Disturbed – Evolution (Album Review)

Released in 2018, Disturbed’s seventh studio album, Evolution, marked a significant shift in the band’s musical direction. Known for their heavy and aggressive sound, Disturbed took a more diverse and melodic approach with this album, exploring themes of personal growth, change, and, as the title suggests, evolution. While some long-time fans may have been surprised by this shift from their signature style, Evolution proved to be a bold and intriguing addition to Disturbed's discography. 

Sometimes the only way for an artist to remain relevant, and continue to grow creatively, is to evolve. Disturbed has done just that, but it comes at a cost for as exceptional as Evolution is, it sounds as if it would have been better suited as a side project. Think Corey Taylor's Slipknot versus Stone Sour styles and you'll likely understand where I'm coming from. Granted, David Draiman has the vocal chops to perform in multiple styles, and the cover of The Sound Of Silence certainly opened doors to a broader fanbase than Disturbed had previously had, but was a shift absolutely necessary? 

In retrospect, I believe it was. The problem is that until you get used to the stylistic shifts throughout, it reminds me of the disjointed mess that is John Lennon and Yoko Ono's Double Fantasy. I can’t help but wonder if Evolution would not have been better being expanded, resequenced, and presented with one half in their traditional manner, the other their newfound ballad-focused style. That didn’t happen, of course, but what you’ll find is that the chosen sequencing grows on you the more you listen to the album.

Speaking of listening to the album, the lossless Apple Music stream, an Apple Digital Master, is understandably compressed but perfectly suited to the music. About the only time the compression becomes an issue is in the drums whereby the cymbals lack a delicate taper as they ring out. Instead, and it’s quite noticeable one some songs, the crunching cymbal effect of such mastering results in a less-than-ideal sonic presentation that can be jarring on the senses. There’s little doubt that this is one area where the vinyl counterpart may be better suited because of the more stringent mastering limitations. That’s no guarantee that it will be better, but if you’re after a copy of Evolution with an even greater dynamic range (less compression) then it could be worth the time and investment to track a copy down on vinyl. That’s certainly what I’ll be endeavouring to do, but until then the Apple Music stream is a perfect facsimile that allows me to enjoy this album. 

Are You Ready is a signature stadium-filling song that combines Disturbed's classic heaviness with anthemic melodies. Its energy and finesse are addictive and will appeal to longtime fans and newcomers alike with its radio-friendly styling.

No More continues the album's powerful start with an incredible rhythm, killer guitar licks, and Draiman's distinctive vocal delivery. 

A Reason To Fight is a beautiful ballad. If you thought their cover of Simon & Garfunkel’s The Sound Of Silence, from Immortal, was impressive, you'll be blown away with A Reason To Fight. It’s arguably the best song on the album and one of the best songs Disturbed has ever written and recorded.

In Another Time introduces a more experimental sound and while it isn’t what I’d call classic Disturbed, it grows on you the more you listen to Evolution; so much so that it has quickly become one of my favourite songs. 

Stronger On Your Own is different and simply doesn’t blow me away. Subsequently, I think it’s fair to say that this is one song that no one will seek out on its own as it’s the weakest song from Evolution. 

Hold On To Memories is a welcome change following Stronger On Your Own for while it’s another ballad, Disturbed knocks them out of the park.

Saviour Of Nothing returns the album to Disturbed’s renowned heavier sound and while it isn’t a standout, Saviour Of Nothing is a perfect album-only tune.

Watch You Burn is somewhat similar to Saviour Of Nothing in that it isn’t exceptionally good, except for the incredible symphonic elements later in the song, but repeat listens have ensured that I’ve come away with a greater respect for the tune. This is one of those examples where it is imperative to listen to an album more than once, in its intended sequencing, for sampling tracks or listening via a playlist will never truly allow you to engage with the music.

The Best Ones Lie sounds as if it was left over from the Believe sessions. That's a good thing if you were wondering.

Already Gone closes the album out beautifully with a contemplative ballad that will either encourage you to play the album again or reflect upon the music you’ve just heard.

While some fans may have initially been resistant to the shift in musicality, Disturbed showed their willingness to evolve and experiment with their music and that should be celebrated. The album's strength, subsequently, lies in its introspective and emotional lyrics, as well as Draiman's powerful vocals, which shine throughout. If given the chance, after repeat listens, I’m certain that you’ll find much to love as Evolution is an excellent addition to Disturbed’s discography.

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Detective – Detective (Self-Titled Album Review)

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

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

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

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

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

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

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

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

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

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

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

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

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AC/DC – For Those About To Rock (We Salute You) [Album Review]

Released in 1981, For Those About To Rock (We Salute You) is AC/DC's eighth studio album and is built upon the success of their previous records; particularly Back In Black. With a collection of hard-hitting tracks that showcase AC/DC’s signature energy and riff-driven style, For Those About to Rock is one of the best albums released in 1981 and still stands as an exceptional entry in the band's discography. 

AC/DC has always had compelling cover art and For Those About To Rock (We Salute You) is no different in that regard. Plus, if you haven’t already, take a look at the animated artwork on Apple Music; it’s fantastic and one of the best examples of the feature. While the physical counterparts will never be able to replicate such wonder, unless a lenticular cover is produced, the vinyl and CD artwork, which is usually embossed, is thoroughly pleasing as well.

Speaking of the Apple Music stream, it’s exceptional! Presented as an Apple Digital Master, it rocks and with plenty of headroom available, you’ll find yourself turning the volume up and rocking out throughout the entire 40-minute masterpiece, with zero fatigue. While I do not doubt that the physical counterparts would be on par with the stream, as they’re derived from the same remastering sessions, when a stream sounds this good it really does make one wonder if they should pick up a physical release. Regardless of how you choose to enjoy For Those About To Rock (We Salute You), one thing is for certain, you’re going to love it.

For Those About To Rock (We Salute You) is the quintessential slow-build opening track that sets the tone for the entire album. With its marching beat, killer riffs, and Brian Johnson’s soaring vocals, you’ll find yourself singing along to the catchy chorus while simultaneously rocking out to this blues-based masterpiece. 

Put The Finger On You is a straightforward rock 'n' roll track with a driving rhythm that captures AC/DC’s classic sound. It may not be a standout in the traditional sense, but Put The Finger On You is one of AC/DC’s hidden gems.

Let's Get It Up offers listeners a fluid transition from Put The Finger On You and keeps the momentum going with a catchy riff and infectious chorus. The lyrics, as most of their songs do, play on suggestive themes that are characteristic of AC/DC's cheeky style.

Inject The Venom, with its heavier edge, is a killer hard rock tune. It’s songs such as Inject The Venom that showcase not only the band’s incredible musicality, and Young’s skill on lead guitar, but that they are far greater than their biggest-selling albums.

Snowballed is a mid-tempo rocker with some memorable hooks and bluesy guitar licks, but it’s one of AC/DC’s most uninspiring songs.

Evil Walks has an incredible rhythm and a menacing riff that captures your soul from the very first note. Your body will move involuntarily to the groove, as you strum your air guitar, all while belting out the chorus as if playing on stage with Malcolm Young to one side and Cliff Williams to the other. Evil Walks is another of AC/DC’s greatest recordings that has rarely received the recognition it deserves. 

C.O.D. is a straightforward rocker with a catchy chorus, but don’t let that deter you for a run-of-the-mill tune for AC/DC would be a hit for any other band.

Breaking The Rules retains AC/DC’s trademark hard rock edge while being a little more melodic. The chorus is particularly infectious and showcases Johnson’s vocal range. It’s one of their songs, with Johnson on lead vocals, where you can understand the lyrics through his trademark growl, thereby making the song even more compelling than it otherwise would have been.

Night Of The Long Knives with its pounding rhythm and aggressive guitar riffs, stands out as one of the album's heaviest, and most enjoyable, moments. The song's dynamic shifts will keep you engaged throughout and while Night Of The Long Knives was never destined to be a stadium-filling tune, as an album-only track, it’s incredible.

Spellbound closes the album on a high note, despite the song being a more mellow and sonically sombre tune. It’s the rhythm, guitar hooks, and Johnson’s vocals that will capture your attention. It’s also the perfect closer as Spellbound doesn’t only compel you to listen to the album again, but if you choose to reflect on what you’ve just heard, you’ll sit in wonder at the masterful musical experience that is For Those About To Rock (We Salute You).

While For Those About To Rock (We Salute You) may not have achieved the same level of commercial success as its predecessor, it remains an exceptional release and is amongst AC/DC’s finest recordings. Full of memorable riffs, powerful vocals, and energetic performances, For Those About To Rock (We Salute You) is often overlooked which is a shame for had it not followed one of the biggest-selling albums of all time, it would have been more highly regarded. Nevertheless, this is one album that is a must-listen for fans of classic hard rock and AC/DC alike.

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Alice Cooper – Constrictor (Album Review)

Released in 1986, Constrictor was Alice Cooper’s first album in three years since the release of the masterpiece that is DaDa. Although, Cooper would likely contest that declaration as part of the reason for the break between album cycles was to deal with his addictions; some of which nearly consumed the shock rocker and influenced his prior releases. Subsequently, Constrictor is a very different album to Cooper’s “blackout” releases (Special Forces [1981], Zipper Catches Skin [1982], and Dada [1983]) as it’s less artsy, thereby returning Cooper’s style to a more traditional hard-hitting rock album with radio-friendly tunes. That aspect alone shouldn’t deter fans, or newcomers, for his artistry has always been diverse, but Constrictor can be seen as a significant turning point in his career; a shift that would ultimately send him back to the top of the charts a few years later with Trash.

Visually, it’s one of Cooper’s more comical album covers and the snake still looks fake. That’s a good thing for it’s not only indicative of the era but also showcases Cooper’s more light-hearted persona. While I’ve yet to own a copy on vinyl, Constrictor is one album that needs a reissue on the format as the larger album artwork would look incredible amongst his other albums. 

On the topic of sonic quality, however, Constrictor is in desperate need of a remaster. It’s 80s rock, raw ,and hollow sounding, resulting in a little too much treble and not enough mid to low-end oomph. Some may suggest that it is perfect the way it is as many classic 80s rock albums have a thinner sound, but I find that I have to apply some EQ to get Constrictor to sound half decent. Granted, it’s not the end of the world, but it would be nice to hear what the master recording sounds like for the CD quality stream is merely adequate. 

Teenage Frankenstein kicks things off with a thunderous roar. Cooper’s distinctive snarl combined with the gritty guitar riffs and a rock-solid rhythm perfectly captures the spirit of the album. 

Give It Up has an infectious chorus and catchy hooks, but it’s the memorable pop-rock styling that is most notable. 

Thrill My Gorilla is an incredible tune. The soaring guitars with a playful tongue-in-cheek lyrical perspective ensure that Cooper’s combination of humour and shock rock remains at the forefront of the music.

Life And Death Of The Party slows the tempo, but it’s one of the greatest songs on the album and is a hidden gem in Cooper’s back catalogue. Additionally, that solo is what air guitar dreams are made of. Brilliant!

Simple Disobedience with its infectious hooks and drilling rhythm injects a dose of energy into the record. It’s one of those songs that has rarely been heard outside of the album and it’s a shame for Simple Disobedience is a stadium-filling tune. 

The World Needs Guts has a driving rhythm, anthemic chorus, and powerful guitar solos that create an empowering atmosphere that encourages listeners to face life's challenges head-on. I love it!

Trick Bag may channel the spirit of classic rock 'n' roll with a bluesy undertone and groovy rhythm, but it isn’t the strongest song on the album. While the musicality is solid, there’s too much vocal processing that makes Cooper sound as if he’s singing in a silo. 

Crawlin’ is a dark and brooding track with haunting guitars and eerie synths. Cooper's vocal delivery adds a touch of menace but it’s the song's heaviness that ultimately makes it a standout tune on Constrictor.

The Great American Success Story has a catchy melody and is a solid tune, but it’s too campy in the chorus to be notable.

He's Back (The Man Behind the Mask) embodies the essence of '80s glam metal with its driving guitars, synthetic elements, and anthemic chorus. As it was recorded for the Motion Picture, Friday the 13th Part VI: Jason Lives, it perfectly captures the dark and mysterious allure of the film. Yet, it also provides listeners with a perfect album closer; one that allows for reflection as well as encouragement to spin the album again. 

Overall, Constrictor showcases Cooper's ability to adapt to a changing musical landscape while maintaining his signature style. The album strikes a balance between catchy radio-friendly tunes and darker introspective moments. While it may not be considered one of his greatest releases, Constrictor is severely underrated and is a thoroughly enjoyable album that captures a pivotal moment in Cooper’s career.

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Mötley Crüe – Too Fast For Love (Album Review)

Released in 1981, Mötley Crüe's debut album, Too Fast For Love is a seminal piece of rock music that defined the glam metal genre via ten tracks of hard-hitting, high-energy rock that captured the Crüe's raw and rebellious sound.

With cover art reminiscent of The Rolling Stones’ Sticky Fingers, Mötley Crüe were demanding the world sit up and take notice and notice they did for the RIAA (Record Industry Association Of America) has certified Too Fast For Love as Platinum; selling over 1,000,000 units. Not bad for a debut!

While most fans lean towards their second album Shout At The Devil, along with Dr. Feelgood, fans should avoid Too Fast For Love at their peril for it is an astonishingly good album that is not only addictively compelling but gets better each time you listen to it.

Sonically, however, the lossless stream, via Apple Music, fails to truly impress. It’s your classic case of a memorable recording being remastered to meet modern loudness standards. It’s been mastered so hot that even tone controls have little to no beneficial effect concerning dialling the album to your personal preferences for the soundstage is unnecessarily muddy from the get-go. Look, it’s adequate, but it could have been so much more dynamic.

The Dolby Atmos stream also on Apple Music, disappointingly, does little to improve things. Other than being a little fuller, there really is no difference between this edition and the stereo mix. That’s not uncommon, especially considering the album was originally intended to be delivered in stereo, but it also feels as if it was a missed opportunity and only done to say that it was done rather than being undertaken because it offered music lovers another way to experience this classic album.

Despite the lacklustre remastering and reissue attempts, Too Fast For Love is really all about the music, so join me as we take a look at the songs, some of them classics, that make up this 1981 debut.

Live Wire is a killer opener. From the thunderous drum beat that sets the tone for the rest of the album, to Vince Neil's gritty and powerful vocals, and guitar riffs that are simply electrifying, Live Wire is nothing short of a classic hard rock anthem that has stood the test of time.

Come On And Dance has an incredible rhythm and a strong blues-inspired sound that works incredibly well with just enough distortion to amplify the song rather than detract from it. It is, without a doubt, one of my favourite Mötley Crüe songs.

Public Enemy #1 flows beautifully from Come On And Dance and Mick Mars’ licks are off-the-charts good. I don’t know about you, dear reader, but my air guitar is worn out from playing along to this high-energy punk-influenced track.

Merry–Go–Round slows the album down a little, but this ballad-styled song shouldn’t be overlooked for it is thoroughly enjoyable; even if it isn’t a standout. Although, Mars’ solo certainly amplifies the song and showcases the direction that he would take on future Mötley Crüe recordings.

Take Me To The Top is a fast-paced rocker with a killer guitar riff and a catchy chorus. The duelling guitar and bass rhythm is pure gold and while the shifting elements change the tempo throughout, it is these aspects that make Take Me To The Top one of the best songs off Too Fast For Love.

Piece Of Your Action has a killer riff and chorus that will get stuck in your head for days. It’s 80s rock and roll at its best. Magnificent!

Starry Eyes is a slower, more melodic, tune with a great hook, addictive rhythm, and some stunning guitar work.

Too Fast For Love is a high-energy rocker but it’s also a mixed bag. It isn’t fundamentally bad, but Neil’s vocal, in particular, is lacklustre and diminishes the impact that the song could have had. Also, the shifting direction of the song throughout drives me nuts. It’s Crue 101 but I simply don’t feel it’s a great title track.

On With The Show slows things down again, with a more ballad-like sound, that features some beautiful guitar work and some of Neil's best vocals on the album. Yes, it’s a little dated to the era and has a campy sound, but it’s solid nonetheless. As the album’s closer, however, it’s underwhelming and doesn’t always encourage me to spin the record again or stay within Mötley Crüe’s back catalogue; a shame considering a shift in sequencing may have had a vastly different impact.

Packed with high-energy rockers, melodic ballads, and killer guitar work, Too Fast For Love is a must-listen debut album that has not only stood the test of time but it showcases the drive and musical talent of this motley crew. While it isn’t their best creative output, it offers an insight into the monster of a band that they would ultimately become and is therefore essential for any fan of Mötley Crüe or the 80s hard rock music scene.

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Alice Cooper – From The Inside (Album Review)

There are concept albums, and then there are Alice Cooper concept albums. Other than The Who, I can’t think of another artist that is Cooper’s peer with regard to his superior capability of telling stories through music. Naturally, I’m being obtuse for the list of concept albums and artists that have explored this idea is extensive, to say the least. I could list all the best ones, but this is an Alice Cooper review and such a list would be better suited to the Ranked area of Subjective Sounds; a place where From The Inside will reside as one of the best albums released in 1978.

From The Inside tells a series of interconnected stories from Cooper’s time in the Cornell Medical Center, a sanitarium that would ultimately help him break the chains of substance abuse. It gives those of us an insight into the inner workings of such a place and in particular the people that co-inhabit the space and their associated psychologies. Of course, Cooper’s story couldn’t have been told as eloquently without the inclusion of the great Bernie Taupin and while there are other notable writers collaborating on these songs, From The Inside is very much a Cooper and Taupin collaboration. In fact, From The Inside could almost be classed as an album whereby Alice Cooper meets Elton John for Davey Johnson plays lead guitar throughout while Dee Murray plays bass on the title track. Even Kiki Dee is involved as a backing vocalist.

Looking through the liner notes, you’ll come across a who’s who of the music industry at the time for there are some heavy hitters involved in the production of From The Inside and it’s, therefore, no surprise that this album has endured throughout the decades. Is it Alice Cooper’s greatest album? No, but it’s up there! While this review will largely focus on the lossless Apple Music stream, I want to bring your attention to the physical counterpart before we look at the music itself.

The 70s was potentially the greatest time for physical media, as it pertains to album artwork, for the designs, from various artists, are simply incredible. From The Inside visually took you within the asylum as the vinyl cover opened out from the centre, gatefold style, as if the doors were opening up and we were going into Cooper’s psychotic mind, thereby living virtually through his experiences. However, many of the reissues have lacked the hidden flaps, thereby limiting the impressive, almost origami-styled, design of the original pressings. Nevertheless, the design elements are utterly incredible and there isn’t a streaming platform on earth that can compete with that. 

While Music On Vinyl (MOV) would reissue the album in 2014, partially replicating the original artwork, I never really connected to the mastering of that particular reissue. The artwork, however, was impressive. It didn’t replicate everything perfectly, but what it did do was enough to please the modern music collector who didn’t wish to track down original pressings. Nevertheless, for this music lover, the music still comes first and if I’m not going to play the record, because of the sonics, I would prefer to sell it and let someone else enjoy it for we all appreciate music differently. 

The pressing itself was flat, with a low noise floor, but I found it lacked emotion. In fact, I found more sonic pleasure was achievable from the lossless streaming counterpart; a CD equivalent. While a few adjustments to the EQ dial were able to bring some life back into the presentation, it just never quite sounded right. Granted, Music On Vinyl reproduces their records from high-resolution digital sources, rather than analogue masters, but I have plenty of their releases that are warm and enveloping. It’s on a case-by-case basis, obviously, but in this particular instance, it just didn’t work for me. That said, I’ve no doubt there will be plenty of fans who will be happy with the clean and crisp reproduction.

For those of you that enjoy the CD format, most editions have been released sans the intricate and expansive artwork, but Warner Bros. Records in Japan released a mini-LP replica in 2012 that included some of the gatefold goodness. The smaller canvas, naturally, makes it a little more difficult to reproduce on mass and, unfortunately, it’s no longer available and fetches a pretty penny on the secondhand market but if you can get it for the right price, it would be a perfect addition to any Alice Cooper collection. Similarly, The Studio Albums 1969-1983 box set, released in 2015, replicates the artwork nicely, even if not completely, but has also been out-of-print for a while thereby making it difficult to come by. Either way, the artwork is done so well that you should try to track down a physical release if you’re a fan of this classic Alice Cooper album. 

While I’ve discussed the sonic reproduction of the vinyl reissue, the lossless Apple Music stream is respectable. You may find that you need to boost the mid and low end a smidgen, but it retains the emotion that I feel was missing from the vinyl reissue. Is it the final word in sound quality? No, but it will suffice until a high-quality remaster is undertaken and if one is never done, I could listen to the stream, without issue, indefinitely.

Moving on to the music, while many who adore concept albums may be looking for a detailed analysis of each and every tune, here at Subjective Sounds the focus is on the music, and the emotion it evokes, more so than the lyrical interpretation. No doubt countless others have explored the lyrical greatness of From The Inside in great detail; a Google search will likely point you in the right direction.

From The Inside is a solid opener. Davey Johnson’s addictive guitar licks are of particular note and while not an immediate hit, this is one tune that will most certainly grow on you.

Wish I Were Born In Beverly Hills kicks things up a notch. It’s got a classic Cooper band feel to it with a modern twist, for the era, but you’ll also hear a little Saturday Night’s Alright For Fighting influence; not that that’s a bad thing. Wish I Were Born In Beverly Hills is classic rock 101; no bells, no whistles, just a rocking tune.

The Quiet Room is where I truly feel From The Inside begins. It is the more mellowed approach that I appreciate and while the first two songs needed to be a little more rocking, The Quiet Room is simply stunning and showcases Cooper as more than just a shock rocker for his vocal is extraordinary. While I could point to numerous songs, The Quiet Room is one that truly highlights Cooper’s vocal prowess and is, in my opinion, one of his greatest recordings. The musicality is also second to none with a mix that is a musical wonderland for each time you listen, you’ll hear different audible elements; pure magic! 

Nurse Rozetta is head-bopping toe-tapping gold and its tempo shifts are the key to its success; an exceptional tune by any standards. 

Millie And Billie flows beautifully from Nurse Rozetta and while not billed as a duet, Marcy Levy’s duet-styled vocals are magnificent; what a performance! The symphonic styling of the musical backing is equally impressive and while Millie And Billie isn’t the most well-known Cooper track, those who haven’t heard it are missing out for it’s one of his greatest.

Serious is considerably more frantic and while you wouldn’t think it would work, being positioned between two ballad-styled tunes, it doesn’t cause this listener’s mind to miss a beat. Admittedly, it is the Side 2 opener and while streaming doesn’t permit a delay in the playback of the music, as vinyl does, it remains seamless. Ultimately, it isn’t a song you’re likely to seek out on its own, but as part of the concept album experience, it works.

How You Gonna See Me Now is a stunning power ballad that will appeal equally to Barry Manilow fans as much as it will to Alice Cooper aficionados. 

For Veronica’s Sake is a raw rocker. It sits perfectly within the tracking of the album, but it’s more filler than a highlight.

Jackknife Johnny is a much better album-filling tune than For Veronica’s Sake ever could hope to be. That said, Jackknife Johnny has something about it that makes it an intriguing deep cut within Cooper’s back catalogue, yet I can’t quite explain the appeal. Take a listen for yourself and see if you thoroughly enjoy it, for no reason at all. Sometimes that is the magic of music as we don’t necessarily need to analyse why music appeals to us. As long as it moves us, then sometimes it has done its job.

Inmates (We’re All Crazy) would be an ideal song should Cooper ever choose to perform with a symphony orchestra. That said, I can’t help but declare that Inmates (We’re All Crazy) is perfect as it is an example of an ultimate closing tune; one that encourages repeat plays.

From The Inside is one of those albums that can be difficult to get into, especially if you’re not a fan of its story-driven style, but if you let yourself get drawn into the psychology, as well as the music, there’s little doubt that it becomes a therapeutic musical experience. 

The songs, either on their own or as a collective, are amongst Cooper’s greatest and while they may get displaced in his illustrious back catalogue, if you take the time to listen, you’ll likely position them more prominently in your own Alice Cooper playlist as From The Inside is an exceptional, but criminally underrated album.

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AC/DC – Powerage (Album Review)

As a longtime fan of AC/DC, I’ve been fortunate enough to collect all their releases, yet despite a massive back catalogue of music, there are some albums, such as Powerage that simply don’t get spun that often. Yet upon putting it on the turntable, I marvel at the sonic masterpiece before me and wonder just why I don’t seek Powerage out more often. 

Released in 1978, Powerage is the rock legend’s fifth studio album and is easily one of the best Bon Scott era recordings. Despite loving Highway To Hell, I may even go as far as declaring Powerage the best 70s release from AC/DC. Yet, I just don’t seem to reach for it. It’s as if it has been overshadowed by Highway To Hell, Back In Black, and Scott’s unfortunate passing in 1980.

As a result, underrated, is likely the best way to describe Powerage for it’s a monster of an album but it just isn’t the one that everyone talks about, nor is it the album that you immediately think of when you think of AC/DC. While I acknowledge that I prefer Brian Johnson’s vocal style, and that leads me more to his side of the AC/DC catalogue, Bon Scott was an incredible vocalist in his own right and no more is that true than when listening to his searing vocals on songs such as Rock ’N’ Roll Damnation, Riff Raff, and Sin City.

Of course, Powerage is more than one single man as it is also Cliff Williams’ first recording with AC/DC. Bass player aficionados can best debate his appointment, but you won’t find me criticising Mark Evans; the man he replaced. In fact, and this will undoubtedly be blasphemous to some, I don’t hear a radical shift between the two players. Perhaps Williams played it safe, and in many ways, he was never a flashy bass player, but I’d argue that he never really stood out because his main role was to keep a steady pulse that connected all band members thereby guaranteeing the hard rock blues-based vibe all AC/DC fans know and love.

Speaking of AC/DC’s sound, let’s shift our attention to the sonic presentation and distribution of Powerage. While I’m fortunate to own the 2003 vinyl reissue, along with having access to the Hi-Res Lossless Apple Music stream, it is imperative to note, for those who are fans of Powerage, that different mixes exist. Yes, dear reader, the UK release was originally issued with an entirely different mix of the album. That mix is subsequently no longer available, as the US mix was chosen as the gold standard. Hence, if you wish to delve into the minutia of Powerage, you might want to seek out an original UK vinyl or cassette pressing. To be clear, I’ve never heard it and for me, at the moment, I’m content with the worldwide reissue from the 2003 remastering sessions. 

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As with all AC/DC vinyl reissues from 2003, Powerage is immaculately presented with an inner sleeve that details the era in relation to what was happening within the band and how those shifts impacted the music. In many respects, it is akin to a short biography that offers fans a little insight into the recording process of the album. 

While the liner notes are well presented regarding the outline, band photographs, and production details, it is sans lyrics. In many respects, that isn’t really an issue, as the original releases of the album didn’t come with lyrics either, but if you’re a fan wanting to ensure you don’t embarrass yourself with a mondegreen during your next karaoke night, you’ll have to turn to Apple Music’s lyrics, rather than the physical counterpart, for that aspect. 

As you’ll likely be able to tell from the photographs, the record itself is visually magnificent. Simply designed album labels really play to the no-nonsense approach that has been an AC/DC trademark for decades. Plus, and even more importantly, the sonic reproduction that comes off the record is spectacular with plenty of headroom, thereby allowing you to turn the volume knob up and rock out. 

Similarly, the Apple Music edition, an Apple Digital Master, sounds great but arguably is a little more shrill and compressed, unless you boost the bass, thereby resulting in a sound that doesn’t hold together as smoothly as the vinyl counterpart; especially when pumping the volume. That isn’t to suggest that you’ll be disappointed with the digital counterpart, but if you have access to a quality turntable, you’ll likely have a more immersive experience. 

The differences are particularly noticeable on Sin City. As solidly as the bass solo is reproduced, on the digital release, the surrounding musical elements, outside of the solo, are simply less dynamic and jarring on the senses. When listening to the vinyl record, however, you’ll feel the bass in the deepest depths of your soul. Similarly, the opening of What’s Next To The Moon is incredibly open on the vinyl reissue but feels more restricted in soundstage depth and width on the Apple Music release. 

The result is that, for this fan, the vinyl release is simply more enjoyable to listen to. That doesn’t mean that I don’t listen to, or thoroughly enjoy, the streaming version, for you can’t take a vinyl record with you everywhere you go. It’s simply a case of, if given a preference, I would choose the analogue format over the digital version in this particular instance. The delta is small, however, and if you don’t compare the versions, as I have, you’ll not know what you’re missing out on.

Rock ’N’ Roll Damnation is a killer opening track that harks back to It’s A Long Way To The Top (If You Wanna Rock ’N' Roll); another exceptional opener on High Voltage. The guitar work here is exceptional and Scott’s vocal is searing. Interestingly, Rock ’N’ Roll Damnation only saw the light of day as the record label felt Powerage needed a radio-worthy tune. I’d argue there are several single-worthy songs to be heard on Powerage, but radio-friendly, perhaps not. Nevertheless, Rock ’N’ Roll Damnation has become a fan favourite and a mainstay in AC/DC’s back catalogue, even appearing on their compilation soundtrack Iron Man 2. Plus, it’s about the coolest song to have ever featured handclaps; an often overused and somewhat corny musical technique. 

Down Payment Blues could have very well ended up on Stiff Upper Lip; an incredible album in its own right. Just take a listen to this full-bodied blues-based rhythmic rock masterpiece and you’ll see the correlation. It’s an incredible song, one of my all-time favourite AC/DC tunes and another Bon Scott vocal extravaganza. This is blues-based hard rock at its very best! 

Gimmie A Bullet is a solid rock and roll tune, but it’s nothing to write home about, and certainly pales in comparison to Down Payment Blues. Still, Powerage wouldn’t be the same without it.

Riff Raff is an off-the-charts riff-driven song that will have you air-guitaring every time you hear it. The riff is so memorable that you’ll even hear the influence on Rick Springfield and Dave Grohl’s The Man That Never Was, from the Sound City – Reel To Reel documentary soundtrack.

Sin City is a monster track for the opening of Side Two of the record. Just like the seductiveness of Las Vegas, which the song is influenced by, Sin City will reach down to the lowest depths of your soul, infusing it with a masterful rhythmically charged, bass-focused, sonic masterpiece. What more could one ask from AC/DC? More music, certainly, but Sin City is utterly perfect!

What’s Next To The Moon has a guitar tuning that I adore as the level of distortion is spot on. A great song!

Gone Shootin’ is a barebones rock and roll tune but it has such an incredibly addictive rhythm that it becomes an instant classic and a highlight of Powerage. 

Up To My Neck In You continues the rhythmically charged attack on the senses and while Up To My Neck In You was never going to be a standout tune, Angus’ lead guitar licks ensure that Up To My Neck In You is a hidden gem. 

Kicked In The Teeth has a killer, primarily, vocal introduction that is simply incredible. From a vocal perspective, I’d suggest that this is one of the best vocal performances of Bon Scott’s career. If nothing else, it’s a perfect closer for Powerage with a drilling rhythm that will make you want to play Powerage again and stay within AC/DC’s extensive catalogue of music.

Powerage, while underrated, is amongst AC/DC’s greatest recordings as it highlights the raw power and energy of their music. It’s all killer, no filler, pure blues-based rock and roll. If you’re a fan you already know this, but when was the last time you spun this 1978 rock classic? You may be surprised just how long it has been but if you’ve made it this far, you’ve got no excuse; give it a spin!

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