Alter Bridge – III (Album Review)

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

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

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

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

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

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

All Hope Is Gone is spectacular!

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

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

Wonderful Life is beautiful!

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

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

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

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

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

Life Must Go On is incredible. I love it!

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

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

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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. 

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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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Blue Öyster Cult – Self-Titled (Album Review)

Released in 1972, Blue Öyster Cult’s eponymous debut failed to garner initial interest from the music-loving public upon release, but as with many albums that are now considered classics we look back and wonder just how such an exceptional psychedelic hard rock album could have been so overlooked, especially with that stunning ‘otherworldly’ cover art.

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Bill Gawlik, billed as simply Gawlik, created the cover art that captivates me as much as the music does for there are so many possible interpretations to be read into the spherical design. I’m fortunate enough to own the Music On Vinyl (MOVLP1546) reissue and the cover’s matte finish is stunning and adds to the tactile nature of the record. The vinyl itself is housed in a high-quality anti-static sleeve, thereby preventing dust from accumulating in the grooves. It is nice to see this small additional detail as so many re-issues are presented in substandard inner sleeves in an attempt to save on costs while charging a premium price. Nevertheless, Music On Vinyl outdid themselves with this release. The record is pressed and mastered perfectly with next to no surface noise and an expansive soundstage that really comes alive throughout the entire album but specifically when listening to She’s As Beautiful As A Foot and Cities On Flame With Rock And Roll as these are songs that, if not mastered with kid gloves, can sound muddy and unappealing.

While this review is primarily based on the vinyl re-issue, many music lovers would understandably prefer the convenience of streaming and subsequently, an Apple Digital Master is available on Apple Music. How does it sound? In a word: Exceptional! As much as I adore my vinyl collection, I have to be completely honest and state that I am increasingly impressed with the  transparency of the Apple Digital Masters to the original masters that are delivered from the record label. In this situation, the mastering sounds identical to the vinyl re-issue, minus the usual warm analogue sound signature of vinyl of course. That, believe it or not, is a good thing for it is frustrating when different masterings exist of a single album. I don’t know about you, dear reader, but I just want the original mastering that was intended for a specific album. 

Side One

Transmaniacon MC launches us into the album perfectly, setting the tone, while simultaneously giving the music lover a rhythm to immediately connect with. Transmaniacon MC isn’t the strongest song on the album, but I can’t think of a better opening for a psychedelic hard rock release. 

I’m On The Lamb But I Ain’t No Sheep flows near seamlessly from Transmaniacon MC and is a solid song, albeit nothing to write home about. 

Then Came The Last Days Of May is a sonic wonderland and one of the greatest songs of the 70s in my opinion. 

Stairway To The Stars is a stellar rock song. 

Before The Kiss, A Redcap has some killer guitar riffs, a brilliant rhythm, and an exceptional vocal recording that perfectly suits the song. Before The Kiss, A Redcap is all-round perfection. 

Side Two

Screams is psychedelic gold. 

She’s As Beautiful As A Foot flows seamlessly from Screams with an absolutely stunning drum element by Albert Bouchard. The overall musical style on She’s As Beautiful As A Foot is simply magical. One of the greatest songs on the album and another highlight of the 70s.

Cities On Flame With Rock And Roll has a killer drum and bass introduction that I simply adore and the incredible rhythm and overall performance simply blows my mind every time this masterpiece comes on. A perfect recording!…and, yes, you can hear a correlation between Cities On Flame With Rock And Roll and Black Sabbath’s The Wizard; a song and band which ultimately inspired Blue Öyster Cult.

Workshop Of The Telescopes flows well in the album format but it’s ultimately a song that I wouldn’t seek out on its own for it isn’t quite as strong as many of the other tunes on the album.

Redeemed is a perfect way to close the album, with a slightly more mellow tone, that encourages me to listen to this brilliant eponymous debut again. 

Overall, Blue Öyster Cult’s eponymous debut is a monster of an album and a must-own for all psychedelic hard rock music lovers. There isn’t a bad song to be heard and it doesn’t matter if you’re going for the Music On Vinyl release, or simply streaming this debut, you’re getting an exceptional musical experience that has to be heard to be believed.  

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