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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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Alter Bridge – Fortress (Album Review)

Alter Bridge – Fortress (Album Review)

Released in 2013, Fortress may not have broken new ground as Alter Bridge were already on a roll following Blackbird and III, but if it ain’t broke, don’t fix it. After all, AC/DC has been applying the same formula for decades and fans adore it, for a little more refinement is often better than a complete shift in style.

Speaking of style, one of the most compelling aspects of picking up the vinyl record, if you can find a copy, is the artwork and gatefold design. It is elegant with a touch of simplicity that works extraordinarily well when sitting and holding the album; an aspect that is sadly missing from the streaming counterpart. 

While the Apple Music stream may lack the tactility of the vinyl record, the lossless 24-bit 44.1 kHz ALAC stream is impressive with a clear separation between all musicians and elemental aspects while maintaining a solid low end; a feat that I’ve often been disappointed with on various streamed albums within this genre. In the past, it was as though, the fullness of sound suffered as a result of the compression applied and thankfully this is no longer the case as streaming services are increasing their quality across the board. 

While Ted Jensen did an admirable job on the vinyl record, and it still has greater dynamics, the Apple Music stream has a more rocking feel to it. You know, the kind where you feel compelled to get out your air guitar and rock out with the band. It also, arguably, has greater detail and a clearer vocal presentation than the vinyl record which sounds, by comparison, a little concealed. 

One may point to the addition of the vinyl warmth that many of us know and love and while that is naturally lacking from the digital stream, I increasingly find that as soon as music is delivered in 24-bit, rather than the CD-based 16-bit format, that the fullness and warmth transfer to the digital file. Not as much as via the vinyl record, of course, but it tends to sound more realistic and less treble focused. 

The bottom line on sound quality is this: If you love vinyl, you’re going to love the vinyl release of Fortress for it hits all the right notes, but if you’re focused on streaming, then rest assured that the Apple Music lossless stream is spectacular. 

Cry Of Achilles opens the album beautifully with an acoustic element that I feel works extraordinarily well. Although, it is a little too compressed for the cymbals have that crunchy sound that is detracting from the song; a shame, but given it is present on the vinyl release as well as the streaming alternative, you can almost guarantee that it was created in the studio with either poor microphone placement or a bad mix. Nevertheless, if you can get past that aspect, you’ll likely find something to like about Cry Of Achilles and for me, it is the guitar solo and the final minute of the song which I feel takes on a life of its own. 

Addicted To Pain is, where I believe, Fortress really begins. Its rapid and rhythmically fired vocal and musical aspects ensure this lead single would be a stadium pleaser if for no other reason than its killer guitar solo.

Bleed It Dry has a chorus style that I don’t dislike, but I find it challenging to listen to at times. Something about it doesn’t gel with my internal rhythm, but you may love it. 

Lover is my favourite song on Fortress. If I were the band, or their record label, I would have most certainly released Lover as a single.

The Uninvited kicks things up a notch, following the more melodic Lover, but despite a promising opening, I find The Uninvited is lacking a cohesive focus. 

Peace Is Broken is another song, not unlike lover, that I feel should have received greater attention than it did. A gorgeous song that needs to be turned up to 11 as you rock out with your air guitar. One of Alter Bridge’s finest songs! 

Calm The Fire is a dynamically shifting song that can take a few listens before connecting with your soul. Once a connection is made, however, the song can be thoroughly appreciated. Although, I do wish that the soundstage was significantly wider and it would have been nice to have heard Calm The Fire with a mix that focused more on the lead and backing vocal aspects of the song as I feel they get lost in the mix; a problem that results in a wall of sound but not necessarily a memorable song. 

Waters Rising switches vocalists with lead and rhythm guitarist, Mark Tremonti, taking the reins while Myles Kennedy delivers strongly on backing vocals. While one may be concerned as to the flow of the album, it need not be an issue because Tremonti does a phenomenal job and while Kennedy could have belted out this tune, I’m glad the microphone was passed because it showcases a different approach and launched my interest in Tremonti’s other band, Tremonti. Plus, it’s one of Alter Bridge’s greatest tunes with some killer guitar work.

Farther Than The Sun is rather mundane until that mid-shift guitar solo enters the mix. I hope you’ve got your air guitar with you! 

Cry A River has a solid lyrical hook, with a heavy-hitting musical accompaniment, but Cry A River was never going to be a stadium filler. A solid B-side, yes, but far from a defining song. 

All Ends Well is a gorgeous vocal-focused ballad with a country style and a killer chorus. What’s not to like?

Fortress as the title track, and album closer, is utterly spectacular. As with all closing songs, you should be left wanting more and Fortress certainly achieves this goal ensuring that I’ll spin the album again and stay within Alter Bridge’s catalogue for the rest of the day.

Fortress was amongst the best hard rock albums of 2013, joining the ranks of Avenged Sevenfold’s Hail To The King, AFI’s Burials, and Rob Zombie’s Venomous Rat Regeneration Vendor, but despite being a stellar release, and valued addition to Alter Bridge’s catalogue, Fortress simply isn’t as strong, or cohesive, as III is from my perspective. 

Aerosmith – Get A Grip (Album Review On Vinyl, CD & Apple Music)

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Aerosmith – Get A Grip (Album Review On Vinyl, CD & Apple Music)

It was 1994, the Grammys were playing on television, and Aerosmith came out on stage and performed Livin’ On The Edge. In my mind, it was a faultless performance and while I know that I can re-experience it on YouTube, I don’t want to. Something as powerful as this first exposure, that would result in a life-long love of Aerosmith’s music, should be left to my interpreted memory and not toyed with.

Memories of this performance, and the album Get A Grip, came flooding back recently when my son decided that he wanted to go through my CD collection and find an album to listen to. I said nothing, didn’t encourage him either way, and he selected Aerosmith’s Get A Grip; it was a proud parenting moment.

As a music-loving father, I try to ensure that my library of music is always accessible. I don’t believe in taboos and while this album isn’t overly explicit, it is Aerosmith. Everything is an innuendo. I also believe in the freedom of artistic expression and subsequently have never purchased a ‘clean’ version of any album. I know many people are opposed to profanity, but I strongly believe music is art, hence a ‘clean’ version is akin to an abridgement of the artist’s original intent. I also feel that it is better to have questionable subjects raised in the home, rather than in the controversial and often erroneous schoolyard. While my son may be naive with regards to many of the innuendos, laughing when Tyler speaks the words ‘come here baby’ on Crazy, I want him to know that through our shared love of music, he can come to me and discuss song meanings as he begins to understand more adult-based themes.

For the moment, however, he is content to play his air guitar when listening to Livin’ On The Edge and laughs contagiously when Eat The Rich concludes and the burp is heard at the very beginning of the following track. I’ve no doubt they programmed the CD to play the burp at the beginning of Get A Grip, rather than at the end of Eat The Rich, to ensure we would all keep hitting the back button. This morning I played it really LOUD on my main system. The house rumbled to, I assume, Steven Tyler’s guttural belch and while I haven’t taught my son to burp the alphabet, this was a priceless father-son moment. Thank you, Aerosmith!

Speaking of the CD, it is glorious to behold for the liner notes are extensive with associated artwork that is slightly more extended than the vinyl counterpart. Yes, the CD artwork, on the disc, is a little risqué but it’s not like Aerosmith has a clean-cut image to uphold. 

Sonically, the CD is flat and brittle, meaning that it is challenging to listen to for long periods as it simply lacks the kind of emotive energy that will captivate you. The clarity, however, is incredible, but I look for fullness of sound. I want to hear fat riffs and feel every drum beat and the CD just sounds a little too thin. Comparing it to the Apple Music Stream, an Apple Digital Master, it is smoother and more dynamic, yet I still wouldn’t say that this edition blows me away. Does it sound better than the CD to my ears, yes, but how does it compare to the 2017 vinyl re-issue that I’m fortunate to own? 

The vinyl reissue is superior in sonics to both the CD and streaming editions, as it has a greater sense of emotive energy that will get your body moving involuntarily. It also has a fuller sound, which is most likely due to the inherent distortion of the format, but it simply sounds right. The brittleness and absence of flatness are no longer present but the overall muffled sound of the recording can be easily heard across all versions. It is as if someone turned on Dolby NR (Noise Reduction) in the recording and mastering process. That’s not necessarily a negative aspect, but if you’re looking for a cleaner, or clearer, reproduction, I’m honestly not sure one exists for these three editions offer a good overview of the different tonalities available across each format. As to which you prefer, that will be to your own subjective preferences. I find that I can comfortably enjoy the Apple Music stream, but my preferred version is the vinyl release. The CD, I’m sure, would sound fantastic on a less revealing system but as it is, it is just a little too clinical for my music tastes. 

As for the vinyl packaging, it’s presented in a slipcover where both records’ inner sleeves are also the associated liner notes. It’s impressive to hold and is one of those albums that I find myself as captivated by the packaging as I do the music itself. Unlike some vinyl releases, the design here is fantastic as the text and overall layout is perfectly sized, meaning that you won’t just put the album aside, but enjoy it for what it is; a piece of art. 

The records are similarly magnificent. They’re flat and the noise floor is incredibly low. You’re really only going to hear the dead wax with headphones, or if you tend to turn the stereo up so loud that you annoy your neighbours. They are, for lack of a better term, flawless. Even the way the records have been cut impresses, for a song like Livin’ On The Edge should, as the final track on Side One, suffer from a little inner groove distortion, but it doesn’t as the record has been pressed well within the threshold, meaning that this killer song isn’t tarnished by the format’s limitations. Side 3, ending on Crazy, is similarly pressed and while it may be a little thing, these elements are important to music-lovers who choose vinyl as their format of choice. Nothing is more disappointing than putting on a record that sounds superior to other formats, only to be disappointed towards the end of each side when inner groove distortion can rare its ugly head. 

SIDE ONE

INTRO is self-explanatory, but I’ve heard worse album openings. That said, it wouldn’t be far-fetched to suggest that the Intro could have been merged into Eat The Rich. 

EAT THE RICH is witty with a great sense of rhythm that will likely see you singing along throughout the chorus. Plus, who doesn’t love that guttural burp at the end?

GET A GRIP is a killer rock tune, but I’d love to hear Tom Hamilton’s bass guitar be a little more prominent in the mix as it's the driving force behind the rhythm of the song. 

FEVER lacks cohesion for Get A Grip, yet it would have been perfect on Permanent Vacation. Despite that, it’s a solid tune. 

LIVIN’ ON THE EDGE is one of Aerosmith’s greatest and one of my favourites.

SIDE TWO

FLESH is utterly brilliant; that is until the chorus kicks in. Flesh is one of those songs where the verse structure is perfect but the chorus is a letdown. A shame, for I want to love Flesh, but find it is just too distracting. That said, the smoother nature of the vinyl edition means that it is a little less jarring on the senses and subsequently can be enjoyed when listening to the album via this format. 

WALK ON DOWN is classic Joe Perry as it reminds me of much of what I love about The Joe Perry Project. As an Aerosmith song, it works perfectly with the other songs on Get A Grip and is one tune that I feel should have got more attention than it did.

SHUT UP AND DANCE is lyrically brilliant as the double entendres will put a smile on your face. Musically, it features some of Brad Whitford and Joe Perry’s best guitar tracking on the album; fantastic!

SIDE THREE

CRYIN’ is one of Aerosmith’s best power ballads and one of the greatest blues-rock tunes they ever recorded. 

GOTTA LOVE IT says everything that needs to be said in the title. You gotta love it for it just works. While you’ll never find Gotta Love It on a career perspective release, or an Essentials Playlist, I’d add it to a playlist of the very best Aerosmith songs that you’ve never heard before. It has a little bit of everything and is what I’d consider to be quintessential Aerosmith.

CRAZY as a power ballad works extremely well. The chorus is catchy, you’ll likely sing along, and it is just corny enough to be considered a classic power ballad. 

SIDE FOUR

LINE UP has an addictive energy that will see you head-bopping and toe-tapping from the first note.

AMAZING is a ballad masterpiece. It’s amongst Aerosmith’s greatest recordings and helps to close out Get A Grip perfectly. 

BOOGIE MAN as the final track on Get A Grip is interesting, for it is arguably not needed, yet as I have heard this album countless times, over the years, I wouldn’t want Get A Grip to end without hearing Boogie Man; a great tune in its own right, even if its inclusion is questionable. 

Overall, Get A Grip is a fun album to listen to and has a groove that is reminiscent of the classic 70s Aerosmith style while also being uniquely modern to their 90s sound. It’s a rock masterpiece that has stood the test of time and is just as compelling today, as it was when released in 1993.

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Alice Cooper – Muscle Of Love (Album Review On Vinyl & Apple Music)

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Alice Cooper – Muscle Of Love (Album Review On Vinyl & Apple Music)

Despite being an album focused on juvenile sexual innuendos, Muscle Of Love is one of the greatest Alice Cooper band albums ever recorded and in a way, it’s a shame that it was the last to include the original band lineup. While Bob Ezrin was noticeably absent in the Producer's chair, Jack Douglas and Jack Richardson did a wonderful job of guiding the album, while allowing creative artistry to flourish.

Yes, many of the songs on Muscle Of Love have never been part of Cooper's live set, at least for many years, but I've often found that with Alice Cooper, the best albums, songs, and performances are not necessarily the compilation filling or concert played fan favourites. Therefore, I implore you to give Muscle Of Love, as an album, a shot. I have a feeling you won't regret it.

I know I haven't regretted picking up the Friday Music vinyl re-issue from 2013. While the reissue isn't a perfect replica, sonically it is beautiful with a full analogue sound that will impress even the most hardened critic. It is said to have been mastered from the original Warner Bros. tapes by Joe Reagoso and after listening to it countless times, I have no reason to doubt Friday Music's claims. It really is that good!

The Apple Music stream is, similarly, beautiful with a mastering that is similar to the vinyl record. If there is a difference to report, it would be that the Apple Music stream sounds a little concealed by direct comparison to the vinyl release. That said, regardless of how you choose to enjoy this classic, you’re most likely going to love it. 

SIDE I

Big Apple Dreamin' (Hippo) not only has a great groove, but that psychedelic undertone is superb. I dare you to sit still, without moving a muscle, during this song, I can't do it. The guitar tracking is divine and the inclusion of the violins perfectly suits the song. Plus, that outro = extraordinary!

Never Been Sold Before is your meat and potatoes rock and roll track. I love it! Just as the addition of strings to Big Apple Dreamin' (Hippo) enhanced that song, the horn element in Never Been Sold Before is fantastic and has a similar effect. If I had one complaint, it would be that I'd like to hear a 1 to 2 decibel increase in the bass guitar.

Hard Hearted Alice is a song that slowly builds with a beautiful atmospheric introduction. This is one song where the quadraphonic mix would likely be astonishing, but the vinyl and Apple Music counterparts are no slouch with a soundstage that removes the speakers, creating a spacious sound that has to be heard to be believed.

Crazy Little Child is a fun song. I adore the piano element and I love the overall New Orleans Jazz feel. I'd love to see Cooper do an entire jazz album, even one full of standards would do. He certainly has the vocal chops for it.

SIDE II

Working Up A Sweat continues the lighthearted approach to the overall theme of the album. It's a solid song, but not one to write home about as I find Cooper’s vocals are distant in the mix, although, the music has an addictive and thoroughly enjoyable rhythm.

Muscle Of Love is a killer tune. Both the guitar intro and drum tempo are superb and I find myself playing the air guitar and drums when listening to this song. Exceptional!

Man With The Golden Gun was originally written and recorded for the associated James Bond film but was sadly never used. When you listen to the song, armed with that knowledge, you can immediately hear the James Bond undertones and one can only wonder how the Man With The Golden Gun’s introduction would have differed with this song. Nevertheless, it’s a solid addition to Muscle Of Love and I'm glad it was released and not shelved as it is quite enjoyable, even if it’s not the strongest song on the album.

Teenage Lament '74 has remained somewhat of a fan favourite and while I thoroughly enjoy the song, I feel bemused as to its popularity. I guess it just proves that I should never be asked by an artist, or record label, which songs should be released as a single or be played live.

Woman Machine is an interesting song to close the album on. Yes, it encourages me to listen to the album again and stay within Alice Cooper's extensive catalogue, but I find Woman Machine to be a little repetitive and the outro is a little too much, in my opinion, although I can see the approach the band were going for.

Overall, Muscle Of Love is exceptional and is truly one of the best Alice Cooper band albums ever recorded. 

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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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AC/DC – Ballbreaker (Album Review On Vinyl, CD, and Apple Music)

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AC/DC – Ballbreaker (Album Review On Vinyl, CD, and Apple Music)

AC/DC first appeared on my radar when the band released The Razors Edge in 1990. At the time, a friend of mine was a walking encyclopedia on everything AC/DC and he quickly convinced me that they were the band! It is a proud parenting moment to acknowledge that this admiration and influence has now been bestowed on my son and he tells all who will listen about the greatest rock and roll band in the world: Acca Dacca.

While it would be close to a decade before I owned a copy of The Razors Edge, I did pick up the second single, Hail Caesar, from their 1995 release Ballbreaker. The Hail Caesar CD single also featured Ballbreaker’s B-side Whiskey On The Rocks and a live performance of Whole Lotta Rosie from their European tour in 1991. Both songs were excellent additions to the single. The version of Whole Lotta Rosie was labelled as a previously unreleased recording, hence not part of the 1992 Live album. Thus, collectors would be advised to grab a copy of the single to secure this recording.

However, it is fair to say that the AC/DC fan base didn’t lose their collective minds when Ballbreaker was released. While nothing could topple the success of Back In Black and The Razors Edge, Ballbreaker had modest sales success and is often viewed in the same category as Flick Of The Switch and Fly On The Wall; valued and essential interim albums, but not their most adored. Subjectively, I have found that I am often drawn to the less successful albums in their catalogue. 

Alongside the Hail Caesar CD single, I picked up this masterpiece on cassette. At the time, my Sony Cassette Walkman (WM-FX507) was a constant companion and while I could have created a mixtape, I preferred to collect the retail releases of cassette albums as the liner notes were often redesigned and unique when compared to the LP or CD counterpart. Thankfully, the Ballbreaker cassette was not a disappointment as the comic-based graphic design, was reimagined throughout the foldout liner notes and was simply gorgeous. This is one aspect that I truly miss in the modern era and while the vinyl revival has brought album artwork back to the forefront of the music listening experience, the unique presentation of the compact cassette, when done properly, is sorely missed. Now, if we can only get liner notes on all streaming services and digital stores I would be happy. 

While I am aware that the Apple Digital Master edition of Ballbreaker contains an iTunes LP, the iTunes LP feature is still restricted to playback on a Mac or PC and is no longer being supported, for new releases, by Apple. A shame considering the concept bridges the gap between the tactile physical release and the digital equivalent thereby allowing everyone to have a similar experience. I honestly have never understood how Apple could not have implemented iTunes LP in devices such as the iPhone, iPad, or Apple TV thereby creating a seamless experience as they do with films. In my opinion, it is a missed opportunity and would have set iTunes and Apple Music apart from the competition. Regardless, at least you can still purchase the AC/DC releases in iTunes LP but be wary as one must question just how long these releases will continue to be supported on the Mac and PC. 

Speaking of LP-sized artwork, the 2014 vinyl re-issue of Ballbreaker is spectacular to hold, although the lyrics that were present with the original Vinyl, CD, and Cassette release are missing from both the LP liner notes and the 2004 CD reissue. One could argue that the write-up and reflection are better suited in retrospect, but I know many who would lament the absence of lyrics. I do, however, enjoy the newer liner notes and the series of live photographs and graphic illustrations from the original release but it would have been great if the liner notes in these reissues had been further expanded to include the lyrics.

What has remained the same, however, is the Ballbreaker cover; one of AC/DC’s best and most striking. That said, Stiff Upper Lip is my all-time favourite. While the rear cover is bland, it serves a purpose and does not include anything that doesn’t need to be there. Plus, my ageing eyesight is grateful for the larger typeface as so many releases choose the smallest possible fonts for seemingly no good reason, other than design aspects, when it comes to the track listing and liner notes in general. 

While I have never owned the original vinyl releases of AC/DC’s catalogue, the remastered reissues, mastered at Sterling Sound by George Marino and Ryan Smith are a true gift to AC/DC fans. The pressing is silent and is one of the better rock and roll re-issues with deep bass lines, clear vocals, and a guitar track so pure that you would swear the band was in the room with you. Yes, dear reader, that experience also translates to the CD and Apple Music counterparts. Other than the analogue warmth, you’re getting exactly the same sonic presentation across all formats. Yes, the vinyl edition increases the dynamic range but let’s be honest, this is AC/DC and as long as you can rock out and turn the volume to 11 then the dynamic range is of little importance. In my experience, the digital editions that are technically in the red sound as good, if not better, than the more dynamic vinyl reproduction. That may seem to be a counterintuitive argument as brickwalling can kill a good record, but this isn’t brickwalling in the traditional sense as you’re not missing out on any sonic elements. The hi-hats shimmer, the bass is where it needs to be, and Brian Johnson’s vocal is clearer and cleaner than ever. 

Long time readers would note my love of vinyl, but if you get a chance, don’t ignore the CD counterpart for it is really something special. For those of you that prefer to stream their music, the good news is you’ll thoroughly enjoy a near-transparent to the CD reproduction via the Apple Music stream as this is an Apple Digital Master done right. 

Hard As A Rock is, without a doubt, one of the best tracks to start any rock and roll album on. It sets the tone immediately with AC/DC’s renowned sound signature and innuendo-filled lyrics. The rhythmic blues-infused rock and roll sound is addictive and while many naysayers will complain that AC/DC plagiarises their own work, at least you know what you’re going to get.

Cover You In Oil has an incredible slower tempo that I adore and feel it is a precursor to the styling on Stiff Upper Lip; one of AC/DC’s best albums in my opinion. 

The Furor has a killer guitar intro that builds into an epic song. However, I feel Brian’s lyrical delivery is strained and his magic is subsequently missing on this song. It could also be the mix, but it just doesn’t sound right to me.

Boogie Man is groovy!  

The Honey Roll offers the perfect mix of rock and roll and blues. Every element, from the rhythm section to the lead guitar and vocals is textbook perfect. It doesn’t get much better than this.

Burnin’ Alive simply doesn’t resonate with me in its current position on the album. While I won’t stop the record prematurely, or skip the song, it is distracting. It isn’t fundamentally bad, just poorly tracked. 

Hail Caesar is, arguably, the reason I’m an AC/DC fan. The song subsequently holds a very special place in my heart. It’s also one of their hardest hitting songs on the album and one that could make a stadium audience sing in unison. Angus’ guitar solo is off the charts and Brian’s vocals are also perfect insofar as I can understand the words he’s singing, outside of the chorus. While he doesn’t slur his words, I have found that his vocal clarity can get lost in the music as a result of his natural growl. 

Love Bomb reminds me of the 80s hair metal scene. The song is great, but the association is a little disconcerting.

Caught With Your Pants Down is classic AC/DC.  

Whiskey On The Rocks is a favourite of mine, most likely due to the excessive number of times it was played on the Hail Caesar single. Isn’t it amazing how songs can grow on you if you listen to them enough? That said, listening to a song too often can make you hate a perfectly good song as well. In retrospect, perhaps that is why I have formed a love/hate relationship with Whole Lotta Rosie, yet in a cruel dichotomy, I never tire of Thunderstruck.  

Ballbreaker closes out the album with a song that has ‘stadium anthem’ written all over it. As all closing tracks should, it encourages me to listen to the album again and stay within AC/DC’s extensive catalogue.

While Rick Rubin is likely responsible for the raw sound found throughout Ballbreaker, it’s fantastic to have an AC/DC album that truly highlights the building blocks of rock and roll music; the blues. While AC/DC explored this sound further, without Rubin, on the Stiff Upper Lip album, it is a style that I subjectively appreciate and one that highlights the musical influences and origins of one of the greatest rock and roll bands the world has ever seen.

My only disappointment with Ballbreaker is that Big Gun (also Rubin produced) wasn’t included on the album as it was only recorded and released the year before. It is one of my all-time favourite AC/DC songs, and while I acknowledge that it was written and recorded for the Last Action Hero soundtrack, it would have made a perfect addition to Ballbreaker. Big Gun is another stadium-filling song that deserves to be turned up to 11.

While Ballbreaker may not be the first album fans go to when they think of AC/DC, it is an exceptional addition to their catalogue and one that should never be overlooked. As controversial as this may be, I’d take Ballbreaker over Back In Black any day of the week. 

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

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

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

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

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

Side One 

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

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

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

Side Two

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

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

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

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