AC/DC – '74 Jailbreak (EP Review On Vinyl, Apple Music, and TIDAL Hi-Fi)

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AC/DC – '74 Jailbreak (EP Review On Vinyl, Apple Music, and TIDAL Hi-Fi)

Few EP releases are as strong as AC/DC's '74 Jailbreak. In many respects, one could call this release a mini-greatest hits had it not been for the fact that the included songs were largely unavailable to music lovers outside of Australia. Released in 1984, US audiences were able, for the first time, to conveniently hear five exceptional tracks that were never released in their region during the 70s. While it is difficult to comprehend a fan's joy upon first hearing this release, one only has to spin the record and turn the volume up to hear just how polished AC/DC was in those early years. It is an experience that must be heard to be believed. 

Without a B-side to be found, '74 Jailbreak is one of the greatest AC/DC releases and should be in every fan's collection. Yes, the EP is short but that isn't necessarily a bad thing, especially if you opt to listen via CD or streaming services. From my experience, the Apple Digital Master, available via Apple Music, is the gold standard when it comes to streaming and while TIDAL Hi-Fi delivers the CD-quality counterpart, from the same mastering sessions, the TIDAL Hi-Fi version isn’t any better than the edition presented on Apple Music and subsequently, in this case, I prefer the Apple Music edition as it takes up less storage when using offline play as well as being more accomodating for those of us with restrictive cellular data allowances. That said, you can rest assured that regardless of how you choose to stream ’74 Jailbreak, you’ll be hearing the very best sound that streaming has to offer.

When at home, however, I’m fortunate enough to own the 2003 vinyl reissue and to say it’s spectacular is an understatement. Vinyl rarely sounds better than this, although I don't feel that way about all the AC/DC reissues from 2003 as the inner-groove distortion on the Back In Black reissue is infuriating. Nevertheless, '74 Jailbreak has an incredible soundstage with a perfect mix that ensures the bass and drum beats remain prominent, but never overpowering. Similarly, Bon Scott's vocals have never sounded better and each percussive element is crystal clear. If you’re a vinyl fan, this is one record you should add to your wish list, and your collection, as I know you won’t be disappointed. 

Side One 

Jailbreak may not be the first song fans gravitate towards but it’s an exceptional song that has been featured in AC/DC’s live performances for decades; even if it does appear a little self-indulgent when performed live. This studio recording, however, is the perfect opener for ’74 Jailbreak as it sets the tone for what is to come and never disappoints. 

You Ain't Got A Hold On Me has an incredible rhythm, although, I’ve always thought that Scott's vocal sounds a little too thin and forward in the mix. Interestingly, you may notice when listening to Brian Johnson-era recordings, by comparison, his vocals were always mixed in a more central position in relation to the music, whereas Scott's tend to stand out in the mix. It is a minor difference, but a noticeable anomaly.

Show Business is blues-rock 101. I love it!

Side Two

Soul Stripper is a layered and complex wonderland that presents listeners with a massive soundstage. The entrance, albeit lengthy, never gets dull and Scott's vocal entry and presence in the song is nothing short of perfection.

Baby, Please Don't Go is an incredible cover that I’ve always enjoyed. Is it the best version, however? Well, that is, of course, subjective but I can only reiterate that the Aerosmith rendition is just as good and that if you want the purist recording of this song, you should check out Big Joe Williams' 1935 recording. Nevertheless, Baby, Please Don’t Go is the perfect way to close the EP, extraordinary!

From start to finish, '74 Jailbreak is an exceptional collection of blues-based rock and roll songs that are timeless and will remain part of the social consciousness for generations to come.

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Barbra Streisand – Higher Ground (Album Review)

Barbra Streisand – Higher Ground (Album Review)

Released in 1997, Higher Ground was Barbra Streisand’s twenty-seventh studio album and despite selling over 5 million copies, I completely overlooked this release at the time. Thankfully, due to the flexibility of streaming, I’ve been able to enjoy this masterpiece in recent years and consider it amongst Streisand’s greatest recordings as each song is worthy of inclusion. 

Listening via Apple Music, Higher Ground is presented as an Apple Digital Master; a mastering process that aims to deliver studio-quality sound. Even if I wanted to listen to the album via the CD-quality offered by TIDAL Hi-Fi, Higher Ground is sadly absent from that platform but as the Apple Digital Master often trumps the CD-quality stream, such an omission is only disappointing because it deprives music-lovers of experiencing all there is to offer from an artist’s collection. Nevertheless, the Apple Music stream delivers a soundstage that is enveloping, ensuring the album can be thoroughly appreciated as you get a sense of Streisand being in the room with you as the speakers disappear and you’re at one with the music.

I Believe/You’ll Never Walk Alone is a lovely melody-based opener that immediately captivates the soul from the very first note and highlights Streisand’s gorgeous vocal. That said, as much as I enjoy the melody aspect, both songs in their own right are exceptional, I wonder if the transition could have been a little more seamless as it almost sounds as if they are two separate tracks, just  without the 2-second pregap. 

Higher Ground is a stunning title track that is unassuming and thoroughly relaxing.

At The Same Time is a song I love, although I must admit that I would have left the children’s vocal choir out of the mix as it detracts from the musicality. Yes, I acknowledge the connection to the lyrical element, I just feel the mix wasn’t right. Perhaps it could have been corrected in the studio, but the choir’s inclusion simply sounds detached. 

Tell Him (Duet With Celine Dion) is an absolute masterpiece!

On Holy Ground is a beautiful song, but it could be argued that any song would have suffered following Tell Him. It is a case of incorrect sequencing, in my opinion, but I’m the type of person that would suggest a song like Tell Him would be best served as being the final song on the album as to not detract from any other song. 

If I Could is a lovely tune. 

Circle is simply magnificent and while I don’t normally appreciate music for its lyrical interpretation, instead considering the vocal as an instrument, lyrics are difficult to ignore in Streisand’s works as she pronounces every word so perfectly and the meaning behind the song is touching and remains even more relevant today than it arguably did when it was originally recorded. 

The Water Is Wide/Deep River is the second melody on Higher Ground and it doesn’t disappoint. 

Leading With Your Heart is another beautiful, unassuming, song and, if anything, Higher Ground represents a series of songs that are hidden gems and shouldn’t be overlooked. 

Lessons To Be Learned is one of Streisand’s greatest vocal performances. Yes, that could be said about so many of the songs she’s recorded over the years, but Lessons To Be Learned is a sonic joy, with a perfect mix, meaning that I often play Lessons To Be Learned as loud as comfortably possible as well as playing it on repeat. A stunning performance!

Everything Must Change is a lovely song, but there’s a little distortion in the right channel, especially noticeable when listening via headphones, that is distracting to this otherwise exceptional recording. I can’t say for certain where the distortion entered the mix as I question if it would have been overlooked in the original recording process, but the distortive element that occurs around 2:44 and again at 2:50 is also present on the Spotify stream. 

Avinu Malkeinu is a gorgeous Jewish prayer to close the album with, and while I have suggested that Tell Him would have been perfectly repositioned as the final song on Higher Ground, Avinu Malkeinu is worthy of its position and is arguably the perfect closer to one of Streisand’s greatest albums. 

Higher Ground is simply exceptional, without a B-side to be found. Having only become aware of this masterpiece in recent years, it has fast become one of my most treasured albums, for it really is that good. If you too missed checking out Higher Ground, remember that it is never too late to appreciate timeless classics such as this. 

DMX – …And Then There Was X (Album Review)

DMX – …And Then There Was X (Album Review)

Timeless is one word to describe DMX’s …And Then There Was X. Having sold over 5 million copies since its release in 1999, few Hip Hop fans would disagree as there isn’t a bad song to be heard on this Grammy-nominated album; well, the skits do alter the flow of the album and while some are hilariously done, I’ve always felt they detract more than they enhance a body of work.

Listening to …And Then There Was X via Apple Music and TIDAL Hi-Fi, the latter is preferred, but only slightly, as you get a greater sense of presence from the CD-quality stream. I don’t want to overstate it as it is a minor difference and those of you using Apple Music will enjoy that edition, but as I intend to find the very best editions of the albums I love, in this case, the TIDAL Hi-Fi stream reigns supreme. While I don’t have a physical copy of this landmark release, a vinyl reissue was released in 2016 that, at the very least, would be interesting to pick up as I’ve always adored Hip Hop via vinyl as the styling is perfectly suited to getting the most out of the format; provided it is mastered correctly of course. 

The Kennel (Skit) isn’t the worst opening to an album I’ve ever heard but thankfully it flows well into One More Road To Cross. 

One More Road To Cross is where …And Then There Was X really begins for me. It has a killer rhythm and the lyrical component is perfectly paced. Yes, dear reader, I don’t generally appreciate music for its literal interpretation and therefore I class the vocal as an instrument rather than a storytelling device. I know that may be counterintuitive when listening to Hip Hop as it is a genre that is very story-driven, but that just isn’t how I enjoy music.

The Professional shifts the tempo a little, but The Professional is magnificently smooth. It’s toe-tapping and head-bopping gold!

Fame is a great tune, worthy of pumping the volume for.  

A Lot To Learn (Skit) isn’t a bad skit but as I mentioned earlier, I feel they interrupt the flow of the album even if they do blend well into the corresponding track.

Here We Go Again is interesting. I have a love/hate opinion of Here We Go Again and it changes depending on my mood. Sometimes I get into the groove and thoroughly enjoy the song, yet at other times I feel the hook is a little disjointed and campy. 

Party Up is a killer tune. However, while it is likely the most well-known song from …And Then There Was X, I feel it has started to sound a little dated and I, therefore, wouldn’t class it as one of the best songs on the album but as a single it’s gold.

Make A Move has an incredible musical element that is simply hypnotic. I love it!

What These Bitches Want is Hip Hop 101. A killer rhythm, an addictive hook, and an explicit lyrical delivery; sometimes that is all you need! 

What’s My Name works well within the album context, but this isn’t a song you’d seek out on its own or add to a playlist. 

More 2 A Song has an off-beat presentation that shouldn’t work, but it does. 

Don’t You Ever is a great tune. Repetitive, yes, but thoroughly entertaining! 

The Shakedown (Skit) is the worst skit on the album. Thankfully I don’t class skits as songs and therefore my aforementioned statement that there isn’t a bad song to be heard on …And Then There Was X remains true. 

D-X-L (Hard White) is a great tune with an almost Rocky-inspired backing sample.  

Comin’ For Ya is brilliant!

Prayer III needs no commentary for all you need to do is listen. 

Angel (Featuring Regina Bell) is the best song on the album. Regina Bell has a divine voice and this is one song that I could listen to on repeat indefinitely as I never tire of it. 

Good Girls, Bad Guys is a solid closer but I may have concluded the album with Angel instead.

…And Then There Was X is a true masterpiece and one that I find so compelling that when I choose to listen to it, you can guarantee it will be playing on repeat for the rest of the day. 

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

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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.

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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]

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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.

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Velvet Revolver – Contraband (Album Review)

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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. 

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