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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Check out more reviews by Subjective Sounds

Neil Diamond – I'm Glad You're Here With Me Tonight (Album Review)

Neil Diamond's 1977 release, I'm Glad You're Here With Me Tonight, is a remarkable blend of heartfelt ballads and pop-rock anthems. This record showcases Diamond's signature style along with his ability to convey raw emotions through his distinctive voice. With 11 tracks that traverse love, longing, and introspection, this is one timeless gem from Diamond's extensive discography.

It’s, however, disappointing that I'm Glad You're Here With Me Tonight has been out-of-print for decades, with the last official physical reissue being released on both CD and Vinyl in 1988. While purists and collectors will suggest seeking out a used copy, I prefer to make my own memories with music and subsequently look forward to classic albums being reissued. While one can never say never, the massive reissue and remastering campaign of much of Diamond’s back catalogue (circa 2014-2016) was primarily focused on delivery via the iTunes Store and other Hi-Res digital download stores such as HDTracks. While I don’t have a problem with that, for the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is simply exquisite, I do wish legacy formats weren’t omitted for music lovers should always be given a choice. That said, the Apple Music stream is so good that I dare say, from a sonic perspective, there is no need to look elsewhere. Although, I do really want this album on the larger vinyl canvas if for no other reason than the incredibly well-designed album artwork. 

God Only Knows is one of the greatest songs ever written and as an original Beach Boys tune, from their acclaimed 1966 album Pet Sounds, nothing really compares; that is, until you listen to Diamond’s rendition. Yes, dear reader, I’m going to frustrate many dedicated fans of the Beach Boys, but as lovely as their original is, I do feel that Diamond recorded the song with the highest level of respect and covered it in such a way that it not only pays homage to the original but it becomes his own. Diamond also sings the song in a slightly lower register and the more lush orchestration plays a key role in my preference here for Diamond’s interpretation simply sounds right. If nothing else, God Only Knows is the perfect opening track for the album. 

Let Me Take You In My Arms Again is a warm and soulful love song. Diamond is, of course, renowned for this style of music, but I never tire of it for songs like Let Me Take You In My Arms Again are instant classics.

Once In A While presents a shift in tempo, but captures the essence of nostalgia. They don’t make music like this anymore is an apt assessment, but music lovers also don’t need imitators when we have such emotive and poignant ballads to appreciate til the end of time.

Let The Little Boy Sing is a catchy, upbeat, jazzy song that brings a sense of hope and optimism. It may be an album-only tune, but don’t let that deter you for it’s the strength of the filler material that ensures this album is one of the very best released in 1977.

I'm Glad You're Here With Me Tonight is a lovely title track that is a declaration of love. While love songs are a dime a dozen, Diamond ensures his sincerity shines through and that aspect alone is a partial reason for his success over the years. Linda Press’ backing vocals are also beautifully mixed into this song, although I do wish she was featured more prominently. 

Lament In D Minor / Dance Of The Sabres is nothing short of a masterpiece. The lengthy instrumental introduction showcases Diamond's versatility, blending classical elements, with a contemporary rock sound, to add depth to the album's overall presentation. It’s also one of Diamond’s most overlooked tunes and that’s an incredible shame for I consider it to be not only one of his greatest, but one of the best songs in all of recorded music history. 

Desirée is iconic! Diamond is absolutely captivating as he delivers this passionate and dramatic love song. 

As If has an air of simplicity with a folksy charm, but it isn’t great. It’s not so bad, however, that it detracts from the overall album experience, but it just doesn’t sing to me as the other songs from the album do. 

You Don't Bring Me Flowers (Solo Version) is simply beautiful, and as incredible as Diamond’s duet with Barbra Streisand is, from his 1978 album You Don’t Bring Me Flowers, this original composition is still magnificent.

Free Man In Paris is a cover of Joni Mitchell’s original. My only quibble with the song is the unnecessary first minute. If it could have started at the one-minute mark, I feel it would have been a stronger closer.

Overall, I'm Glad You're Here With Me Tonight is an incredible album that effortlessly weaves through various emotions, from love and longing to optimism and celebration. Diamond's powerful vocals and compelling songwriting shine throughout, as do the cover songs, thereby making this album a must-listen for fans and a timeless addition to Diamond's remarkable discography.

Check out more reviews for Neil Diamond by Subjective Sounds

Elton John – A Single Man (Album Review)

Elton John's 1978 studio album, A Single Man, is a fascinating pivot in the legendary artist's career for it would be his first without lyricist, Bernie Taupin and longtime producer, Gus Dudgeon. Don’t let that deter you, however, as John is a consummate musician and A Single Man is a stunning release, from his back catalogue, that is severely underrated. While it may not boast the same chart-topping hits as some of his previous albums, A Single Man is a testament to Elton John's musical versatility and ability to adapt to the evolving musical landscape of the late ‘70s.

As much as I appreciate the album artwork, I’ve yet to pick up a copy on vinyl. That said, from a mere sonic perspective, the Lossless Apple Music stream, derived from the 1998 remastered reissue, is flawless from start to finish. To say that it’s superb would be an apt assessment. Could it be better? Well, if John’s recent vinyl reissues are anything to go by then most certainly. Nevertheless, you’re unlikely to be disappointed with this digital counterpart. There’s plenty of headroom that allows for turning up the volume and the immersive and enveloping soundstage gives each instrumental element room to breathe while ensuring that you and I, dear reader, don’t miss a moment of John’s spectacular vocal delivery.

Shine On Through immediately sets the tone for the entire album with a simple, yet glorious composition. Whether it’s the piano, John’s vocals, or the musical and orchestral arrangements, Shine On Through is one of John’s greatest recordings.

Return To Paradise offers an interesting composition and while I thoroughly enjoy the opening, I don’t feel that the inclusion of Caribbean elements has ever really worked well for John’s style of music. Granted, Return To Paradise was never going to be anything more than an album-only tune, and I thoroughly enjoy it for that purpose, but I believe there’s a greater song to be heard if the musical arrangement was somewhat different. 

I Don't Care, with its bouncy rhythm and infectious chorus, will have you toe-tapping and head-bopping from the very first note. Containing a little rock and pop with a touch of disco, along with John’s signature piano and the gospel-style backing vocals, there’s something here for everyone to enjoy. 

Big Dipper is dripping with attitude and while it may start slowly, the New Orleans jazzy-blues sound, along with that addictive chorus, makes Big Dipper a standout on the album; even if it is one of John’s more experimental tunes. 

It Ain't Gonna Be Easy is a standout and is one of the best songs John has ever recorded. Additionally, the guitar work from Tim Renwick is simply incredible and blends seamlessly into the entire composition of the song. While the length of It Ain't Gonna Be Easy ensured it wouldn’t be heard over the airwaves, unless truncated to a radio edit, music lovers ultimately missed out on one of the very best songs of the 70s.

Part Time Love was one of the songs from A Single Man that received notoriety when released as a single. With its funky pop-infused rhythm and catchy melody, there’s little doubt as to why Part Time Love has endured as a fan favourite throughout the decades; an incredible tune!

Georgia is a beautiful stripped-down ballad with a captivating backing vocal harmony. It’s songs such as this that ensure A Single Man is an album experience first and foremost; a thoroughly enjoyable one at that. 

Shooting Star features a captivating melody and lyrical depth as John’s vocal is both soulful and moving. Yes, Shooting Star is another album-only tune, but when listened to in the linear album structure, the smoothness of Shooting Star makes perfect sense. 

Madness is a bluesy, rock-infused track that brings a gritty edge to the album. John’s vocal performance here is particularly strong, and the guitar work adds a nice texture. That said, I can’t help but feel that John’s vocal, in some places, is a little over-processed.

Reverie is a short musical interlude that serves as a palette cleanser before the album’s final track and pinnacle moments. 

Song for Guy is one of John’s greatest recordings and closes the album perfectly as it is both reflective and encourages the playing of the album again. As a mostly instrumental track, with only the very basic of lyrical elements, it’s fair to say that it’s amazing that it has become a fan favourite, but when a song is filled with so much emotion, it really shouldn’t be a surprise. 

While A Single Man may not have been as commercially successful as John’s other albums, particularly Goodbye Yellow Brick Road, that need not matter for sales success is generally a poor indication of quality and while the aforementioned classic release from John is an example of his most creative works, A Single Man is equal in that regard; it’s just that the music may or may not be to your subjective tastes. As for myself, I consider A Single Man to be not only exceptional but a must-own for all Elton John fans for it is criminally underrated and if given another chance, I’ve no doubt it will reach a broader audience. 

Check out more Elton John reviews by Subjective Sounds

The Jacksons – Goin’ Places (Album Review)

Released in 1977, The Jacksons' Goin' Places is a vibrant and groove-filled album that showcases the group's evolving musical style through a significant transitional period for the Jackson brothers, as they continued to distance themselves from their Motown roots and explore new musical horizons. Featuring nine tracks that blend elements of disco, funk, and soul, Goin’ Places may not have achieved the iconic status of some of their earlier, or later works, but remains a testament to the Jacksons' versatility and growth as artists.

As with most of The Jacksons’ album artwork, Goin’ Places is iconic but as much as one can appreciate it on the smaller canvas of a digital screen, holding the album artwork, as I’m fortunate to, draws you deeper into the album from both a visual and audible perspective. 

Speaking of the latest vinyl reissue, from 2018, it is immaculate in every aspect imaginable. Yes, the Lossless Apple Music stream, an Apple Digital Master, is exquisite, but the additional smoothness of the vinyl counterpart makes it, along with the artwork, a value-added proposition for fans of The Jacksons. Regardless of this aspect, if you’re an avid streamer, you’ll be thoroughly pleased with the streaming counterpart as this is one album that was not only recorded and mixed well but has been mastered with kid gloves, thereby ensuring that it’s a fun listen from start to finish. 

Music's Takin' Over kicks the album off with an infectious disco groove and while indicative of The Jacksons’ overall vibe, if you listen to Michael's lead vocal on this opening track, you’ll hear the germination of his future solo recordings; particularly those heard on Off The Wall. 

Goin' Places is a funky upbeat number that is not only a catchy tune but has a memorable chorus that will connect with your soul and encourage you to move your body. 

Different Kind Of Lady is another disco-vibed standout from Goin’ Places. If you can sit still while Different Kind Of Lady is playing, you’ve got more self-control than I do for it’s an incredibly addictive tune; one written by the Jackson brothers themselves. 

Even Though You're Gone slows the tempo and is a poignant and heartfelt ballad. While Michael was always front and centre, as it pertains to the Jackson 5 and The Jacksons, this is another example from Goin’ Places that showcases just how proficient he had become as a vocalist for his vocals and associated harmonies are beautifully executed. While it isn’t the first song you’ll likely think of when reflecting on The Jacksons, it is one of their very best recordings. 

Jump For Joy returns us to the upbeat tempo with a touch of funk mixed into the dance rhythm that’s simply impossible to resist. It’s, subsequently, a pure feel-good tune that captures the spirit of the disco era. 

Heaven Knows I Love You is another slower track, yet it doesn’t feel out of place for it’s simply beautiful and Michael’s vocals are particularly moving on this classic tune. 

Man Of War is a lovely song that flows seamlessly within the sequencing of the album. While it was never destined to be more than an album-only track, Man Of War is one of those songs that is memorable and I don’t know about you, dear reader, but I often find that listening to it leads to an earworm; a thoroughly enjoyable one I might add. 

Do What You Wanna returns the album to a funkier groove that will encourage you to get on your feet, let loose, and dance along to this catchy tune. 

Find Me A Girl is a little corny. It isn’t that it’s fundamentally bad, as the smooth and melodic elements are sonically pleasing, but it’s the weakest song on an otherwise perfect album. Yes, it still encourages me to play the album again, but it is one of The Jacksons’ songs that I don’t look for outside of playing the record in its linear structure.

While Goin' Places may not be as groundbreaking or iconic as some of The Jacksons' earlier work, or as polished as their follow-up Destiny, there’s just something to appreciate about Goin’ Places for it captures the spirit of the time with a mix of danceable hits and heartfelt ballads. Whether you're a fan of their earlier Motown classics, or enjoy their disco-era sound, there's something on this album for everyone and is a reminder of the Jacksons' enduring talent and their ability to invoke emotion through music.

Check out more reviews of The Jacksons’ music by Subjective Sounds

Elton John – Blue Moves (Album Review)

Released in 1976, this double album is a hidden gem and showcases a departure from John’s more commercially-driven sound by delving into a more introspective and musically diverse style. While it may not have enjoyed the same level of commercial success as some of his earlier works, Blue Moves stands as a testament to Elton John's artistic growth and willingness to experiment with his music. It’s also a hidden gem in John’s extensive back catalogue and if you give it time, Blue Moves, John’s eleventh studio album, will grow on you like no other record will, for it is one of his greatest musical achievements. 

Yet, it wouldn’t be far-fetched to declare Blue Moves as one of John’s most disliked albums, but while the music is divisive it is also a pivotal moment in that it doesn’t just deliver hit after hit but asks the listener for their full attention to fully appreciate it. Other than, perhaps, Sorry Seems to Be the Hardest Word, Blue Moves is an album experience first and foremost. As it was released in the vinyl era, logic would subsequently suggest that one should sit down and listen to the album, taking in all its nuances. Of course, the speed of modern society rarely seems to permit sitting and doing nothing, thereby delegating music to be nothing more than the background soundtrack to our lives. However, if you have the time, sit down, relax, and enjoy Blue Moves as a cohesive piece of musical art; I’m certain you won’t regret it. 

Your Starter For… is a short, but pleasant, musical introduction to the album. It has a fantastic rhythm and it’s just a shame the song isn’t longer. That said, it’s the perfect length for an atmospheric introduction that will put you into a reflective and contemplative mood.

Tonight is one of John’s greatest recordings. His piano playing is exceptional and the lush orchestration takes Tonight to the next level. Add to that, John’s beautiful emotive vocal delivery and you’ve got nothing short of a perfect song; one that has been recorded, mixed, and mastered with kid gloves, thereby ensuring that you’ll be captivated from the very first note to the last. 

One Horse Town features a strong piano-driven melody but you’ll have to wait before the blues-based rhythm comes into the mix as there’s a considerably long intro to contend with; one that arguably could have been culled. Nevertheless, I thoroughly enjoy the upbeat pace of One Horse Town and John’s vocal performance on this tune is of particular note as he takes the notes right to the edge before backing off at the last minute, resulting in vocal perfection. 

Chameleon showcases John’s versatility and skill in blending rock and pop elements to create what can only be called a gorgeous song. 

Boogie Pilgrim is infused with a lively, rhythmically addictive energy, but it’s ultimately an album-only track that is largely forgettable as a song on its own. 

Cage The Songbird is a beautifully orchestrated ballad with John’s vocals ultimately driving the tune. While Cage The Songbird was never going to be a standout, it’s a lovely tune in the sequencing of Blue Moves. 

Crazy Water is dynamically funky with an upbeat tempo that initially won’t wow you, but as the song builds and the chorus comes into the mix, it's so catchy that you can’t help but be drawn into what will quickly become a favourite song from Blue Moves. 

Shoulder Holster is a solid album-only tune. While it isn’t the strongest song on the record, the brass instrumentation makes it far more enjoyable and I dare say without it, Shoulder Holster would be rather bland.

Sorry Seems To Be The Hardest Word is one of the most extraordinarily beautiful songs John and Bernie Taupin ever wrote. To say it is a masterpiece is an understatement for it’s not only a standout on the album, and within John’s back catalogue, but it’s one of the greatest songs ever recorded in all of music history. Magnificent!

Out Of The Blue is a musical jolt following the sonic brilliance of Sorry Seems To Be The Hardest Word, but once the senses adjust to the shift, Out Of The Blue isn’t a bad song at all; it just wasn’t well positioned in the sequencing of the album. That said, after all these years, Blue Moves wouldn’t be the same if this instrumental tune was placed elsewhere. Subsequently, as with so many classic albums, you grow to love even the slightest missteps. 

Between Seventeen And Twenty presents us with another sonic shift and while Between Seventeen and Twenty was never destined to be a standout tune, something is compelling about it. Perhaps it’s the offbeat vocal presentation or the continuous edge-of-your-seat sense that the song is going to reach its peak, yet it is neither. Let’s just say that it is one of John’s most interesting songs, from a compositional standpoint. 

The Wide-Eyed And Laughing is quite a different style of song than we are used to hearing from John. I can, subsequently, understand why some would dislike it, but I find it captivating and feel it’s one of his greatest recordings.

Someone's Final Song is a hauntingly beautiful ballad. 

Where's The Shoorah? has a lovely vocal delivery and the harmonious choral backing is superb. The result is that Where's The Shoorah? is  perfectly suited to the album and could be seen as a precursor to You Gotta Love Someone.

If There's A God In Heaven (What's He Waiting For?) is a witty title, no doubt, but it’s not a standout. Still, as an album-only tune, it isn’t bad and helps to form the backbone that Blue Moves is built upon; an album with few hits but many memorable moments.

Idol is one of the most beautiful songs John and Taupin ever wrote, but if you want to hear the very best recording of Idol, look no further than George Michael’s rendition from Symphonica; nobody will ever do it better! 

Theme From A Non-Existent TV Series is another musical interlude and while the rhythmic shift from Idol is a jolt to the senses, this tune does lead perfectly into the final track. 

Bite Your Lip (Get Up And Dance!) is dance meets gospel, meets rock and roll, with a touch of pop. It’s a solid closer, although I feel Idol would have been a stronger song to conclude the album on as it would permit greater reflection. Still, the upbeat tempo of Bite Your Lip (Get Up and Dance!) is fun and sometimes that is the perfect way to close an album.

Blue Moves is an album that requires listeners to engage with its deeper emotions and intricate musical arrangements for this isn’t background music; until you get to know the album, that is! While it may not have generated the same commercial success as John's earlier works, it remains a testament to his artistic growth and is a worthy addition to his discography; even if it is one of the most overlooked, and underrated, albums of all time. 

Check out more Elton John reviews by Subjective Sounds

Detective – Detective (Self-Titled Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

Check out more reviews by Subjective Sounds

Iron Maiden – Killers (Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Check out more Iron Maiden reviews by Subjective Sounds