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ZZ Top – Eliminator (Album Review)

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ZZ Top – Eliminator (Album Review)

With a signature sound like no other, ZZ Top is the very definition of blues-rock and roll; a no-frills trio that are, in my opinion, only topped by AC/DC. Although, let’s be honest, as cool as Angus' schoolboy uniform is, the signature beards remain unchallenged.

Eliminator is the eighth studio album by ZZ Top and is arguably their most polished release as Eliminator plays like a Greatest Hits compilation with no B-sides to be found. It’s easily one of the greatest rock and roll albums in music history and one worthy of inclusion in every music-lover’s collection. 

Before you even listen to the music, the artwork for Eliminator will amaze and looks simply fantastic on display or in the hand. However, I have always been perplexed by the coloured box within the artwork itself. Initially, I had thought it was an indicator guide for other formats that were simply left in the final artwork, but that isn't the case as the reformatting, of even the cassette version, crop tighter into the artwork. It is an absolute mystery. If you have any thoughts regarding this interesting design decision, I'd love to hear from you.

The 30th Anniversary vinyl reissue that I’m fortunate to own is a collector's dream come true. Despite its simplicity, the print and pressing quality is exquisite. Sonically, the 2013 vinyl reissue is flawless. Beautifully quiet, although not a major issue for rock music, and sonically pure. I’ve never heard the album sound better. It’s honestly a 10 out of 10. There is something to be said for reissues that provide you with the very best the format and album have to offer without the bloat of demos and other unnecessary elements. At the time of release, it was priced in the budget range at sub $30 ($AUD), yet the sonic performance of this record trumps many of my more expensive audiophile pressings, thereby proving that one does not need to go broke in the collecting of new vinyl for one's passion.

Although, there are some caveats that one may wish to be aware of when considering picking up the vinyl release, specifically with regards to how it compares to the CD and streaming counterparts. 

The CD, by comparison, sounds concealed and lifeless, as if a blanket has been thrown over the speakers. This is particularly noticeable when comparing it to the lossless 24-bit/48kHz ALAC edition streamed via Apple Music. The stream is effortless in its delivery ensuring that you’ll not only hear every aspect of the recording but will get the fullness of sound that this album demands. 

Usually, this fullness, or warmth, is associated with the vinyl record, but it is also true to say that the vinyl reissue, despite sounding right, isn’t as detailed as the Apple Music stream. Now, that may concern some music lovers who prefer accuracy in their music, but I’m more than happy to lose a slight amount of fidelity for a more relaxed listening experience. That is, subsequently, why the vinyl reissue is my preferred version but the differences are so small that you’ll undoubtedly be pleased with the streaming edition. I would, however, only select the CD as a last resort as it simply doesn’t deliver the album as I believe it would have been intended. The bottom line is that this is one record that plays well, and should be heard, on vinyl; but you won’t be disappointed with the Apple Music stream.

Turning our attention to aesthetics, the vinyl reissue is printed in a high-gloss that looks incredibly impressive but quickly becomes a fingerprint magnet. Inside, you get a singular printed inner sleeve with Eliminator (the car) on one side while the other side remains black. Yes, it is a basic design but appeals to purists as it remains faithful to the original 1983 release.

The CD by comparison has a standard booklet, sans lyrics, and a CD that is about as plain as you can get. Of course, the vinyl reissue doesn’t feature the lyrics either, but Apple Music does! 

SIDE XI

Gimme All Your Lovin’ has an incredible rhythm and is the perfect song to start the album with as it sets the tone for the entire record.

Got Me Under Pressure continues the toe-tapping head-bopping rhythm. Sensational!

Sharp Dressed Man is a song that defies explanation. Just turn the volume knob to 11.

I Need You Tonight slows the rhythm, but increases the blues. It's absolutely gorgeous and that guitar is, as with most ZZ Top recordings, pushing the distortion right to the limit while remaining hauntingly clear. I love it!

I Got The Six is a perfect rock and roll song.

SIDE X2 

Legs is iconic! Interesting fact: every time I hear the first few chords, I'm reminded of the Mythbusters television series theme song. I’m honestly surprised there wasn't a lawsuit around this unless they obtained permission, of course. Either way, after watching an episode it makes me want to listen to Eliminator so I’d consider it a win-win.

Thug is a solid tune and despite not being one of my favourite songs on the album, I would miss it if it wasn’t on Eliminator.

TV Dinners is one of my all-time favourite ZZ Top songs. Seriously, to take something as mundane as a TV dinner and turn it into a rhythmic blues rock and roll masterpiece; that takes exceptional skill! It’s soloing heaven and features some of the best musicality heard on the album. I also adore those mid-song pauses as they're executed perfectly.

Dirty Dog is a great song with a tone and overall style that is borrowed from Legs. While plagiarism is bad, in and of itself, self-plagiarism in music ensures an identifiable sound signature. 

If I Could Only Flag Her Down is rhythmically engaging but the vocal tracking, in particular, gets lost in the mix. It’s more Motörhead than ZZ Top. 

Bad Girl has an addictive rhythm and I thoroughly enjoy the rawness of the pseudo-live performance. As the closing track, it certainly compels me to spin the record again. One thing I don’t like, however, is the final spoken words at the end of the record just before the runout groove. It isn’t present on any other releases and while I acknowledge that it is a form of artistic expression, it detracts from the listening experience. 

What isn’t a distraction, however, is the culmination of songs that make up Eliminator. It’s not only one of the best albums ever recorded by ZZ Top, it’s one of the greatest rock and roll albums of all time.

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Alice Cooper – DaDa (Album Review On Vinyl, CD, & Apple Music)

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Alice Cooper – DaDa (Album Review On Vinyl, CD, & Apple Music)

Alice Cooper may have no recollection of writing and recording DaDa, but I consider it to be one of his greatest achievements.

While it pleases me to know Cooper emerged from this era clean and sober, one can't help but consider just how much his addictions influenced this opus. I’d never condone substance abuse, in the name of art, but it is also true to say that much of the music we have in our culture today would likely not exist should experimentation with mind-altering substances have not occurred. That said, not all of Cooper's “blackout” albums are as special as DaDa. There is something mystical here that truly defies explanation. Cooper has even previously stated that he has no idea as to the meaning of the album, only declaring that DaDa is the most frightening album he has ever made. 

From my perspective, it’s a sonic masterpiece and not foreboding at all.

What else is a sonic masterpiece is the vinyl edition that I’m fortunate to own. It’s the 2018 reissue and while mastering details are disappointingly omitted, let me assure you this is one vinyl reissue that you have to hear for yourself; it’s mind-blowingly good! 

Most modern reissues are pressed from high-resolution digital files, but this particular release sounds as though this pressing was sourced from the analogue master tape. Sonically, you’ll experience an incredibly full sound with all the analogue warmth that is associated with vinyl reproduction. Basically, it just sounds right. Plus, when you get to Pass The Gun Around on the vinyl reissue, you’ll need no mind-altering substances to have an otherworldly experience.

I’m also fortunate to have owned the 2001 German CD reissue of DaDa, but have since past it onto my son for his music collection. The CD was never what I’d consider being bad, but the 2018 vinyl reissue is significantly better. The core of the DaDa experience is most certainly present on the CD, as it is on the Apple Music stream, but it still lacks the fullness of sound that makes the vinyl reissue an experience to behold and one worthy of the time and care vinyl playback demands. If you prefer streaming, the Apple Music edition is most certainly sufficient but I’m eagerly awaiting to hear an Apple Digital Master of the album to see how it compares. Until then, I’d suggest if you’re not heading straight for the vinyl reissue, opt for the CD if at all possible as the soundstage has greater instrument separation and clarity when compared to the Apple Music stream. That is, somewhat, to be expected as the Apple Music stream is a compressed offering, but it’s still a masterpiece regardless of how you choose to enjoy it.   

From a design standpoint, the orange swirl vinyl, which admittedly looks more like a splattering, is really cool and is a value-added proposition for this collector. The exquisite cover art similarly demands a larger canvas and while the CD-sized artwork still looks excellent, and includes full liner notes and lyrics, it just isn’t the same. Adding to that, the liner notes on the rear vinyl cover do pay homage to the original pressings, as does that Warner Bros. Records label; a nice touch! While all these aspects may not matter to you, they do to me as they ensure the tactile experience is all the more rewarding. Nevertheless, it is ultimately all about the music and that is where DaDa truly shines.

Side One

DaDa is a Bob Ezrin masterpiece. Yes, Ezrin alone wrote this lead song and as the producer and engineer, the entire album certainly has his sonic fingerprint. Ezrin and Cooper are akin to Elton John and Bernie Taupin or Meat Loaf and Jim Steinman; an incredible collaborative team! 

Largely instrumental, with near incoherent spoken words, DaDa sets a sombre tone that is eerie, yet riveting to listen to. In some respects, this lead-in song is as spectacular as Funeral For A Friend / Love Lies Bleeding from Elton John’s Goodbye Yellow Brick Road. Hence, I’d have to say that DaDa is one of the greatest lead-in songs of any album ever recorded.

Enough's Enough changes the tempo quite significantly, but despite this change, it does not sound so different that one may think they’re listening to a different album. Enough's Enough is classic rock with a pop-influence. The rhythm is toe-tapping and head-bopping heaven and Dick Wagner's guitar presentation here, and throughout the album, shines. Enough’s Enough is simply a fantastic song and I find it perplexing that Cooper has never performed this, or any other song from DaDa live. What a waste!

Former Lee Warmer is epic! The musicality is beautiful, as is Cooper's vocals. I could listen to Former Lee Warmer on repeat for hours as it’s such a relaxing song.

No Man's Land picks up the pace again. While there isn't a bad song on the album, No Man's Land comes close. I say that partially because, like an earworm, it tends to play like a broken record. It’s catchy and a little campy, but it does fit DaDa perfectly.

Dyslexia starts a little slowly, but by the time the first chorus kicks in, the song begins to grow on you. It’s an interesting composition, but to be quite frank, I'm not sure if I like Dyslexia or not. Yet, I can't imagine this opus without it.

Side Two

Scarlet And Sheba is one of Cooper's greatest songs. It’s sensational rock and roll and I love the eclectic musical overture that introduces the song. You'll likely find yourself singing along, as I do. The shifting style between chorus and verse is sensational. The team of Cooper, Wagner, and Ezrin hit the ball out of the park on this song, and quite frankly the entire album. Alice Cooper doesn't get much better than this! If only he would play Scarlet And Sheba live, I’m sure it would become a fan favourite as it flows seamlessly into I Love America and that would seem like a no-brainer when touring stateside.

I Love America is campy 101 and brings a snigger to this non-American. Who knows, perhaps my American friends also find some humour in this song. It isn't bad, quite enjoyable actually, but it is unlikely to ever become an anthem. It’s no Lost In America or Born In The U.S.A., but I still love it!

Fresh Blood is seriously groovy with a rock/jazz feel that is most certainly locked into the 80s sound. They don't make music like this anymore and that's okay as the nostalgic element is extremely satisfying. Nevertheless, it also has a dance/disco feel to it, not unlike many of the songs found on Elton John's excellent Victim Of Love.

Pass The Gun Around takes a while to get going. So long, in fact, that upon the first couple of listens you may think DaDa has come to an end. It’s likely done to separate the varied styles between this song and Fresh Blood. Nevertheless, once the song starts, you’ll be met with an astounding song that simply blows my mind every time I hear it. It is psychotic, yet relatable. The only other song I can think of that has such an effect on my psyche is the Guns N' Roses song Coma. The haunting chorus and overall musicality is magical as it connects with the pleasure centres of the brain. Yes, the song is slightly disturbing, and perhaps it takes a slightly disturbed mind to enjoy it, but it is sensationally hypnotic and makes me want to listen to this entire masterpiece again and again. Although, that inferred bullet shot always shocks me, despite knowing it’s coming. I think that is part of the appeal of the song as it not only brings ultimate meaning to the song but breaks the hypnotic hold it has on you.

While I’ve always been captivated by Alice Cooper and consider his body of work to be amongst some of the very best in recorded music history, DaDa is exceptional. It’s an album I can't live without and I dare say people will be dissecting this record forever, trying to figure out exactly what it’s about and what was going through Cooper’s head at the time. Well, I say good luck to them as Cooper, himself, has no idea and I'm equally naïve. I just know I love DaDa and if I could only have one Alice Cooper album, it would most likely be this one.

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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.

A-Ha – Hunting High And Low (Album Review)

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A-Ha – Hunting High And Low (Album Review)

Few debut albums reach the commercial success a-ha had with Hunting High And Low, yet I dismissed it as just another campy 80s synth-pop release that wasn’t worth exploring. Well, dear reader, I was wrong, but you have to promise not to tell my better half as she has always enjoyed a-ha and whenever she spoke about them my sarcastic response was a-ha, yeah, a-ha! Don’t worry, I did the same with Wham!, yet I absolutely adore their music today. Many who know me well know that I can be fickle, but I also feel that we should never be entirely closed off to experiencing new music, outside of our comfort zones, for one never knows just where that experience can lead. In this case, it has led to a true appreciation of a band that I had previously ignored. 

Thanks, in part, to streaming, one can now explore a world of music beyond their own tastes and Apple Music’s 2015 Remastered Version, also Mastered for iTunes, is sonically pleasing without a single digital artefact to worry about. Remastering often gets a bad wrap, even here on Subjective Sounds, and while I can’t comment on how the album originally sounded, this Apple Music stream sounds just right. While I’m keenly interested in picking up Hunting High And Low on vinyl, along with their career perspective, Headlines And Deadlines: The Hits Of A-Ha, I’d be perfectly satisfied with this digital stream. It’s really that good!

Take On Me may be a-ha’s most successful song, but it is also the campiest and the one which probably kept me at arm’s length for so many years. It isn’t bad, but I do feel that it has been excessively played and that can, unfortunately, create boredom and disdain for an otherwise solid song. All one needs to do is look at how loathed Celine Dion’s My Heart Will Go On and Aerosmith’s I Don’t Want To Miss A Thing are to know that overplaying of a song can ruin it. 

Train Of Thought has a great rhythm and reminds me in places of Elton John and Grace Jones. Subsequently, I love it!  

Hunting High And Low is absolutely stunning. While stylistically different from the first two tracks, Hunting High And Low sounds familiar while taking a-ha in a completely different direction musically, showing just how talented these musicians are. 

The Blue Sky returns the album to a more synth-pop styling and while solid, I’d class it as a B-side. It has a sound that is very alternative and one which I feel takes a few listens to fully appreciate. Still, it isn’t the strongest song on the album, but there is a solid tune hidden here, if only the tempo was shifted a little and the lyrical delivery was more in-line with the musicality.  

Living A Boy’s Adventure Tale is great! You’ll want to turn the volume up when listening to this. The soundstage is incredible and that initial gradual build is extremely compelling. 

The Sun Always Shines On T.V. is one of my favourite songs on the album. Yes, it is borderline campy, just as Take On Me is, but it has been played to a less excessive degree. Plus, it rocks! Turn that volume up and you’ll be amazed at just how enjoyable The Sun Always Shines On T.V. is. It’s a stadium filler if there ever was one. 

And You Tell Me isn’t a bad ballad-styled track, but I’m unsure how I really feel about it. In one way I thoroughly enjoy it, but in another I question myself as to why. I also feel it is a little too short. Nevertheless, Hunting High And Low wouldn’t be the same without it. 

Love Is Reason is a classic B-side. It isn’t bad, but that repetitive chorus does become tiresome. Great musicality, however. 

I Dream Myself Alive is a solid tune. Nothing to write home about, but worthy of inclusion.

Here I Stand And Face The Rain has a very unique opening with the vocal delivery. I do thoroughly enjoy the acoustic styling, however, when the synth elements enter the mix, they do so in a manner that is complementary, thereby ensuring fluidity. Without a doubt, Here I Stand And Face The Rain compels me to listen to Hunting High And Low again and stay within a-ha’s catalogue of music; exactly what a closing song should compel the listener to do.

Overall, Hunting High And Low is an incredible debut and an album that represents some of the very best music in both the synth-pop and new wave eras. Yes, it retains an 80s feel, but that isn’t necessarily a bad thing and to be completely honest, the album hasn’t aged nearly as badly as one would have thought. 

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

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

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

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

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

SIDE ONE

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

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

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

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

SIDE TWO

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

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

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

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

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

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

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AC/DC – Blow Up Your Video (Album Review)

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AC/DC – Blow Up Your Video (Album Review)

Released in 1988, Blow Up Your Video was the perfect bookend to Back In Black as AC/DC’s other 80s releases were less than stellar, even though there are many hidden gems to be enjoyed. Nevertheless, Blow Up Your Video is often unfairly overlooked. The blues-based rock that is exhibited here is on par with the ultra-bluesy Stiff Upper Lip; an album I adore and consider to be their greatest release. 

For a number of years now, I’ve been fortunate enough to own the 2003 vinyl re-issue of Blow Up Your Video; this particular mastering is the one that is still in production and George Marino and his team at Sterling Sound did a wonderful job on not only this remaster but the entire AC/DC catalogue. The pressing has little to no surface noise to speak of and is presented in a high quality outer and inner sleeve. The inner sleeve, in particular, is a cornucopia of information, penned by Alan Di Perna – a legend in his own right, relating to the period and recording of the album, a value-added addition that will likely be of interest to any fan. 

From a sonic perspective, these 2003 vinyl reissues are perfect and given vinyl was well in recession at the time, it is remarkable that these were even considered, let alone produced as beautifully as they are. While AC/DC is most certainly suited to playing on loudspeakers, trust me when I suggest that you listen to these records via headphones as the music locked within the grooves really comes to life and gives you an even greater appreciation of AC/DC and their production quality.

If you prefer streaming, the Apple Digital Master, as available below via Apple Music, sounds exquisite and I believe is taken from the same mastering sessions as the 2003 vinyl re-issues. Certainly, from my point-of-view, there is no difference to note other than the natural analogue warmth that is a byproduct of vinyl reproduction. That isn’t to suggest that the Apple Music edition is shrill or digital sounding, but there is a difference between the formats and you may prefer one over the other.

Side One

Heatseeker is AC/DC 101 and is a great opener. I particularly enjoy the studio background noise introduction and it has a rawness to it that ultimately complements the song and makes you feel, as the listener, that you’re in the studio with the band. Heatseeker also, as so many AC/DC songs do, has a killer rhythm. 

The music video is brilliant but the heat seeker scenes are hilarious as is Angus’ entrance. It has equally stood the test of time and yet has aged in those aforementioned ‘special effect’ scenes. Regardless, it is fun and you should check it out if you get a chance. 

That’s The Way I Wanna Rock N Roll has a fantastic drum recording. Simon Wright gets ignored far too much in AC/DC’s history, in my opinion, but as far as I’m concerned he locked in and mastered this performance. 

The music video applied the same mix of live vs storytelling as seen in Heatseeker and truth-be-told the live performance was strong enough and would have been adequate. Of course, if we look at the late 80s, via a lens of nostalgia, the music video at the time would have been very well received even if the additional storytelling components now seem to be a little superfluous. 

Meanstreak has a killer riff. One of their best? Hell yeah! Its also got plenty of the blues influence that I love and without a doubt is one of their greatest recordings that doesn’t get the respect it deserves.  

Go Zone has a really solid and controlled bass element that I appreciate. Go Zone is a great song with an albeit short, but pleasurable guitar solo. Yes, it may be a meat and potatoes rock and roll track, but it’s some of the best meat and potatoes rock that you’ll ever enjoy. 

Kissin’ Dynamite is pure gold. How is Kissin’ Dynamite not more prominent in AC/DC’s back catalogue? It is one of their best recordings and I don’t know about you dear reader, but I get tired of ‘how good Back In Black is’. Yeah, it’s good but if that’s all you listen to, you’ve stymied your musical growth. Seriously, turn Kissin’ Dynamite up, blow your eardrums out and piss the neighbours off, you can thank me later.

Side Two

Nick Of Time is a hard-hitting rock tune and is the perfect opener for the second side of the album.

Some Sin For Nuthin’ slows things down a little with a rhythmically charged song that isn’t anything to write home about, but would be sorely missed if it wasn’t included on Blow Up Your Video.

Ruff Stuff is creamy blues-based rock and roll goodness. Absolutely, brilliant! 

Two’s Up is one of the greatest songs on the album. That rhythm is off-the-charts and Two’s Up really doesn’t get the recognition it deserves. 

This Means War has intermingling rhythms that make for an interesting listen. It doesn’t sound disjointed, as it was recorded, mixed, and mastered perfectly, but you really need to pick a groove to get the most out of This Means War. It’s a fantastic way to close out Blow Up Your Video and ensures I’ll be spinning the album again. 

Overall, Blow Up Your Video is severely underrated when it comes to the post Back In Black 80s records, but it shouldn’t be for The Razor’s Edge was just around the corner and Blow Up Your Video is the logical precursor to that masterpiece. My suggestion for what it’s worth is to put away the common albums and songs and expand into the lesser know masterpieces that will fill you with the joy and excitement that you had when you first discovered AC/DC. I’m sure you won’t regret it!

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