INXS – Kick (Album Review)

Few Australian albums are as widely regarded as the sixth studio album from INXS, Kick. While Icehouse garnered much attention with their 1987 release, Man Of Colours, it simply couldn’t reach the international acclaim and sales success that Australia’s other “I-based” rock band would achieve. Selling INXS (pun, most certainly, intended) of 20 million units worldwide, Kick stood out for its high production values that saw a diverse mix of rock and pop with funk-based tribal rhythms that led to what can only be considered a timeless collection of songs. Of course, there’s the ballad-focused Never Tear Us Apart, a highlight of this release, but despite the shifting styles throughout, INXS never deviated from their origins with Kick; they merely took their musical prowess to another level with a record that is akin to a greatest hits release, for there isn’t a lacklustre song to be heard.

Adding to the appeal is the striking album artwork, and while many modern listeners will instantly recognise the standard front-facing version, physical releases also incorporate an expanded artwork design that will appeal to just about any music-loving collector. What may be challenging, however, is figuring out which version best suits your personal tastes. As with many multi-million-selling releases, there’s a plethora of editions that target different audiences because, for some reason, the original mix and mastering is never good enough.

In order to simplify matters, however, I’m going to focus on the 2011 remaster, which is currently the edition that is readily available on streaming and recent mainstream CD and vinyl reissues. Yes, there are the audiophile releases, but they only further deviate from the goal of music first, hardware second, followed by the format; another John Darko idiom that appeals to this music lover. As such, I’ll be taking a look at the Lossless Apple Music stream and accompanying Dolby Atmos mix (both of which are delivered as an Apple Digital Master).

While I’m familiar with the original mastering from the 80s, as well as the 2011 stereo remaster that was released via CD, the Dolby Atmos mix is somewhat of a mixed bag, with most surround sound music lovers on QuadraphonicQuad.com awarding it a 7 out of 10 or higher. Naturally, when listening to these new mixes, one needs to separate oneself as much as possible from the stereo editions; a difficult task, no doubt, when an album is heading towards its fourth decade of being on one’s radar. Nevertheless, I find the Dolby Atmos mix to be an enjoyable listen with a full-bodied, natural sound that doesn’t detract from the original recording. Unlike some Atmos mixes from classic albums, this one doesn’t try to reinvent the wheel. You won’t instantly notice musical aspects flying around within the soundstage, and the stereo mix is so wide that some may even find the surround mix to be a little too boxed in, particularly on a song such as Devil Inside. However, and this is where the Atmost mix shines, it delivers a meatier (a technical term, naturally) sound that will appeal to those looking for concert-level thumping in one’s chest.

On the negative side of things, the bass guitar is a little too recessed in the surround mix, and I find that by the time I’m halfway through the album, I’m looking to turn the volume down slightly as the Atmos mix is a little fatiguing. Granted, I may have turned the volume up too loud to begin with, as this is one album that will give your sub a workout, but if you’re particularly sensitive to listening fatigue, you may wish to stick to the stereo mix; even though that 2011 remaster is a little on the loud side as well.

As to which edition I ultimately prefer, well, for the most part, I find myself drawn to the stereo mix. That said, this is one album where I can appreciate both the surround and stereo mixes, ensuring that it’s an enjoyable experience on both my stereo and surround sound systems.

Guns In The Sky is a killer album opener with a rhythmic drive and lyrical context that is as relevant in today’s modern society as it was upon the song’s release in the 80s.

New Sensation will get any party started with its funky upbeat nature. It’s pure pop/rock gold and a trademark tune for the band.

Devil Inside may introduce a moodier tone, but it’s extremely compelling, from both a sonic and lyrical perspective, as the story of excess and the fear of missing out is a timeless issue that we all have to deal with. It is, however, the killer riff, rhythmic backing, and the chorus that make Devil Inside so memorable, for it has a little bit of everything melded into a single song.

Need You Tonight is a magnificent tune. That rhythmic approach, particularly during the introduction, knows few peers, for the funk meets dance with a touch of rock and elements of pop results in one of the greatest songs from not only the 80s, but in all of recorded music history.

Mediate transitions seamlessly from Need You Tonight, so much so that they could, in some respects, be considered a singular tune with a stylistic shift in the middle of the composition. Nevertheless, Mediate on its own is a sonic pleasure to behold for the spoken-style of the lyrics blends perfectly with the back beat and the atmospheric elements of the mix.

The Loved One has always been divisive for this fan. Whilst I don’t dislike the song, and I consider Kick to be a perfect album experience from start to finish, the shrillness of The Loved One’s introduction can be a little jarring on the senses, particularly on the CD releases of the album. Thankfully, the Apple Digital Master dials the treble range back a little, thereby making it more palatable, but it’s been so jarring over the years that I somewhat cringe when I know the song is about to begin. Thankfully, as the song builds and the chorus is repeated, I’ve fallen in love with the tune and find it thoroughly enjoyable. It is, however, not an original INXS composition but rather a cover of The Loved Ones’ original from their album Magic Box; a solid recording in its own right.

Wildlife is the weakest song on this classic release, but it’s still highly compelling and will likely see you toe-tapping and head-bopping along to the rhythm. It just isn’t a standout, but as an album-only song that acts as connective tissue, it does its job more than adequately.

Never Tear Us Apart is a ballad to end all ballads. Yes, that can be said about so many ballads from the era, but this is one of the most recognisable, and if you’ve heard it once, then you’ll find yourself singing along to, arguably, their greatest recording. That is in part due to an incredible mix that presents Michael Hutchence’s vocal delivery incredibly clear at the forefront of the mix. Yet, it’s the entire arrangement and Kirk Pengilly’s saxophone playing that’s similarly impressive, adding to the overall impact of this timeless classic.

Mystify transitions beautifully, despite the song’s varied styling in contrast to Never Tear Us Apart. As you listen, you may hear a little Crowded House influence, but Mystify could be best described as the most Australian song on the album, for there are also influences from the likes of Icehouse and Cold Chisel, thereby ensuring that Mystify will appeal to just about any Australian music lover.

Kick is a bold and brash title track that keeps the energy of the album rocking forward. Pengilly’s saxophone performance here is compelling, but depending on your setup, it can come across a little too shrill, thereby edging the listener towards listening fatigue. Still, the spirited performance flows well within the album’s linear structure and adds to the overall appeal of the record.

Calling All Nations has some killer guitar licks that meld well with the dance-driven styling of this tune. It really is a case of two dissimilar musical aspects coming together for the greater good of the song. While it’s not necessarily a standout, all songs need not be hit-worthy to ensure the flow and overall album experience is maintained.

Tiny Daggers is a fantastic closer, one that has a little Bruce Springsteen influence, that will compel you to play the album again, as Kick is one of those records that can seldom be listened to once.

No matter which way you look at it, Kick remains fresh, compelling, and one of the greatest albums ever released. It also happens to be the crowning achievement of INXS’ career and proves that a blend of rock, funk, and pop is a killer combination that continues to captivate us as much today as it did upon its release in 1987.

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ICEHOUSE – Man Of Colours (Album Review)

When Man Of Colours hit record stores in September 1987, it immediately hit the top of the charts for 11 weeks, went 7x platinum in Australia, and won two ARIA (Australian Recording Industry Association) Awards in 1988. Yes, on the world scale, that may not seem overly impressive for our international readers, but success like that for an Australian band, in their own backyard, is often unheard of. However, it didn’t come out of nowhere and was a slow buildup for the band as Icehouse had been an active member of the Australian Music scene since their debut release, Icehouse, under their original band name, Flowers, in 1980, and was a musical force never to be underestimated with Man Of Colours being their crowning achievement.

This era would, ultimately, be Icehouse’s most successful, with worldwide sales of Man Of Colours exceeding 795,000 units worldwide. To say they were also at their creative peak would be an apt assessment, but that statement also negates the masterstrokes of creativity throughout the band’s entire career. Still, it’s difficult to deny the album’s high production qualities, for Man Of Colours saw the band deviate slightly from the rawer new wave stylings of their earlier releases to a much more radio-friendly sound across the entire record. This sleek, synth-pop-focused rock style merged with a melodic overture that leaned strongly into the zeitgeist, ensuring that it was primed for success. In many respects, Man Of Colours was the right record at the right time, and while that doesn’t take away from the high-quality production and songwriting of this release, it does help with understanding why this album alone was such a standout success.

While the music itself is the most important aspect of any album release, the iconic artwork for Man Of Colours has ensured that this record has remained memorable throughout the years. Thankfully, Icehouse has always had exceptional cover art, and while variant releases go in and out of style, Man Of Colours would also feature inverted cover art, but you’ll need to seek it out as it remains out of print, much like the original tri-coloured vinyl release that fetches crazy money on the secondhand market. While the 2017 reissue attempted to appease those of us interested in a tri-colour record, it simply wasn’t the same. First world problems, I know, but music lovers and record collectors will attest to just how important these aspects are when adding to our collections. At least the solid colour reissues were done exceedingly well, even if they didn’t match the original releases with their transparent colour styling.

From a sonic perspective, while I’ve been fortunate to have listened to all mastering variants, from the original Australian cassette, to the 2002 remaster, to the latest 2012 remastered edition, I have to say that I am smitten with the latest release as Steve Smart, from Studios 301, remastered the latest releases so well that I now consider them to be the standard for Icehouse’s impressive back catalog and I do hope that they’re never remastered again as, to my ears, they sound perfect.

Speaking of perfection, the original album’s track listing, sans the bonus tracks, is the best way to appreciate this classic release. As such, below you’ll find a shared playlist with that intent. However, one can’t deny just how good the bonus material is, particularly Touch The Fire, and while I’d love to see Icehouse reissue the 1989 compilation Great Southern Land, which featured this incredible song and another new tune, Jimmy Dean, at least these songs can be heard on the fully featured reissue of Man Of Colours. Additionally, if you’ve only got the CD reissue, you may notice that it omits Track 18, Last Cut, a Simon Lloyd composition. It’s interesting that this has been included, particularly as Icehouse is primarily a vehicle for Iva Davies’ creativity, but it’s still an interesting inclusion on streaming and digital download versions of the record.

Crazy is the epitome of 80s rock in that the opening lick and sonic quality of the recording not only set the tone for the record, but are perfectly aligned with the era’s overarching style. Driven by synths and a melodic chorus that hooks you instantly, Crazy is amongst Icehouse’s most radio-friendly tunes and is a song that will see you coming back for more, for you’ve gotta be crazy if you don’t listen to this song, and the album, more than once.

Electric Blue is the perfect follow-up to Crazy and is Icehouse’s crowning achievement from Man Of Colours. Co-written with Davies and John Oates, Electric Blue is a pure masterpiece and is one of the most polished pop tunes in all of recorded music history. Oates, coincidentally, also performs backing vocals on this track, but it is Lloyd’s saxophone performance that takes the song to another level entirely, as this lush and melodic performance is pure perfection.

Nothing Too Serious is a short, punchy, tongue-in-cheek number that is a throwback to Icehouse’s new wave roots, while also melding a little funk and punk into the mix. The result is an energetic tune that will see you toe-tapping and head-bopping throughout.

Man Of Colours is a stunningly beautiful title track that will initially take you off guard as the atmospheric production, while extraordinary in its own right, is considerably different to the opening tunes on the record. Still, its contemplative nature is beautifully tracked and showcases some of Davies’ more classical arrangement skills as well as his talent on the oboe.

Heartbreak Kid transitions smoothly as it builds towards a slow-tempo rocker. The punchy synths and delicate edginess help keep the listener focused, but upon repeat listens, you’ll likely appreciate the various sonic layers that make up this unassuming tune, for Heartbreak Kid is stunning from the first note to the last.

The Kingdom continues the masterful production and songwriting, and while Icehouse’s 1990 follow-up, Code Blue, is my favourite album from the band, I have to admit that it doesn’t have the songwriting or production qualities that Man Of Colours has.

My Obsession is 80s pop/rock gold with addictively good hooks, an incredible vocal performance, and an arrangement that is highly compelling. It’s little wonder then that My Obsession was chosen as the album’s third single, for this song is another of Icehouse’s most radio-friendly numbers.

Girl In The Moon is unique in its styling for the production qualities, synth elements, and Davies’ vocal presentation, along with the mix, is something that has to be heard to be fully appreciated. Interestingly, Girl In The Moon would have been an ideal song for Crowded House, particularly during the Temple Of Low Men era, as there’s an undeniable synergy between styles.

Anybody's War picks up the pace significantly, yet despite its driving rhythms, Anybody’s War is perfectly positioned within the linear structure of the album, ensuring that you’re set up for the expansive experience that is the closing track.

Sunrise is a beautiful closer that allows for not only appreciation of the song, but contemplation of the entire record. Its complex, yet layered production, rewards repeat listens, and Davies’ vocal is arguably at his finest on this recording. The result is that Sunrise is a hidden gem contained within an extraordinary record that will compel you to play the album again.

Man Of Colours is undoubtedly a masterpiece, and while it would represent Icehouse’s most commercial release, the creativity of this 80s synth-pop/rock record knows few peers, for despite being released within a year of incredible heavy hitters from around the world, it not only stands out but is amongst the greatest albums of the era. While the hits will most certainly resonate with those of us who lived through the 80s, it really is the album-only numbers that ensure Man Of Colours is an exceptional album experience.

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Guns N' Roses – Appetite For Destruction (Album Review)

Debuts, such as Appetite For Destruction, are the exception, for upon its release in 1987, it would not only go on to take the world by storm, by selling more than 30 million units, but it would rejuvenate the hard rock music scene and become the soundtrack for a new generation of hard rockers. I was one of those rebellious teenagers who adored the raw spirit and aggression of the album, an aspect that has not only stood the test of time but is just as menacing today as it was upon release.

While the grunge movement was only a few years away, Guns N’ Roses proved that music can be redefined, for the 80s saw some incredible rock and roll being produced, but much of it fell within the glam metal sub-genre. Guns N’ Roses were different as they weren’t glam per se, but incorporated elements while also tapping into the blues foundations of rock and roll to deliver some of the greatest hard rock music ever recorded.

Of course, the excesses were there. Sex, drugs, and rock and roll were merely a part of the 80s hard rock scene, and Guns N’ Roses were no strangers to controversy. From the legendary stories to the unpredictable personalities of Axl Rose, Slash, Izzy Stradlin, Duff McKagan, and Steven Adler, the Los Angeles rockers exploded onto the scene somewhat larger than life with a record filled with timeless era-defining tracks such as Welcome To The Jungle, Paradise City, and Sweet Child O’ Mine. It wasn’t only the core members, however, that would drive the band to success, for producer Mike Clink was able to capture this raw intensity and, in many ways, was the sixth member of Guns N’ Roses, for he would go on to produce all of the band’s pre-Chinese Democracy releases.

In fact, every person in the recording studio deserves kudos for Appetite For Destruction is a landmark release that knows few peers and will, most certainly, live on well after we’re all gone. From the stunning album artwork to the controversial original cover art, to the tightness of the songs, and the mastering, it’s easy to declare Appetite For Destruction a perfectly flawless album. So, it was with intrigue that in 2018 a remastered edition (with all the bells and whistles associated with anniversary reissues) made its way to music lovers’ ears. It can be somewhat of a daunting task to accept a remaster, particularly when it’s such a beloved release, but despite still thoroughly appreciating Barry Diament’s original CD mastering, the remaster, engineered by Ted Jensen, is extraordinarily good.

While I wouldn’t necessarily call the original shrill, there were elements in the high-end of the audible spectrum where it could get a little too treble-focused and jarring on certain systems. This remaster, by comparison, dials that aspect back and boosts the low to mid-end range while leaving most other elements intact. It’s a very subtle difference, and unless you’ve been listening to the album for decades, you’ll feel right at home with the remaster. The remaster also delivers a bonus level of clarity in that Rose’s pronunciation is clearer, and the separation between musical elements seems to be better as well, with percussive instruments, that were previously concealed, showing up clearly, especially on the more complex mixes throughout the album. Perhaps most notable when listening to the remaster is that the emphasis of the album is maintained at lower volume levels and is simultaneously crankable. Yes, it’s mastered a little louder than the original, but, in this case, that isn’t detrimental.

So, with that in mind, dear reader, join me as we take a look at the songs that make up this legendary release.

Welcome To The Jungle is one of the greatest opening tracks of all time with a simply unforgettable introduction, killer riff, and an overall explosive performance that will hook you from the very first note to the last.

It's So Easy has a killer groove, an addictive chorus, and is ideally suited to the album. It’s interesting, however, how well-received and fundamental It’s So Easy has been to the band’s live performances over the years. Don’t get me wrong, I love the song, but it’s an unlikely standout.

Nightrain has always been one of my favourite songs from the album. While the cowbell was overused in the 80s, this is one case where it amplifies the song, and while it would have been a solid rock and roller sans that instrument, it adds a different dimension that I thoroughly appreciate. Still, it’s the high energy, the duelling twin guitars, and the track’s infectious riff and vocal delivery that ensure Nightrain is a timeless masterpiece.

Out Ta Get Me is a killer blues-based rock and roller that will get you toe-tapping and head-bopping, but Out Ta Get Me’s strength can be best heard in Rose’s remarkable vocal delivery.

Mr. Brownstone is another favourite and has been since I first heard the album as a teenager. However, at the time, I didn’t realise the song was describing the band’s struggles with heroin addiction. I simply rocked out, and it’s moments like this that I’m glad that I usually listen to lyrics akin to an instrument in the mix, rather than a storytelling device. Still, the funkiness and that swaggering groove make it incredibly addictive; pun intended.

Paradise City had stadium anthem written all over it. From the first time that introduction played, to the sing-along lyrics, there was little doubt that Paradise City was going to be anything other than a monstrous hit.

My Michelle has a deceptively soft and haunting melodic introduction prior to erupting into a full-blown hard rock number. Inspired by a real-life friend of the band, My Michelle is as beautiful as it is tragic, but the groove, killer licks, and Rose’s vocal performance throughout are thoroughly pleasing.

Think About You often flies under the radar as one of the more obscure songs from this debut, but this high-paced number is perfectly suited to the record.

Sweet Child O' Mine is one of Guns N’ Roses’ most recognisable tunes, and for good reason; that “warm-up” riff of Slash’s is a guitar player’s dream come true. As the song builds, with perfect pacing and an unforgettable bridge, Rose’s wails complement the instrumentation perfectly, resulting in yet another landmark tune from this incredible record.

You're Crazy has a little punk aggression with a touch of thrash. It’s a solid interpretation of the song, but I tend to prefer the slower, blues-based styling of the version heard on GN’R Lies.

Anything Goes is a great tune. The talkbox aspect enhances the song, rather than being a distractive element, but it’s the groove and overall melody that are simply irresistible. While Anything Goes isn’t one of the better-known tracks from the record, it’s songs like this that make Appetite For Destruction such a remarkable album experience.

Rocket Queen is an idealistic closer that will encourage you to play the record again, for Appetite For Destruction can seldom be listened to once. Rose’s vocal delivery, atop a killer blues-based musical bed, makes for a highly compelling musical experience; one that is even more complex with the infamously recorded sexual moans. Despite that, as the song shifts style throughout, Rocket Queen becomes a genius of the hard rock genre.

No matter which way you look at it, Appetite For Destruction is a masterpiece that not only helped to define and redefine an era and genre, but it’s also one of the greatest albums ever released.

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Deep Purple – The House Of Blue Light (Album Review)

When you think of Deep Purple, their legendary 70s output is generally the first thing that comes to mind. However, their 1987 release, The House Of Blue Light, is a hidden gem that shouldn’t be overlooked, for this 12th studio album by the English rockers is amongst the greatest they’ve ever released. Yes, some may lament the 80s production style that, arguably, made Deep Purple more accessible than ever before, but to ignore The House Of Blue Light, for that aspect alone, is incredibly short-sighted.

Starting with the welcoming, yet mysterious, album artwork, which was bound to garner attention at record stores upon release, it’s amongst the most stunning from Deep Purple’s illustrious back catalogue. Of course, an album’s artwork would be for naught if it failed to live up to a solid musical presentation, and in this regard, the Lossless Apple Music stream is thoroughly enjoyable. Could it be a little more bombastic? Yes. However, a remaster would surely destroy the album’s dynamic range, and that’s one aspect I’d prefer to see avoided.

Derived from what appears to be the 1999 CD release, this particular streamed edition matches the original vinyl edition’s runtime. Yes, that results in some songs being truncated from those heard on the original CD releases, but this particular edition flows so perfectly that I prefer to think of the original CD releases as being a collection of extended mixes rather than the primary version of the album.

This aspect isn’t uncommon amongst albums from the era, as the Compact Disc’s extended runtime allowed for further artistic experimentation. Still, just because the format could support a longer runtime, that doesn’t mean the experience is more fulfilling and in many cases, it’s detrimental to the fan base as it encourages multiple purchases of the same album; a record industry practice that continues to this day with a plethora of different versions for each major launch. It’s a disappointing practice, but regardless of which edition you prefer, or if you’ve overlooked The House Of Blue Light, join me as I take a look at the highly compelling music that the Mark II line-up of Deep Purple (consisting of Ian Gillan, Ritchie Blackmore, Roger Glover, Jon Lord, and Ian Paice) delivered on their final 80s release.

Bad Attitude opens the album with a menacing organ element that plays into the mystique of the record’s cover art before launching into a thoroughly satisfying riff-driven number that will find you toe-tapping and head-bopping along. It’s pure rhythmic gold and is the perfect opening tune.

The Unwritten Law is utterly brilliant with a multi-layered presentation that unravels itself further the more you listen to it. Blackmore’s riff and Gillan’s vocal delivery are particularly noteworthy, but the entire band is on fire with one of the most memorable tracks on the record.

Call Of The Wild harkens back to the 70s with a sound that old school Deep Purple fans will likely appreciate. The more stripped-down, rock-driven melody will impress, as does Lord’s performance on the organ/synthesisers. It is, however, the chorus and Gillan’s vocals throughout that make Call Of The Wild so compelling. Yes, it’s an 80s rock and roller, but, at its core, it could also have been recorded at the height of Deep Purple’s success and would likely have been one of their greatest hits. Unfortunately, despite being chosen as the album’s lead single, it failed to chart well and has been all but forgotten; a shame considering this is one song that deserves far more attention than it often receives.

Mad Dog launches with another incredible Blackmore riff, one that is highly energetic and reminiscent of their earlier recordings. It isn’t a standout, but it does grow on you, and all songs need not be stadium-worthy to contribute to a pleasing album experience.

Black & White isn’t a great song, certainly as it pertains to the quality of songwriting we normally expect from Deep Purple, but Gillan’s performance ensures the listener’s interest is retained in an otherwise forgettable tune.

Hard Lovin' Woman leans into the 80s high-production style and is a little too pop-rock for Deep Purple. Still, it isn’t a bad track and does add to the overall album experience.

The Spanish Archer is a little left-of-the-centre and is the type of song you’d expect to hear from Genesis. It likely won’t appeal upon first listen, and there’s no doubt that The Spanish Archer is the weakest song from the record, but if you give it a chance, it does grow on you.

Strangeways is a killer tune with a catchy rhythm that will appeal to just about any music lover. It would have also been a stunning live performance, but it’s sadly been overlooked; a shame considering it’s amongst their greatest recordings, from any era.

Mitzi Dupree dips into the blues for this laid-back number. It’s a great tune, but there’s no doubt that Mitzi Dupree won’t appeal to Deep Purple’s hardcore fans.

Dead Or Alive is a solid, high-tempo closer. It may not be a standout, but it will leave you feeling compelled to play the album again.

Overall, The House Of Blue Light is one of the most unexpected and pleasurable releases from Deep Purple. The commanding riffs, textured musical bed, and Gillan’s distinctive vocal presentation culminate in what can best be described as an exceptional album experience. No, it isn’t reminiscent of their 70s output, but make no mistake about it, The House Of Blue Light is 100% Deep Purple and is worthy of any fan’s music collection, especially if you give it a chance.

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Alice Cooper – Raise Your Fist And Yell (Album Review)

By 1987, Alice Cooper was well and truly on his way to re-establishing himself in the hard rock and heavy metal scene, following the severely underrated gem that is Constrictor (1986). No longer locked in a haze of early 80s substance abuse, and fuelled with newfound energy, Raise Your Fist And Yell is another of Cooper’s undervalued albums. Look at the era and the overall style of hard rock releases, at the time, and you’ll likely find this record aligns perfectly with the 80s metal aesthetic. Add to that Cooper’s signature theatricality and macabre storytelling, driven by a more aggressive sound with sharper guitars, blistering solos, and some killer vocal licks, and what you’ve got is an album that has rightfully earned its cult following.

Visually stunning, both of Cooper’s MCA Records releases played into his persona and are amongst the greatest of his illustrious career. However, an album is more about the chosen song selection and linear tracking, and in this regard, Raise Your Fist And Yell is spectacular. The same can’t be said, however, for the mastering of this release. As with Constrictor, these MCA releases are in desperate need of a respectful remaster. Yes, the 80s sheen has its charm, but the sonic presentation of the lossless Apple Music stream is a little thin, resulting in a sound that lacks the emphasis often associated with Cooper’s work.

The mix is also somewhat concealed, with musical elements being lost in the wall of sound. Usually, I wouldn’t advocate for a remix, but this is one record that would benefit from a more forward and enveloping mix. All that said, the music is so good that I can easily overlook the sonic shortcomings. So, join me, dear reader, as we take a look at the songs that make up this underrated release.

Freedom was, surprisingly, the album’s only single. Granted, Cooper’s 80s era recordings had thus far failed to set the charts on fire, but there are some killer tunes here that MCA Records could have taken advantage of and ultimately didn't. Nevertheless, Freedom, as a protest song, will appeal to anyone not only opposed to Parental Advisory labels but also seeking a sense of liberation that only music can provide. Overall, Freedom is fundamentally rebellious and catchy with sharp riffing, a solid rhythmic backing, and a rousing chorus that has stadium-filling anthem written all over it.

Lock Me Up is fast-paced and relentless, with an interesting inclusion from Freddy Krueger himself, via actor Robert Englund. Kane Roberts’ blistering guitar work drives the song forward, but it’s Cooper’s vocal dexterity that truly shines, making Lock Me Up one of his most underrated tunes.

Give The Radio Back would have been an ideal single, as it’s one of the most melodic and radio-friendly songs on the album and is, without a doubt, a hidden gem; one that will appeal to just about any rock and roller.

Step On You is a killer tune that could have been a chart-topper had the label put their production weight behind it. Yes, it leans more toward the aggressive and sinister, with thunderous instrumentation and Cooper’s biting delivery, but it should have never been overlooked.

Not That Kind Of Love continues the masterful hard rock styling with muscular riffs, a strong rhythm, and a solid vocal performance from Cooper. However, the backing vocal elements are more of a distraction than an addition. While backing vocals were extremely common during the era, it is a technique that doesn’t always age gracefully.

Prince Of Darkness is a menacing number with some incredible musical moments. Roberts is seriously underrated in Cooper’s legacy, and his contribution here is amongst the best 80s rock had to offer. Incidentally, he was also instrumental in co-writing the songs, not only from this album, but from Constrictor as well.

Time To Kill is a blistering toe-tapping head-bopper. Unlike Not That Kind Of Love, Time To Kill’s backing vocal element perfectly complements Cooper, adding further depth to the mix, and making it another underappreciated gem.

Chop, Chop, Chop is gruesome yet theatrical, with darkly humorous and witty lyrics that epitomise Alice Cooper’s persona. The frenetic pace and unrelenting riffs play to the psychotic chaos of the subject matter, making it both shocking and entertaining.

Gail is a magnificently eerie and atmospheric continuation from Chop, Chop, Chop, and while Raise Your Fist And Yell isn’t a concept album, it’s satisfying to see Cooper weave a narrative thread, as concept-driven storytelling is one of his greatest strengths.

Roses On White Lace closes the album with explosive force. The guitars are ferocious, the drumming relentless, and Alice’s vocal performance is perfectly suited to what is one of his heaviest tunes. It’s a highlight that leaves you eager to replay the record, proving that Raise Your Fist And Yell is capable of captivating you if you give it a chance.

Despite its lack of mainstream success, Raise Your Fist And Yell is highly compelling and remains, for many fans, an essential piece of Alice Cooper’s discography. Its blend of anthemic rockers and theatrical-styled performances captures everything that makes Alice Cooper unique, making this release a must-listen for any hard rock music fan.

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Aerosmith – Permanent Vacation (Album Review)

Permanent Vacation is one of those uniquely special releases, as it rejuvenated the hard rock legends following years of excess, early 80s lineup instability, and waning popularity. While each Aerosmith album has always featured a few hits, Permanent Vacation, their ninth studio album, proved they were far from being has-beens, as this record is an album experience from the very first note to the last. With the help of producer Bruce Fairbairn, Permanent Vacation would set up a highly successful era for Aerosmith that would also see the Boston rockers and Fairbairn collaborate on 1989’s Pump and 1993’s Get A Grip.

To say Aerosmith staged one of the most remarkable comebacks in rock history would be an understatement, for sales of this 1987 release would exceed 5 million units; a feat not seen since the mid-70s with the release of their renowned Toys In The Attic (1975). While Aerosmith are amongst the most highly skilled musicians, they’re a band that has seemingly always been influenced by the chosen producer, so much so that I’d consider Fairbairn to be an unofficial sixth member of the band for this highly compelling era. His guidance helped them transition into a slicker, radio-ready sound without abandoning the grit and swagger that made them legendary. By fusing hard rock, blues, glam, and a touch of pop, Fairbairn pushed Aerosmith back into the mainstream, helping them reach an entirely new audience as well as those who had been there from the beginning.

While the music is the most important aspect of any album release, the artwork plays a key role. The stark yellow logo atop a black and red hand-drawn background was the type of visual accompaniment that not only suited the band and the music contained within, but it was destined to stand out amongst an extremely solid series of releases from 1987.

As it pertains to the Hi-Res Lossless Apple Music stream, an Apple Digital Master, it’s a solid reproduction with a full-bodied, warm sound that will appeal to many. That said, it’s a little too restrained in the treble region, resulting in a loss of high-note elements. It isn’t bad, but if your system is already midrange and bass-driven, you’ll likely find the absence of high notes to be a little dull. It’s the glassy 80s-era sound that is, ultimately, missing from the Apple Music stream, and while the brittleness of that era can be a tad of a turnoff, negating it completely leaves me wishing I still had my vinyl reissue from 2016, as it simply sounded right.

Heart's Done Time kicks the album off with a unique whale sonic element that quickly delves into an energetic rocker, complete with Aerosmith’s renowned raw energy. Driven by Joe Perry’s sharp riffing and Steven Tyler’s unmistakable snarl, Heart's Done Time has a metallic edge while retaining the band’s bluesy undertones. While it may not be a timeless classic, it delivers the goods and is a highly compelling opening tune.

Magic Touch brings a tad more melodic rhythm to the album that will have you toe-tapping and head-bopping along to this groove-driven number. While single-worthy, it captures the band’s knack for catchy hooks, and Tyler’s vocal performance is seductive in its ability to draw you in.

Rag Doll is one of the album’s biggest hits, and for good reason; it oozes with swing and attitude in a hard rock meets jazzy swagger that has ensured this tune has become a fan favourite.

Simoriah is likely a hidden gem for many fans as it harkens back to Aerosmith’s 70s-era recordings, but it doesn’t quite leave the lasting impression that the album’s strongest cuts do.

Dude (Looks Like A Lady) is where the party’s at and was instrumental in revitalising Aerosmith’s career. It’s pure 80s rock excess, but in the best way possible, as it’s catchy, tailor-made for MTV (a prominent platform during the era), and incredibly memorable. It has, however, been overplayed throughout the years, and there’s undoubtedly some who will be happy to never hear this Aerosmith tune again. Love it or hate it, Dude (Looks Like A Lady) is iconic and is amongst the very best songs Aerosmith has ever recorded.

St. John shifts gears slightly with a moody blues swamp groove-styled tune. There’s no denying the blues have influenced Aerosmith, and this tune harkens back to the 70s-era Aerosmith releases. Still, it remains fresh, timeless, and that’s in part due to the polished 80s production quality that makes this a thoroughly enjoyable album-only tune.

Hangman Jury strips things down with a rootsy, acoustic-let arrangement that maintains the blues-infused aspects of St. John. Yes, the song is a slow-build, but as soon as all elements enter the mix, you’ll find yourself toe-tapping and head-bopping along to this incredible mid-tempo number.

Girl Keeps Coming Apart returns the album to a high-energy rock vibe. Interestingly, this tune sounds a little more like a jam, whereby the band were simply letting loose in the studio. The frantic pace, combined with Tyler’s vocal acrobatics, Perry’s fiery guitar licks, and some incredible brass instrumentation, gives this song an undeniable charm.

Angel changes the mood dramatically with one of the greatest power ballads ever written and recorded. The lush and emotionally charged presence of the song made it undeniably radio-friendly, but along the way, it also became one of the most enduring love songs in the history of recorded music. While it interrupts the record’s sequencing slightly, it more than makes up for it by being one of Aerosmith’s most defining hits.

Permanent Vacation is a playful number that’s a little quirky. While there’s nothing fundamentally wrong with that, and the song plays into a vacation-styled energy, it’s one of the more uninspired tracks on the album. Unfortunately, the exotic flourishes and campy chorus don’t quite hit the mark, resulting in a somewhat underwhelming title track.

I'm Down is a Beatles cover, and while Aerosmith didn’t stray too far from the original compositional style, they injected it with their brand of swagger and hard rock that modernised the song, making it relevant to a new era of music lovers to explore and incorporate into their own zeitgeist.

The Movie closes the album with a stunning instrumental number that leans heavily on atmospheric elements, layered guitars, and a compelling rhythm. While not a traditional rocker, The Movie is an ideal song to finish the album on, for it not only encourages you to reflect on the music that you’ve just heard, but it will also compel you to play the record again.

Permanent Vacation was more than just a comeback album; it was a second coming as the band embraced slicker production standards that would contribute to their most successful era. While some may suggest that Aerosmith sold out, that’s a lazy take; they simply moved with the times to create some of their most memorable tunes. Look at it this way: when you can release a compilation as incredible as Big Ones, that specifically highlights the Fairbairn production/Geffen release era, you’re doing something right. As an album on its own, Permanent Vacation stands amongst the very best releases of the 80s, particularly those from 1987 and is worthy of inclusion in every hard rock fan’s library.

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Alice Cooper – Billion Dollar Babies (Album Review)

Released in 1973, at the height of the Alice Cooper band’s creativity, Billion Dollar Babies remains a landmark sixth studio album, one that captured the band’s daring blend of rock with biting social commentary and has remained amongst their most beloved. Building upon the shock rock foundation of their earlier records, Billion Dollar Babies provides a spectacular contrast, as this release bursts with confidence and the highest of production values, both of which pushed the boundaries of mainstream rock in the early 70s.

Speaking of the production quality, Billion Dollar Babies is impressive. Every aspect has been well considered, with the artwork being just as important as the music itself. Those who stream or purchase digital downloads may not be aware, but the artwork design was next-level as it was presented as a wallet gatefold featuring a billion dollar note, amongst other interesting liner note elements, such as the band being dressed in white playing with bunnies, a whole pile of money, and a baby doll so unsettling it could give Chucky nightmares. It really is something to behold as you listen to this masterful production, one of Bob Ezrin’s greatest with the band.

One of the more confusing aspects for fans, however, is the plethora of available releases. There are reissues with bonus tracks, live performances, and surround sound mixes that give one a sense of fulfilment. That is, until you find yourself faced with which version to obtain or play. Choice is a good thing, they say, and while that may be true, to an extent, all I truly want these days is the original album in its entirety. All the bonus material may be fine from a completist perspective, but if we’re being honest, most of us would only listen to the bonus material once or twice.

Of course, the Quadraphonic edition, including the 2023 reissue, is another beast entirely, as is the unique 5.1 Surround Mix found on the 2001 DVD Audio release. As I’ve yet to hear any of the surround mixes, and therefore can’t comment further, may I suggest you head across to Quadraphonic Quad, for their community members are extremely well versed in any and all surround sound releases, including this landmark record.

Interestingly, with Apple’s push for surround mixes, one would have assumed that we would see it land on Apple Music, but it has yet to be delivered by Warner Records Inc., despite the 50th Anniversary Deluxe Edition showing up, in stereo, on the streaming platform. Nevertheless, it’s one less option to have to choose from, which is somewhat of a relief.   

While I’ve been fortunate to have owned the Deluxe Edition from 2001, and that version is still available via Apple Music, it remains my go-to as it simply sounds right. While I have nothing truly bad to say about the 2023 remaster, I find the album has lost a bit of its sparkle as the remaster sounds a tad muddy and is too mid to low-end focused with the treble range dialled back considerably. Perhaps modern listeners and new fans will find it appealing, but it’s as if there’s a light blanket that has been placed over the speakers. Let’s just say that it doesn’t sound like the album I know and love, so I’m sticking with the older mastering.

Hello Hooray is a fantastic opener, even though it wasn’t an Alice Cooper original. It is, however, a cover song of a folk tune that was originally recorded by Judy Collins in 1968. Make no mistake about it, though, the Alice Cooper band recorded it, made it their own, and while it is highly subjective, this is the only version worth listening to.

Raped And Freezin’ is a return to the raw, straight-up rock and roll that the Alice Cooper band were renowned for in their early years. With a playful rhythm, compelling guitar licks, and a cheeky tongue-in-cheek lyrical presentation, this is one catchy and energetic number that makes the album-listening experience all the more pertinent, for Raped And Freezin’ was never destined to be a hit, but as an album-only number, it’s exceptional.

Elected started its life as Reflected on their 1969 debut Pretties For You, and as solid as Reflected is, Elected offers some much-needed spit and polish and is the far better of the two recordings. Fortunately, this reimagined tune, with its satirical take on politics and power, has become one of Alice Cooper’s biggest hits and has remained a mainstay of live performances.

Billion Dollar Babies is a magnificent title track and is one of the greatest songs Alice Cooper ever recorded. That introduction is off-the-charts good, and Alice’s snarling vocals are perfectly positioned against Donovan’s smoother high harmonies. It’s musically sharp and driving, and as the album’s centrepiece, it embodies the record’s theme perfectly.

Unfinished Sweet is a monstrously ambitious number with killer guitar riffs, an addictively good rhythm, and some incredibly pleasing vocals. As a mini rock opera, you’ll find it unsettling, humorous, and endlessly entertaining; unless, of course, you have a fear of the dentist. Nevertheless, from the menacing riffs to the whimsical interludes, Unfinished Sweet is a masterpiece in every sense of the word.

No More Mr. Nice Guy is one of the most enduring tracks on the album, for its irresistible chorus, punchy guitars, and the killer rhythmic backing have ensured that it became a staple of both radio and live performances. Even decades later, it remains one of Cooper’s signature songs.

Generation Landslide is an intriguing addition to the album. With its acoustic textures and biting electric riffs that form the core of what could have been a simple rock tune, the additional production elements result in a dynamic and memorable song.

Sick Things is one of the darkest songs on the album and one of the most sinister in Alice Cooper’s renowned discography. The slow, dirge-like delivery and overall macabre atmosphere is sonically gorgeous with a multi-layered presentation that rewards listeners the more they choose to listen to the album, as Sick Things has so many audible elements you’ll be unpacking them indefinitely.

Mary Ann flows seamlessly from Sick Things, but it couldn’t be more opposite if it tried. The piano-driven style, with Alice adopting a delivery more akin to a Barry Manilow performance, feels as if it would be ideal in any jazz club. It’s a great tune, and as one of the shortest on the record, it offers a curious but charming diversion before merging into one of Alice Cooper’s most controversial songs.

I Love The Dead is the magnum opus of Billion Dollar Babies. With tongue planted firmly in cheek, I Love The Dead will most certainly leave a lasting impression. Yes, it’s both horrifying and absurdly humorous, but it’s musically rich and theatrically encapsulates the shock value and dark humour that has defined Alice Cooper’s entire career. If nothing else, you’ll feel compelled to listen to the album again, for Billion Dollar Babies can seldom be listened to once.

Ultimately, Billion Dollar Babies captures the shock rockers at the peak of their creativity. While their other 1973 release, Muscle Of Love, is one of the finest albums the band ever recorded, it takes second place to this masterpiece, as it stands alongside Love It To Death as the very best from the original band lineup. From the shock theatrics to the biting satire, Billion Dollar Babies is as unsettling as it is irresistible, thereby making it one of the greatest albums in all of recorded music history, particularly in 1973.

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