Were Somehow Here Again and it momentarily causes a mental jolt. While I don’t feel there is a bad song to be heard on Michael Crawford Performs Andrew Lloyd Webber, I do question if this was the right song to include at this point in the sequencing for I don’t feel Crawford adequately delivers the vocal on this song as he appears not only distant in the mix but unable to reach the required notes with the authority that has been prevalent on all other songs thus far. 

Nothing Like You’ve Ever Known is simply beautiful; a pleasure to listen to and one to play on repeat.   

Tell Me On A Sunday was the perfect song to follow Nothing Like You’ve Ever Known. It’s a delicate song but one that is handled with kid gloves and perfectly suited to Crawford thereby making this song a thoroughly enjoyable listening experience. 

Gethsemane is one of my all-time favourite Andrew Lloyd Webber compositions and the only time I’ve heard it better was when John Farnham covered it in the 1992 Australian recording of Jesus Christ Superstar and that’s saying something as I feel Crawford recorded an impeccable, albeit different, interpretation to that of the Australian cast recording.

The Phantom Of The Opera is, arguably the greatest song ever written. Okay, I could say that about so many songs that I adore, but it is bold and one that demands you turn the volume up. Bonny once again joins Crawford to conduct this duet and arguably outperforms Sarah Brightman. I’d even argue that Crawford’s reinterpretation here is better than the original performance. 

The Music Of The Night is stunning!

Memory is another favourite song that Crawford performs well but no-one does it better than Elaine Paige. Barbra Streisand comes in a close second but she sings it in a register that is different to her regular vocal presentation and while it pays homage to the original, it doesn’t sound quite right either, thereby ensuring Paige remains unchallenged. 

Only You is a lovely song and Frances Ruffelle is a welcome addition to this duet. Although, I must admit that I’m not overly familiar with the song but feel that it is rather dated to the era in style and overall sound. That isn’t necessarily a negative viewpoint, but I’d argue that Lloyd Webber’s work is timeless. 

Other Pleasures/The First Man You Remember is lovely and is perfectly suited to Crawford’s style. Also, and I don’t know about you, dear reader, but as a duet with his daughter Lucy Crawford, it has an additional impact and I can’t help but wonder why Crawford’s daughter didn’t do more in music as she has a captivating voice that I’d love to hear more of. 

Love Changes Everything is a great closing song and is one that compels me to listen to the album again and not only stay within Crawford’s catalogue of music but further explore the various interpretations of Lloyd Webber’s masterpieces. 

Few living composers are as masterful as Andrew Lloyd Webber has been throughout his career, but even if you’re only a casual fan, you’ll likely adore this compilation as it arguably showcases his very best works. Crawford as the vocalist is ideal and while he spent four years as The Phantom and therefore masterfully sings the songs from The Phantom Of The Opera, he delivers all other interpretations with equal grace, making them his own, all the while ensuring that music-lovers will be captivated. 

1927 – ...ish (Album Review On Vinyl)

1927 – ...ish (Album Review On Vinyl)

Sometimes a debut album can become a smashing success that simply can’t be replicated. Selling in excess of 400,000 copies and winning the 1988 Australian Recording Industry Association (ARIA) Awards for best debut single (That's When I Think of You) and album, 1927 effectively became a household name in Australia overnight. While international success eluded them, that shouldn’t reflect on the wonderful musical experience that is ...ish. Ian McFarlane, in his opus The Encyclopedia Of Australian Rock And Pop, put it perfectly when he wrote ...ish is brimful of stirring, stately pop rock anthems. Yes, dear reader, it is that good!

SIDE A

To Love Me is a great opener that is truly representative of the Australian music scene during the 80s. It is recorded, mixed, and mastered beautifully, as is the entire album.

That’s When I Think Of You has a beat, vocal presentation, and guitar solo that are off the charts. There is no pretentious playing here, it is simply beautiful! This is what good music sounds like, you literally won't be able to stop your body moving to the rhythm. So good!

If I Could is rock ballad heaven. Listen to the song once and you’ll be singing it for the rest of the day. If I Could is simply stunning!

You'll Never Know picks up the tempo, but doesn't feel out of place in the tracking of the album. By this stage, if you haven't already turned the volume up, I suggest you do so. Get that air guitar out and warm up those vocal cords, you're going to need them.

Compulsory Hero is one of the greatest songs ever recorded, by anyone, anywhere in the world. It is an unofficial Australian anthem and not only does it bring me to tears, but it makes me proud to be an Australian. It’s a sonic masterpiece!

SIDE B

All The People is a great pop/rock tune, but it was always going to be difficult for any song to follow Compulsory Hero. Thankfully, in the minute or so it takes to flip the record, the senses have a chance to reset. Regardless, All The People is a worthy addition to the album.

Nothing In The Universe is a lovely song. While not on par with some of the earlier songs, it is certainly no B-side.

Propaganda Machine has an interesting punk/pop feel to it. I love it!

Give The Kid A Break has a sensational beat and series of guitar riffs. I hope you didn't turn that volume knob down as this song deserves to be heard at ear-bleeding levels. While a B-side, no one ever said a B-side couldn't be thoroughly enjoyable.

The Mess, unfortunately, doesn't follow the quality B-side that is Give The Kid A Break. The mess is, for lack of a better term, a mess and sounds like pure filler. That, however, doesn’t deter me from flipping back to Side A and enjoying this sensational album once more.

...ish is not only one of the greatest albums ever recorded by an Australian band, but it is also sonically and musically on par with all the greatest bands of the era. In fact, the production quality is world-class and it truly shows on the 2018 vinyl re-issue. Pressed at the world-renowned Pallas plant in Germany, I’ve never heard this album sound so good…ever! The record is pressed on audiophile quality eco-grade vinyl and is so silent you’ll hear the blood rushing through your veins before you hear any unwanted surface noise. The soundstage is immersive, with incredible depth that proves just how good vinyl can sound if diligence is taken in the mastering and pressing process. Yes, the edition on Apple Music is excellent, but it pales in comparison to the vinyl release.

I could honestly keep talking about how exceptional this album is, but I suggest you just track down a copy and experience it for yourself.

The Beatles – Abbey Road (2009 Remaster) [Album Review On Vinyl, CD, & Apple Music]

Comment

The Beatles – Abbey Road (2009 Remaster) [Album Review On Vinyl, CD, & Apple Music]

There are masterpieces and then there is Abbey Road. Very few albums in the history of recorded music maintain the mystique that Abbey Road does. From its iconic cover art, to the Paul is dead conspiracy theories, to the sonic wonderland that still eludes musicians to this day, Abbey Road is beyond perfect and this is, therefore, less of a review and more of a love letter to the fans and those remarkable individuals who made the album.

When comparing Abbey Road, it is important to note that all three versions detailed in this overview are from the same mastering sessions and therefore, logically, should be on par with each other. I can attest that that is the case as they all sound incredible, but there are some minor differences that I would like to highlight. 

The CD has plenty of punch, perhaps a little too much at times. Yes, vinyl by its very nature needs amplification but I prefer digital music that allows me to pump it to the level that I choose, yet the 2009 CD release requires me to turn the volume down to a level that is a few decibels lower than I would ultimately prefer. This increased volume is also fatigue-inducing and while I find that I can play the vinyl edition on repeat for hours on end, the treble-focused presentation of the CD can be a little jarring at times; despite it’s overall warm, for CD, tone. This is where the Apple Music edition, an Apple Digital Master, shines as the laid back analogue sound, as heard on the vinyl reissue, has made it’s way to the Apple Music edition thereby ensuring that this version is less shrill in the treble range, subsequently resulting in a much more pleasurable listening experience at all volume levels. 

It’s important to note that the vinyl reissue was pressed from a high-resolution master file and Apple Music similarly requires the high-resolution master to be presented before compressing to the AAC format; a result that is increasingly providing a much better audio quality when compared to the CD counterpart. Now, the delta between versions remains quite low and in all honesty, unless you’re comparing them, as I have, it is unlikely that you’ll be disappointed by the CD release for, as a standalone item, it is superb and an example of how good CD can sound. It is just that I prefer the tonally warmer sound that is more noticeable on the vinyl and Apple Music editions but I’ve no doubt that many CD lovers wouldn’t consider the CD release to be too clinical and clean sounding, but perfect to their ears. I’ve never been completely enamoured with accuracy and enjoy a bit of colouration, especially when it comes to the mid and low range elements, but that isn’t necessarily everyone’s taste. Truthfully, there isn’t a bad way to experience the 2009 remasters but if you’re like me, trying to find the version that best suits your tastes, then the above details will hopefully assist you with making a judgement call. 

Where the CD shines, however, is in its presentation. The Digipak folding design works well, and the included liner notes are a nice addition to peruse as you’re enjoying the music. If you’re after lyrics, however, the CD is not for you but thankfully Apple Music provides that functionality. The vinyl edition, however, is barebones with no booklet or liner notes other than the main cover sleeve. It’s a little disappointing if I’m to be completely honest. The CD is also an enhanced CD but that technology is unfortunately rather dated and if you no longer have a CD drive in your computer, then the Abbey Road Documentary is forever locked within the plastic disc. Again, the Apple Music edition provides additional functionality and thankfully the documentary is included in the digital version. I acknowledge, however, that this can be rather distracting as you’re unlikely to want to watch it every time you play the album. Thankfully, you can simply deselect it from your library and only stream it when you wish, ensuring that the music remains front and centre. 

Side One

Come Together is an incredible song and a perfect opener. Interestingly, when I first heard Come Together, it was Michael Jackson’s version and at the time I had no idea that it was a Beatles original. Well, Jackson performed it admirably with a little more pop than the original, but the ultimate masters are The Beatles and we can completely ignore Aerosmith’s bastardisation of this classic. However, if you like the classical guitar, you’re going to love Miloš Karadaglić’s version from Blackbird.   

Something is absolutely stunning, leaving me somewhat speechless upon each listen. 

Maxwell’s Silver Hammer is a fun tune, despite its darker lyrical undertones, that will get your body moving to the rhythm. I just can’t seem to sit still when listening to Maxwell’s Silver Hammer and I love McCartney’s somewhat awkward giggle during the recording. Thankfully that was kept in! 

Oh! Darling is pure McCartney. His vocal recording on this track is spectacular; the best in his career in my opinion. 

Octopus’s Garden is perfect, I love it! 

I Want You (She’s So Heavy) is one of my favourite Beatles’ songs and is a great way to close out Side One of the vinyl release. Is it just me or do you find it challenging to accurately predict the end of the song? It is almost like a game for me and I rarely get it because the song keeps going on and on and on and on but I must admit that the sharp cutoff always irritates me for a moment as I would prefer the song to simply fade away. Yes, I Want You (She’s So Heavy) very possibly could have been a disaster, but it is arguably The Beatles at their very best. 

Side Two

Here Comes The Sun is superb. Nothing more really needs to be said when a song is this good. 

Because is moody, brooding, and the ultimate sonic contrast to Here Comes The Sun. The triple-tracked harmonies are spectacular, making Because the epic we know it to be. 

You Never Give Me Your Money flows perfectly from Because and is musically gorgeous. Although, and perhaps it’s just me, at times I feel there is a little too much distortion in the guitar tracking and it can subsequently become a little distracting. 

Sun King is a little off-beat and it takes a while to get used to. While it isn’t a song that I would actively seek out on its own, it works well with the melody aspect on the second half of Abbey Road.

Mean Mr Mustard flows beautifully and is a great song. I particularly like the fuzz bass as it works extremely well for this song.

Polythene Pam shifts the musical style masterfully. A great tune! 

She Came In Through The Bathroom Window is brilliant!

Golden Slumbers is stunningly beautiful and while I admire its polished recording, getting to the point of the song, I would love it to be a full-length song, for I feel it is that good. That said, it flows perfectly into Carry That Weight and both together could ultimately be seen as a singular song. 

Carry That Weight has an incredible presence and is one song where I would have loved to have been a fly on the wall in the studio when it was recorded. Surely they knew they had a masterpiece on their hands during the recording sessions. 

The End is brilliant and is Ringo’s chance to shine with a melodic drum beat that sets the tone for the song and closes out the album perfectly; at least it would have if they hadn’t left in Her Majesty. 

Her Majesty (Hidden) is the only song on Abbey Road that I abhor. It doesn’t ruin the album for me, but it is cringeworthy and frankly unnecessary. 

I could listen to Abbey Road on repeat indefinitely and it isn’t uncommon to put the record on in the morning and still be flipping it that evening. It’s a prized possession and if I had to choose a version that I prefer, it would be the vinyl reissue for its laid back presentation as I feel it is the very best way to experience this masterpiece.

Comment

Velvet Revolver – Contraband (Album Review)

Comment

Velvet Revolver – Contraband (Album Review)

As a lifelong Guns N’ Roses fan, Velvet Revolver appeared to be the natural transition following the dissolution of the original Guns N’ Roses lineup in the late 90s and while one shouldn’t compare the all-star lineup of Velvet Revolver, their songs are, for the most part, hard-hitting garage rock tunes that don’t break new ground but are a worthy addition to the rock and roll genre. That is if you can get over the crushed soundstage that is just grinding and at times intolerable. 

Yes, dear reader, Velvet Revolver’s Contraband sounds like crap. It isn’t the performance, but the chosen recording style, mix and mastering. Loudness was thoroughly applied resulting in a massively compressed soundstage that comes across as noise, rather than a musical masterpiece. Even the ballad, Fall To Pieces is a noisy mess that lacks the definition and subtleties that are heard on basically every Guns N’ Roses album. Seriously, November Rain, Estranged, and Don’t Cry would have been absolute failures if they were mastered this badly. I simply can’t understand why musicians with such credibility would have allowed their music to be released in this manner. 

To say Contraband needs a remaster is an understatement. Those of you who have been longtime readers of Subjective Sounds would likely be surprised at that statement but this is one album whereby the original release is arguably worse than the worst remaster I’ve ever come across. Yes, it is that bad. The current CD/Apple Music master is headache-inducing and while I love the performance and songs, I seldom listen to it because it is a sonic mess. I acknowledge that the vinyl release for Contraband is more dynamic but one can likely understand my scepticism given the dismal mastering quality of the digital release doesn’t exactly exude confidence in this music lover; especially when reviews have been mixed. 

Unfortunately, when listening to the album I find that Matt Sorum’s drum performance is completely lost in the mix while Duff McKagan’s bass is only occasionally heard as a separate instrument. Thankfully, Slash is always loud and clear, but that is no surprise. Dave Kushner maintains the rhythm and Scott Weiland sang his ass off, yet there isn’t a standout element to be heard on Contraband. It is as if egos got the better of the musicians and each musician turned their performance up to eleven, thereby masking everyone else’s contribution. A shame, yes, but it’s just something us fans have to live with. 

Sucker Train Blues is a promising start to the album, but the song is a sucker once it gets past its introduction. It is pure rock and roll but is the first of many examples of over-compression that takes away from the performance. Seriously, how distant is Sorum’s drumming on this track? It sounds like he isn’t even in the same studio and those cymbal crunches are just too crunchy with no decay present.  

Do It For The Kids is “R&FNR” and is thoroughly enjoyable. 

Big Machine is where, for me, Contraband begins. I would have loved to have this as the lead song with Sucker Train Blues and Do It For The Kids slotted into other positions in the tracking of the record. Nevertheless, Big Machine is a song that I love and one that everyone can relate to. 

Illegal I Song suffers badly from the applied loudness, a shame considering it could have been significantly different. The mastering limitations here is what I call headache-inducing. It is, unfortunately, a song that I tend to skip. 

Spectacle is a solid rock and roll tune. Nothing to write home about, but enjoyable nonetheless. 

Fall To Pieces is a favourite of mine. I’d even go as far as calling it a masterpiece. While the story-arc is derived from Weiland’s battle with heroin and the impact it had on his wife, I believe that it’s a song that any of us can apply to various aspects of our lives as we’ve all had moments when we’ve fallen down and feel as though we’re falling to pieces. Fall To Pieces is also one of the tracks that don’t sound too bad given the heavy-handed loud mastering. I’d still like it to be more open and enveloping, but I love it anyway. A great song!

Headspace has a killer rhythm and is a great rock and roll tune. I love it!

Superhuman has the best guitar riff on the album. Brilliant! Similar to Headspace, the rhythm on Superhuman is off-the-charts. 

Set Me Free is a bit of a mixed bag. It isn’t a bad song, but I don’t feel the chorus works, thereby making it somewhat lacklustre. 

You Got No Right is a great song with a vocal styling that reminds me of Julian Lennon. In fact, I’d love to hear Lennon cover You Got No Right. Slash’s solo on this recording, while not revolutionary, is signature Slash and this fan thoroughly enjoys it. 

Slither is, of course, Velvet Revolver’s trademark song and is bloody awesome with a mix and rhythm that is just right. The crunching cymbals persist, however, but little elements like that can be addressed should a remastering ever be undertaken. Additionally, Slither also won the Grammy award for Best Hard Rock Performance in 2005. 

Dirty Little Thing is a bit of a letdown after Slither. It isn’t great. A B-side at best. 

Loving The Alien is an incredible song to close the album on that encourages me to play it again and stay within Velvet Revolver’s small, but compelling, catalogue of music. Loving The Alien is one song where a remastering would send it skyrocketing to new heights as it is one of the best songs Velvet Revolver recorded. 

Overall, Contraband is a sonic disaster but the songs are its redeeming quality. I look forward to the day when the album is reissued and remastered with kid gloves for I believe it deserves to be revisited and hopefully that will occur sooner, rather than later. 

Comment

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

Comment

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

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.

Comment

Alter Bridge – III (Album Review)

Comment

Alter Bridge – III (Album Review)

III is where I came in and thanks to Myles Kennedy’s collaboration with Slash on Back From Cali and Starlight, from Slash's eponymous solo debut, I became an immediate fan of Kennedy’s vocal style that would then lead me to become a fan of Alter Bridge. I’ve no doubt some fans may lament Kennedy’s extracurricular activities with Slash, but without it, I may not have found Alter Bridge.

Released in 2010, III remains my favourite Alter Bridge album to date and while I thoroughly enjoy their fourth album, Fortress, I find it isn’t nearly as tight as III as it feels as though it is a collection of songs rather than a uniformed album. Whereas III doesn’t suffer that same fate. It is surprising then to acknowledge that I have Fortress on vinyl but not III. Insane, I know, but what can you do. Well, I could always pick up the stunning 2019 Music On Vinyl reissue, couldn’t I?. 

In the meantime, however, Apple Music will have to suffice and while it isn’t delivered as an Apple Digital Master, and subsequently suffers from the same brickwalling as the CD release, III remains sonically beautiful with a soundstage that while shallow in places, is well defined and has an intimate feel. Given the chosen mastering, I find it is less fatiguing when listening on headphones rather than speakers and that is most probably the best reason to consider the vinyl reissue as the dynamic range on that particular release is reportedly almost twice that of the digital counterpart.

Slip To The Void sets the tone for the entire album and is, in my opinion, a stunning opening track that is atmospheric and involving for the listener, ensuring this is not a passive listening experience. 

Isolation takes the album up a notch but going from the more open sound of Slip To The Void, Isolation is, by comparison, the song which showcases the most brickwalling; listen to those cymbal crunches throughout. It’s a shame and does initially detract from the song and the overall album experience, but the mind settles down after a while and I hope this is one element that is fixed on the vinyl reissue because it’s about the only major complaint I have when listening to III.

Ghost Of Days Gone By is arguably softer, particularly in the beginning, in tone when compared to Alter Bridge’s usual styling, but it works so well and not only is the entire band capable of such an undertaking, but Kennedy’s vocal is perfectly suited to the Ghost Of Days Gone By and in one respect it could be suggested that this is one of the greatest songs ever sung by Kennedy.

All Hope Is Gone is spectacular!

Still Remains has a killer tribal beat and rhythm feel to it. It reminds me of Mike Wengren’s (Disturbed) drumming and Zakk Wylde’s (Black Label Society) guitar styling; both of whom I thoroughly enjoy so that comment is one of admiration and other than some cymbal crunching, Still Remains is exceptional.  

Make It Right is a solid tune, works well as part of the album, but it isn’t a song I would seek out on its own and I feel it is the weakest of the 14 songs included on III. I find Kennedy’s vocal here isn’t the greatest, it sounds a little whiny, and the overall musicality is, in my opinion, far below the skillset of Alter Bridge during the III era. 

Wonderful Life is beautiful!

I Know It Hurts is the toe-tapping, head-bopping, rock tune that is perfectly suited to follow Wonderful Life. It’s a great song, one of the best on the album, but that could be said of so many songs on III. Alter Bridge really set the bar high with III and while your opinion may differ, dear reader, I’m not sure they’ll ever beat it.

Show Me A Sign will encourage you to get your air guitar out, close your eyes, and strum along. Another great song in an album that simply doesn’t let up. 

Fallout is a mixing masterpiece, thank you Brian Sperber, and is one of my absolute favourite Alter Bridge songs.

Breathe Again really highlights Kennedy’s vocal pitch capabilities and that guitar track is simply gorgeous. If you haven’t already, I’d recommend turning the volume up on this track, especially in the second half of the song as it rocks.

Coeur D’Alene is a song I have mixed feelings about. I find my mind is distracted when I listen to it. When I think about it further, I think it is a disconnect between the verses and the chorus that throws me. It is as if the bridge isn’t allowing for a seamless transition.

Life Must Go On is incredible. I love it!

Words Darker Than Their Wings is a solid song to close the album on, but part of me wishes that Words Darker Than Their Wings could have been tracked before Life Must Go On as I feel the latter would have been a stronger song to close the album with. Regardless, I feel compelled to listen to III again and as I did while writing this review, I progressed through Alter Bridge’s catalogue of music. 

Overall, III is nothing short of extraordinary. It isn’t only my favourite Alter Bridge album, but I’d argue that it is one of the greatest rock and roll albums of the modern era and will, with time, become a classic record.

Comment