AC/DC – Flick Of The Switch (Album Review)

Flick Of The Switch is an interesting release for it was most certainly overshadowed by the mammoth success of Back In Black and to a lesser extent, For Those About To Rock (We Salute You) but despite leaning into the band’s signature blend of hard-hitting riffs, catchy melodies, and tongue-in-cheek lyrics, what we have is a thoroughly enjoyable selection of songs but not a perfect album experience. 

In some respects, Flick Of The Switch could almost be seen as a collection of songs that were cut from the aforementioned releases. It isn’t, after all, uncommon for a band to write more than they require for a given release, only to work on those songs at a later date and release them on a future album. That is, after all, how Rock Or Bust and POWER UP were conceived. To my knowledge, however, that wasn’t the case here. What is acknowledgeable is the stylistic shift towards rawer production values, similar to those heard on the Bon Scott era AC/DC albums. 

It well could be the more straightforward, no-frills sound that limits the overall flow of the album experience; particularly if listening to their discography in chronological order. That said, Flick Of The Switch features numerous killer tunes and while I have ranked it as 12th in AC/DC’s discography, it remains one of the best releases from 1983 and is only ranked so low because AC/DC’s greater discography is impressive, to say the least. I do, however, stand by my statement, in the ranked list, that the album doesn’t have a memorable quality. If you were to quiz me on specific songs, from this release, I’m not sure I’d be able to answer correctly, despite thoroughly enjoying the songs when I play the album. I don’t want to suggest that this record is best listened to in the background, but there’s nothing offensive regarding the song selection, there just isn’t a chart-topping hit to speak of.

Rather than working again with Robert John “Mutt” Lange, AC/DC decided to self-produce this release and that significantly contributed to the overall style of the record for Lange’s production focus was bold and dynamic with a focus on chart-topping stadium-filling hits. While we can ponder what Flick Of The Switch may have been with Lange in the production chair, it wasn’t to be and if we’re to endorse artistic intent, then fans have to be content to acknowledge that while Flick Of The Switch may lack focus, and the bold production values of Lange-produced albums, it is ultimately what the Young brothers were aiming to achieve. 

None of that, however, limits us from rocking out to this release, although the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is a little underwhelming in places. Perhaps it’s the way the album was recorded and mixed, but there’s a sense of the music being concealed slightly as well as some annoying cymbal crunching. As the album was remastered in 2003, and the stream is the direct counterpart, it very well could have been a result of the 2003 remastering process that significantly reduced the dynamic range of the recording. 

Other than that, the stream sounds good and you’ll find it easy to appreciate Angus Young's blistering guitar solos and Malcolm Young's rhythm guitar providing the backbone of the album, driving each song with relentless intensity. Brian Johnson's raspy vocals soar above the instrumentation, delivering gritty and impassioned performances throughout, while Cliff Williams' solid bass lines and Phil Rudd's powerhouse drumming anchor the rhythm section, adding depth and groove to the entire album.

Rising Power kicks the album off with a magnificent guitar riff that, when combined with the rhythm, creates an energetic track with some thunderous drumming from Phil Rudd and driving basslines from Cliff Williams. Brian Johnson's gritty vocals complement the lively instrumentation, but the bridge and chorus, with the backing vocals, are a distractive element in an otherwise perfect tune. 

This House Is On Fire maintains the album's high energy with a relentless rhythm and infectious guitar hooks. The lyrics convey a sense of urgency that matches the intensity of the music and in many respects, This House Is On Fire is so close to an anthemic sing-along tune that it, with a little more spit and polish, could have been a standout track. 

Flick Of The Switch is a fierce and unapologetic anthem that captures the essence of AC/DC's raw, no-frills sound. It’s, subsequently, the perfect title track. Again, it is only let down by the rawer production. 

Nervous Shakedown introduces a mid-tempo groove with a killer guitar riff that would have been perfectly suited to Stiff Upper Lip. Johnson's vocals take on a smoother more melodic tone, adding a dynamic contrast to the album, but it’s the catchy chorus and addictively good hooks that make Nervous Breakdown, arguably, one of the best songs from the record.

Landslide opens with some lovely noodling on the guitar that builds momentum with its driving rhythm, and Johnson’s raw vocal delivery. Landslide is a solid album-only tune, but it is unlikely to be anyone’s favourite song and is largely unforgettable. That said, every time it comes on when I play the album, I thoroughly enjoy it. 

Guns For Hire, much like Nervous Shakedown, is one of the standout tracks on the album. It's a high-octane rocker with a relentless groove that, when coupled with Angus Young's electrifying guitar solos and Johnson’s soaring vocal performance, creates an impressive listening experience.

Deep In The Hole is another of AC/DC’s incredible bluesy numbers that showcase not only their versatility but penchant for songs with a swaggering vibe.

Bedlam In Belgium with its upbeat tempo and catchy rhythm is an engaging listen but it’s unlikely that you’ll seek this song out, outside of the album’s linear structure as it simply isn’t a standout. 

Badlands maintains the album's momentum with a driving beat, catchy guitar riffs, and a dose of the blues. The track's straightforward structure and memorable hooks contribute to its overall appeal but Johnson’s vocals sound a little strained. Nevertheless, Badlands is a killer tune that reminds me fondly of ZZ Top as it would have been perfectly suited to the trio. 

Brain Shake is grossly underproduced and the cymbal crunching drives me insane each time I hear it. It’s a shame because it’s an adequate closing track otherwise. Yes, I believe Badlands would have been a stronger closer, one that would ultimately encourage the spinning of the album again, but that wasn’t to be.

Flick Of The Switch may not have achieved the same commercial success as its predecessors, but it remains a solid entry in AC/DC's discography. Its raw sound, and infectious energy, capture the essence of the band, even if the production on this release is a let-down. Nevertheless, Flick Of The Switch continues to resonate with audiences decades after its release and is one of the best albums released in 1983 and would likely have ranked higher within AC/DC’s discography had they not had so many other exceptional albums both prior and after this album’s release. 

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Alice Cooper – Alice Cooper Goes to Hell (Album Review)

Alice Cooper, the undisputed master of theatrical rock, returned in 1976 with his second solo studio album Alice Cooper Goes To Hell. Following the success of its predecessor Welcome To My Nightmare, this album continued the narrative journey into the macabre and sinister realms of Cooper's imagination. While not as commercially successful as its predecessor, Alice Cooper Goes To Hell is far greater than that 1975 release and stands as a unique and ambitious chapter in Cooper's discography.

Cooper's vocals and witty lyrics draw you into the narrative and the musical arrangements are diverse, blending elements of hard rock, glam, and theatrical pop, along with rock ballads. Via this diversity, Cooper showcases his ability to seamlessly combine different genres while remaining true to himself. With an elaborate production, thanks to Bob Ezrin, Alice Cooper Goes To Hell is more than just an album, it’s a musical experience first and foremost; one that hardcore and casual fans alike shouldn’t turn away from as there are few peers to this incredible release; even from within Cooper’s own celebrated discography.

Visually striking, the album artwork draws you in in a similar manner as all of Cooper’s releases, but as impressive as it is, it would be for nil had the music and sonic presentation of the album been subpar. While not presented as an Apple Digital Master, Warner Records has ensured that Alice Cooper Goes To Hell sounds thoroughly enjoyable. It’s dynamic, immersive, and is probably about as pleasing as this album will ever sound via streaming. To my knowledge, there has never been a thorough remaster for Alice Cooper Goes To Hell and this is a good thing for I’m more than happy with the CD facsimile presented on Apple Music. That said, as a physical media fan, I do have to hunt down one of the respected copies from the Rocktober 2018 reissue series as the releases from that series that I already own are exceptional and take their respective albums to further levels of appreciation. Until then, however, the lossless Apple Music stream is perfect for this Alice Cooper fan.

Go To Hell launches the album with a catchiness that not only sets the tone for the entire record but is 100% Alice Cooper. The upbeat and energetic rock elements, with Cooper's signature theatrical vocals, ensure that Go To Hell is a masterful tune that sounds as fresh today as it would have when first released in the 70s. It’s nothing short of perfection and the closing third of the song, with instrumental elements galore, is a pleasure that must be heard firsthand in order to fully appreciate what an incredible tune this opener is. 

You Gotta Dance is a lively and danceable track with a glam-rock feel that was ideally suited to the era. The catchy rhythm and infectious energy make it a fun addition to the album. While this type of song may cause disagreement amongst fans, I consider it to be one of Cooper’s all-time greatest and I strongly believe that it should have been released as a single for it had the potential to dance its way to the top of the charts. 

I'm The Coolest slows the tempo a little with its swaggering rock vibe. The spoken word lyrical styling is perfectly suited to the musical bed, but it’s the egotistical nature of the lyrics, some very beautiful guitar licks, and the overall mix that ensures I’m The Coolest is amongst the coolest songs (pun intended) that Cooper has ever recorded. 

Didn't We Meet is a bluesy and soulful number that flows perfectly within the album’s sequencing. That said, as much as I adore Alice Cooper Goes To Hell, I have a love/hate relationship with the chorus. Yes, it works but there is some aspect of it that I don’t feel works well with the song’s structure or the overall musical approach to the record. Nevertheless, the album wouldn’t be the same sans Didn’t We Meet but it is, subsequently, a lull in an otherwise perfect album. 

I Never Cry is one of the greatest ballads of all time and is as spectacular as Only Women Bleed from Welcome To My Nightmare. The emotional depth of the lyrics, coupled with a melodic arrangement, ensure that you’ll want to play this tune on repeat for Cooper is, arguably, as good a vocalist on ballads as he is on his other rock-focused tunes, if not more so, for the shock rocker never fails to disappoint on slower numbers.

Give The Kid A Break returns the album to an upbeat tempo by injecting the album with a little rock and roll energy. While it’s an album-only tune, it’s a fantastic song that could have quite as easily come out of the 50s era, yet is perfectly suited to Cooper’s 70s styling. 

Guilty flows seamlessly from Give The Kid A Break and maintains the rock vibe with a catchy chorus and infectious guitar riffs. While not necessarily a standout, exceptional albums are the sum of their parts rather than possessing a killer song or two. It is this aspect that ensures many 70s releases, and most of Alice Cooper’s albums, are worthy of adding to one’s collection for even the filler material is exceptional. 

Wake Me Gently takes us on an atmospheric journey with dreamy instrumentation and ethereal vocals. The song adds a surreal and introspective element to the album and is another of Cooper’s remarkable ballads. 

Wish You Were Here has an eclectic nature to it; an aspect that continues throughout the entire song. It is rock and roll to its core, most certainly a 70s rock masterpiece, and is a song that will encourage you to get your air guitar out. While it would have never worked as a single, Wish You Were Here is amongst Cooper’s greatest recordings, particularly from a musical and mixing perspective for it will envelop you and there isn’t a single element that is unnecessary; despite its busy composition.

I'm Always Chasing Rainbows was an odd, yet perfect choice, for this well-known vaudeville tune is perfectly reinterpreted with Cooper’s theatrical intent that adds a darkness to the nostalgic melody, fitting seamlessly into the album's overarching theme.

Going Home flows seamlessly from I'm Always Chasing Rainbows and, the two, in some respects could have been a singular song. Despite that, Going Home is one of Cooper’s most beautiful songs with orchestral elements and a cinematic quality that will leave you with a sense of closure, contemplation, and compulsion to play the album again.

Each of the 11 songs from Alice Cooper Goes To Hell contributes to the album's narrative cohesiveness, showcasing Cooper's ability to experiment with various musical styles while maintaining a thematic thread throughout the theatrical journey. Granted, it’s Cooper’s trademark, but it is amongst his greatest releases and that’s saying something for with a career spanning six decades and a discography of 29 studio albums under the Alice Cooper banner, numerous records could share the top billing as his very best. Nevertheless, Alice Cooper Goes To Hell is a masterpiece and is not only one of the greatest Alice Cooper releases but one of the best albums ever released in all of recorded music history.

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AC/DC – High Voltage (Album Review)

Released in 1976, High Voltage would become AC/DC’s pseudo debut as the song selection was taken from their 1975 Australian-only releases of T.N.T. and High Voltage. While the Australian-only releases are highly sought-after by collectors, the songs that were omitted have since been released on the incredible ’74 Jailbreak and the rather extensive Backtracks compilation and are worthwhile checking out. That said, I consider the international 1976 version of High Voltage to be the true debut of the band as this edition is non-relenting in its rhythmic drive, ensuring there isn’t a dull moment from start to finish.  

The excitement is naturally driven by the album artwork. While it may not be the greatest in AC/DC’s illustrious career, it suits the band and the album perfectly ensuring that the visual element is a perfect counterpart to the music contained within. One can only imagine being a record buyer in 1976 and seeing the cover art for the first time; I know it would have compelled me to pick up the album based on the artwork alone. 

Moving forward into the modern era, music lovers can increasingly get access to the record via streaming services and while I’m still a proponent of physical media, the Apple Digital Master, available via Apple Music, sounds exquisite and I believe is derived from the core 2003 remastering sessions of AC/DC’s entire back catalogue that were the basis for the well-regarded vinyl and CD reissues. While some may lament the remastering of albums, it’s comforting to know that regardless of which delivery method you choose to listen to this classic album via, they’re all based on the same master. Plus, and some may disagree, but I feel the 2003 AC/DC remasters are fantastic.

It’s A Long Way To The Top (If You Wanna Rock ’n’ Roll) is one of the greatest songs ever written and recorded. The inclusion of the bagpipes was a masterful move and showed Bon Scott as more than just a vocalist. The version heard here is, however, shorter than the original Australian-only release, so if you’re a purist you would be well-advised to check it out on Backtracks. It’s A Long Way To The Top (If You Wanna Rock ’n’ Roll) has also been covered extensively with two of the best renditions being recorded by John Farnham and Lemmy Kilmister & Jake E. Lee.

Rock ’N’ Roll Singer isn’t a bad song, but it isn’t one of AC/DC’s strongest. However, via the charismatic nature of Bon Scott, Rock ’N’ Roll Singer takes on a life of its own and we’d be worse off as fans if this tune had been omitted from the album. 

The Jack is brilliant. The blues-based rhythm is compelling and it’s yet another example of AC/DC at their cheeky best.  

Live Wire is a killer rock and roll tune and that intro is one of the best in AC/DC’s entire catalogue; perhaps only rivalled by the build-up of Thunderstruck. Regardless, Live Wire is an all-time favourite of mine and is a highlight from High Voltage.

T.N.T. is one of AC/DC’s best and is one of the greatest rock and roll anthems that has ever been written and recorded.

Can I Sit Next To You Girl is a great song, but it is Mark Evans’ bass tracking that takes this song from a run-of-the-mill bluesy rock and roll tune to a killer rock song worthy of the AC/DC name. Interestingly, Can I Sit Next To You Girl was AC/DC’s first single, released in 1974 and at the time titled Can I Sit Next to You, Girl with Dave Evans on vocals, Colin Burgess on drums and George Young on bass guitar. While the earlier version is out of print, and is different, it hasn’t been officially reissued since its initial release, but if you look on YouTube, you’ll come across uploads of the original. 

Little Lover is pure sonic bliss. It may be a slow track, but there is nothing pedestrian about Little Lover. It is a shame, however, that it hasn’t been more prominent throughout the years, but perhaps that is a good thing considering I generally prefer Brian Johnson’s vocal delivery, but I couldn’t imagine anyone else singing Little Lover better than Bon Scott; he mastered it!  

She’s Got Balls has a great rhythm and is a solid tune but it isn’t a standout. That said, the album wouldn’t be the same without it.

High Voltage is a fantastic song, a perfect title track, and an ideal closer. However, perhaps it’s just me, but having heard it so many times over the years, I can’t help but feel it’s a little overrated.

High Voltage is a classic album that captures the essence of AC/DC’s early years. It serves as a testament to their ability to create timeless, no-nonsense rock and roll; a constant element throughout their career. A core strength of High Voltage lies in the simplicity and authenticity of AC/DC's sound as the album doesn't rely on complex arrangements or intricate production; instead, it thrives on the sheer power of its raw, stripped-down rock and roll. The result is that High Voltage is amongst the greatest hard rock albums ever released and is a must-listen for anyone seeking a genuine hard rock experience. 

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Aerosmith – Rocks (Album Review)

Aerosmith’s Rocks, rocks! 

Yes, dear reader, I’m aware of the cringeworthy pun but the truth is that Rocks is one of the greatest rock and roll albums of all time. Released in 1976, Rocks was Aerosmith’s fourth studio album and it shows as the album is tight, highly refined, and certainly not lackadaisical. While raw in classic Aerosmith style, Rocks has left an indelible mark on not only the history of rock music but Aerosmith’s extensive discography.

There is part of me that would appreciate a slightly higher production value than Rocks presents, but Aerosmith was able to capture their live, rough-around-the-edges energy that not only adds to the authenticity of the album but is, arguably, an Aerosmith trademark. Hence, a more polished production would have diminished the exceptional skill of Joe Perry and Brad Whitford on guitars while the rhythm section of Tom Hamilton and Joey Kramer lays down a solid bluesy, hard rock, musical foundation for Steven Tyler’s unique vocals to lay upon.

Speaking of Tyler’s vocals, they’re nothing short of stellar on this release. The distinctive nature of his vocals, characterised by their raspy quality, adds a layer of grit to the songs that add memorably to the album’s overall style and impact. A shift in any of these aspects would mean that Rocks wouldn’t be the same album so the rawness must remain but different editions can offer a shift in the tonality of the album that you may prefer; based on your subjective tastes, of course.

The Hi-Res Lossless Apple Digital Master, as heard on Apple Music, is rich and well-defined and while I can’t confirm the exact mastering used, it’s sonically pleasing. Rocks is an album that can be a little grating on the senses, mainly due to Steven Tyler’s vocal style throughout and, again, the rawer production, but the treble is rolled off a little on the stream, thereby allowing for a much less fatiguing listen than I’ve heard via other formats. It could, however, be a little too muffled for some so it would be best to listen and decide for yourself as you may prefer another release.

In the past I have been fortunate to have owned the 90s CD remaster along with the Record Store Day (RSD) 2014 reissue and both versions were considerably different to each other and the associated stream. The 1993 Vic Anesini remastered CD reissue was always a little shrill while the vinyl reissue offered a sonically gorgeous reproduction and wasn’t that dissimilar to the Apple Music stream. Nevertheless, had I not run into a minor financial challenge that required me to move a few records on, I’d still be incredibly happy with the vinyl release for this album really benefits from the vinyl format’s more restrictive mastering standards. 

The disappointment, however, was that the album cover on the vinyl release was terrible. It was as if it were poorly scanned from a CD booklet; a common occurrence with vinyl reissues. Despite that aspect, the artwork for Rocks never really captivated my attention. It isn’t so bad as to be included in The Worst And Most Disturbing Album Covers Of All Time but it’s lacklustre, to say the least. I don’t know about you, dear reader, but it simply doesn’t compel me, as other albums do, to hold the record sleeve, or put it on display, as the music plays. Thankfully, the music is worthy of discussing further, so join me as I take a look at the songs that make up this landmark release. 

Back In The Saddle is a thunderous anthemic opener. It is, however, a song that can be distracting, depending on the specific mastering you're listening to, as I alluded to earlier. Nevertheless, the thunderous riffs and energetic style of this opening tune sets the tone for the entire album. 

Last Child has a funky and infectious blues-based rhythm and Whitford’s guitar solo is glorious. Tyler’s vocal performance here is off-the-charts good resulting in Last Child being one of my all-time favourite Aerosmith songs. 

Rats In The Cellar is a high-energy rock number that could very well have been influential to the Thrash Metal sub-genre with its relentless guitar riffs and rhythm section driving the song forward.

Combination flows beautifully from Rats In The Cellar and while it’s a great song, at times I feel Tyler’s vocals come across a little whiny and Perry’s harmony vocal does little to help. Subsequently, as much as I adore Combination’s musical composition, the lyrical aspect is simply too distracting to listen to the song outside of the album’s linear structure. 

Sick As A Dog is another bluesy number that is so rhythmically charged that it will get you moving and grooving. Despite never being released as a single, Sick As A Dog is a hidden gem and one of the best songs Aerosmith ever recorded. 

Nobody’s Fault has a magnificent slow introduction before the band crashes through your speakers. Tyler is perhaps a little distant in the mix, as is Witford’s lead guitar towards the end, and the vocal processing on the chorus may not appeal to all, but Nobody’s Fault remains a killer tune and one that flows well within the album’s linear structure.

Get The Lead Out gets better the louder you play it and is one of the best songs on Rocks. I’d also argue it's one of Aerosmith’s greatest and most overlooked rock and roll anthems with an infectious energy and catchy chorus that is a cornerstone of the entire album. 

Lick And A Promise with its upbeat tempo and lively instrumentation is another memorable tune that further confirms just how powerful Rocks is as an album experience.

Home Tonight may slow things down a little but the mellower tone of Home Tonight makes for not only a perfect way to close out the album, but it’s also another of Aerosmith’s fantastic power ballads; an aspect that is, at times, more notable than their straightforward rock numbers. Nevertheless, Home Tonight will compel you to listen to the album again or encourage you to  reflect on the music you’ve just heard.

Rocks has left an enduring legacy in the rock genre. Its impact can be heard in the work of countless bands that followed, with its raw energy and unapologetic attitude serving as a blueprint for numerous hard rock and heavy metal acts. Its blues meets hard rock at its very best and is one of the most noteworthy albums Aerosmith ever released. 

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Montrose – Jump On It (Album Review)

Released in 1976, Jump On It, the fourth studio album from Montrose, would go somewhat unnoticed amongst music lovers. Yet, over the years, the album has attained a cult-like status that has ensured it lives on in the consciousness of hard rock enthusiasts everywhere.

Fans of Sammy Hagar may still have been perturbed to find Bob James once again on lead vocals, following Hagar’s departure from the band in 1975, but to class this appointment as a downgrade would be foolish as this second outing with James, following the 1975 release Warner Bros. Presents Montrose!, is extraordinary. A similar issue is often seen with some arguing about Van Halen and who was the better frontman; David Lee Roth or Sammy Hagar. Yes, we all have our preferred lineups and musicians, but unless a replacement is truly bad, I see no reason to disregard a lineup change and their subsequent albums for you may miss out on some of the greatest music ever recorded. Jump On It is one such example, as there are countless classic songs to be heard, as it’s not only one of the best albums Montrose ever released, but it’s also one of the most exceptional records from 1976.

Further to that, despite how incredible Montrose’s earlier albums were, producer extraordinaire, Jack Douglas, pushed the band to new polished heights that further showcased not only his production style but the inherent capabilities of a band that were somewhat musically concealed on their prior releases. That isn’t to suggest that their self-titled debut or Paper Money were lacklustre, for they aren’t, it’s just Jump On It, in particular, is more polished and less raw than its earlier counterparts. That aspect alone may be a deterrent for some but, again, to ignore this release would be to your detriment for the varied production styles truly showcase an evolution of the band. 

Despite the shifting style, what didn't change was the rhythmic progression of their music and Ronnie Montrose’s mastery of the guitar. The man was a legend and the licks he delivered throughout the album, and his career, are nothing short of exceptional. It’s fair to say he was one of the greatest guitarists of all time while also being one of the most underrated. 

From a sonic perspective, the lossless Apple Music stream is lovely and while there are no details relating to the album’s mastering, there really isn’t any aspect of the recording that is out-of-place. There is plenty of clarity to be heard, enough bass to please most, and no musical element is concealed in the mix. That said, the only thing that could be slightly improved is the soundstage as the existing release is a little shallow. Perhaps that was the way the album was recorded, but nothing is quite as pleasurable as when the speakers disappear and the music envelops you, as becoming one with the music is the ultimate aim as it enhances the experience. 

Before we take a look at the songs that make up this exceptional release, it’s important to suggest that you should listen to the album from a fresh perspective, with as little bias as possible, for the infusion of rock, funk, and a touch of rhythm and blues makes for a most compelling listen.

Let's Go is one of the greatest opening songs of all time. The tribal beats combined with some killer guitar licks and commanding vocals ensure the lively and energetic style Montrose is known for is maintained. Amazing! 

What Are You Waitin' For? blends rock elements with a funk-driven rhythm. The upbeat vibe is perfect for the album’s linear structure, but the transitions feel forced. However, that mid-song solo is incredible. 

Tuft-Sedge is one of the strangest song titles I’ve ever come across. Thankfully, however, the song is enthralling. The rock elements, while present, take a back seat to a musical presentation that has to be heard firsthand to be fully appreciated. As an instrumental interlude, of sorts, you’ll be captivated, amazed, and wish that Montrose had recorded an entire album’s worth of instrumental music. 

Music Man slows the pace slightly as it introduces a bluesy undertone. It’s a beautiful song with a gorgeous instrumental backing. While James’ vocals are to be commended, this is another song that very well could have been an instrumental-only tune and would likely have been exceptional within that context. Nevertheless, Music Man remains one of the greatest rock songs of the era. 

Jump On It picks up the pace and while it’s a solid title track, it’s nothing to write home about. It does, however, have Jack Douglas written all over it as you’ll hear a little too much of Aerosmith’s style on this title track. 

Rich Man is a fantastic rock number. Yes, it starts a little slowly but as the song builds, so does my appreciation for it. 

Crazy For You is the quintessential album-only tune that ensures the fluidity of the album is maintained.

Merry-Go-Round is a beautiful closing track. However, I’d argue that it could have been cut down and kept to its rhythmic rock roots. Unfortunately, the decision to include the fun park elements breaks the flow of the song and makes me ponder what anyone was thinking when putting this song together. Seriously, did anyone think it was a good idea? It’s a shame because sans that distractive aspect, Merry-Go-Round is an exceptional tune. 

While the final song is somewhat tarnished by being overproduced, Jump On It, as an album experience, presents us with a diverse musical journey, incorporating hard rock with elements of funk and rhythm and blues. Yes, the varied styles may deter some but the differing nature of the music showcases Montrose’s musical reach while simultaneously adding a unique chapter to their discography. It is, with that in mind, that Jump On It can be celebrated as not only one of Montrose’s greatest musical achievements but a stellar release of the 70s.  

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Alice Cooper – Zipper Catches Skin (Album Review)

Zipper Catches Skin is often regarded as one of the more experimental and unconventional albums in Alice Cooper's extensive discography. Released in 1982, this studio album represents a shift from Cooper's earlier hard rock sound as he further embraced new wave and post-punk influences. It’s also fair to say that it wouldn’t be an Alice Cooper album if it had been a carbon copy of his previous works for one constant aspect of his career, a key aspect to his longevity in the industry, is his ability to pivot and incorporate modern styles with his classic sound.  

To say that Zipper Catches Skin is a complete departure from the theatrical and shock rock elements, that defined Alice Cooper's earlier works, would be erroneous. Yes, this album has a stripped-down rawness to it but the whimsically edgy and lo-fi aesthetic perfectly suits Cooper’s style. In fact, if you’re a fan of the Alice Cooper band's early releases, Pretties For You and Easy Action, you’ll thoroughly enjoy this release as it takes cues from those albums but ups the production quality.  

Given the chosen musical style, one needs to adjust their expectations when listening to Zipper Catches Skin, for it is never going to be the greatest sounding record. While I’m fortunate to own the 2018 vinyl reissue, the difference between that edition and that heard on the lossless Apple Music stream is small and can be mainly attributed to the smoother (warm) sound of the vinyl format. As a result, I find the Apple Music stream, a CD facsimile, to be more than adequate and given the 32-minute runtime, it means that I don’t have to get up and flip the album after approximately 15 minutes. Yes, it’s a first-world problem, but streaming is so good these days that the vinyl counterpart has to offer an appreciable difference over the stream and in this case, the delta just isn't great enough to warrant the additional ritual.

What is, undoubtedly, more appealing regarding the vinyl reissue is the album's artwork. The minuscule cover art, via streaming, simply doesn’t present the album artwork adequately. You can barely see Alice Cooper’s name in red, at the top of the artwork, and the lyrics that are present on the album cover are unreadable on the small screen. You can’t even make out the album title located above the blood stain. While I’m a proponent of streaming music, some aspects simply can’t be replicated by modern technologies and will forever be lost to time. Album artwork is one such element that used to be essential and while I acknowledge that is no longer the case, for those of us who appreciate the intricate nature of album artwork, it’s these small details that allow the album to exist beyond the audible spectrum and become a trinket forever ensconced in our memories. 

Zorro's Ascent kicks off the album with an energetic and quirky vibe that sets the tone for the music that is to follow with catchy hooks and an experimental sense of mystique. 

Make That Money (Scrooge's Song) is a perfect satirical statement on greed and capitalism. The upbeat tempo and electronic elements contribute to its energetic and electronically synthesised atmosphere. More than that, however, it’s a killer tune and is one of the best songs from Zipper Catches Skin. I’d even go as far as saying that it is one of the best songs Alice Cooper has ever recorded and one that you’ve likely never heard before; that is unless you’re already familiar with this album.

I Am The Future leans into new wave influences on a song that is most certainly cemented in the 80s for that musical style is unmistakably associated with the era. As a solid album-only tune, I Am The Future is thoroughly enjoyable, but it is unlikely that you’ll feel compelled to seek it out, outside of the album’s linear structure. 

No Baloney Homosapiens is a fantastic tune. Everything from the elemental opening, to the driving rhythm, and Cooper’s vocal delivery ensures that once the chorus enters the mix, the wittiness of the lyrics is a highlight. That said, the sound effects throughout, particularly in the middle of the song, take away from the song itself. It’s a shame as the inclusion ultimately results in a distractive element in an otherwise exceptional tune. 

Adaptable (Anything For You) introduces a more melodic style to the album, with a memorable chorus attached to a pop-influenced sound. It’s a great tune! 

I Like Girls flows seamlessly from Adaptable (Anything For You), but it’s the bouncy rhythm that’s the highlight here as its catchy nature furthers the sense of fun that is the undercurrent of the entire album. What a great song!

Remarkably Insincere, as with I Like Girls, offers a seamless transition that is punk-inspired with straightforward instrumentation that will have you rocking along every time you play the album. 

Tag, You're It has a killer opening that is fast-paced with a rebellious energy. It is, however, the rhythmic drive that will reach into your soul and compel you to move involuntarily to the beat. That said, the only component that I find to be somewhat annoying is Cooper’s spoken word element. Yes, I get the intent to further explore Cooper’s psychotic personas, but I feel it would have been a stronger song sans those inclusions. 

I Better Be Good has a straightforward punk-rock feel; sometimes that is all that’s required for a song to be noteworthy. 

I'm Alive (That Was The Day My Dead Pet Returned To Save My Life) serves as a fitting conclusion to the album, leaving listeners with a sense of the unexpected. There are only a few musicians capable of recording such a tongue-in-cheek song that can also be taken seriously. Ultimately, it’s a killer tune and a fantastic closer that leaves you wanting more.

While Zipper Catches Skin was not as well-received as some of Alice Cooper's earlier albums, it has gained a cult following over the years, due to its experimental nature and departure from the artist's more traditional sound. Of course, Cooper’s addictions had an impact on this release but the unique and unconventional styling has long been a Cooper trademark that fans, such as you and I, thoroughly enjoy. Subsequently, Zipper Catches Skin is an unintended masterpiece that only gets better with age and the more frequently it is played.

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Slash - Self-Titled (Album Review)

Released in 2010, Slash is the legendary Guns N' Roses guitarist's long-awaited debut solo album. Featuring a star-studded lineup of guest vocalists and musicians, this self-titled album showcases Slash's exceptional guitar skills and his ability to craft a diverse collection of rock songs.

Slash is so synonymous with rock and roll that it would have been easy for him to release a run-of-the-mill Slash & Friends release. However, he didn’t disappoint on this record as he was active in writing and co-writing the entire album. Perhaps this is where other artists have come unstuck as they tend to simply re-record their classics, or record tunes that were never worthy of release, with their friends, resulting in a less-than-stellar release. The result is that Slash is an album experience first and foremost and is arguably his greatest musical achievement outside of Guns N’ Roses. 

Part of the album experience is the artwork and Slash’s self-titled album is magnificent in that regard. Although, I do still feel that the artwork for Slash’s Snakepit It’s Five O’Clock Somewhere is superior. Regardless, Slash’s output has often been adorned with incredible cover art; well, that is until recently as the last great cover art he was associated with was Apocalyptic Love. 

Of course, there’s more to the album experience than the visual element for it must sound compelling in order to garner the attention of music lovers. While this album has been mastered loud, it works well for the hard rock genre. Yes, I’d like a little more breathing room as the drums can sound a little concealed and rather than a shimmer in the cymbals, we’re often met with hideous crunching as the album has been recorded well into the redline. Nevertheless, it rocks and while you won’t necessarily want to turn the volume up to ear-bleeding levels, it can rock loud enough to drive your neighbours insane. That all said, a remaster would likely yield better results, or better yet another vinyl pressing, for the limitations of the analogue format permit a greater dynamic range in order to play correctly. Plus, who doesn’t want that killer artwork on a larger canvas? 

The lossless Apple Music stream, a direct counterpart to the CD release, is subsequently adequate and will appease most fans. The only difference is the stream includes the bonus track Paradise City (feat. Cypress Hill & Fergie); a great interpretation, certainly, but one that I feel isn’t worthy of inclusion here. As a result, I’m sharing a playlist of the album with this track omitted. 

Ghost (feat. Ian Astbury) kicks the album off with a haunting and bluesy number. Ian Astbury's gritty, yet smooth, vocals are the perfect accompaniment to the backing musical performance; a performance that is off-the-charts good.   

Crucify The Dead (feat. Ozzy Osbourne) transitions seamlessly from Ghost and quickly becomes a hard-hitting rock anthem that is a match made in heaven with Slash's riffing and Ozzy's iconic vocal delivery. It’s one of the best songs from the album, but more importantly, it’s one of the best performances in their careers, for both musicians created a masterpiece. 

Beautiful Dangerous (feat. Fergie) is one of the greatest, and most unexpected, rock and roll recordings of all time. Most of us know Fergie from the Black Eyed Peas and while her contribution to that band was extraordinary, and her subsequent solo career has been admirable, she takes her skills as a vocalist to another level on this song. Truth be told, Fergie should be fronting a rock and roll band full-time for she’s got the sultry vocal chops to pull it off.  

Back From Cali (feat. Myles Kennedy) is the first of two masterful Myles Kennedy additions to Slash. As you listen to this song, you’ll be left with little doubt as to why Slash and Kennedy have formed a long-term collaborative partnership for they complement each other perfectly on this melodic rock track. 

Promise (feat. Chris Cornell) is sensational! I’ve adored Cornell’s vocals ever since I first heard Soundgarden’s Superunknown and Promise only intensifies my admiration of the late, great frontman. It may be a little more melancholic than you’d otherwise expect, but Promise allowed both Cornell and Slash to display their musical prowess. 

By The Sword (feat. Andrew Stockdale) is a bluesy masterpiece with Stockdale's unique vocal delivery complementing Slash's commanding guitar work.

Gotten (feat. Adam Levine) adds a pop-rock flavour to the album with this acoustic-driven ballad and Levine’s smooth vocals. It may be a departure from the album’s heavier tunes, but don’t let that deter you as it’s simply stunning.

Doctor Alibi (feat. Lemmy Kilmeister) is hard and fast with an addictive rhythm; a fitting song for Kilmeister’s distinctive growl. 

Watch This Dave (feat. Dave Grohl & Duff McKagan) is the only instrumental track on the album and while Grohl and McKagan are legends, it’s lacklustre and nothing more than filler. Given Grohl’s history as frontman for the Foo Fighters, one would have thought that a killer rock and roll tune, with him on lead vocals and Duff on backing vocals, would have been the perfect combination. As it never happened, it can only be considered a missed opportunity.

I Hold On (feat. Kid Rock) brings a little southern rock to Slash but as much as I enjoy, almost everything, that Kid Rock releases, I Hold On could have been a heavier tune, one that I feel would have been more fitting to this collaboration. Nevertheless, I appreciate it for what it is and it’s a solid rock tune that’s perfect to toe-tap along to.

Nothing To Say (feat. M. Shadows) is characterised by aggressive riffs and powerful vocals. It’s a match made in heaven for it’s reminiscent of the style on Avenged Sevenfold’s Self-Titled 2007 release and is, therefore, perfectly suited to Shadows. 

Starlight (feat. Myles Kennedy) is incredible! Not only is it one of the best songs from the album, but you’d be hard-pressed to find a recording, from Kennedy’s entire career, that is better than Starlight, for this melodic and soulful ballad will leave a lasting impression. 

Saint Is A Sinner Too (feat. Rocco DeLuca) has a slower, more reflective quality that adds depth to the album. It’s a lovely song and a hidden gem that will only be known to those of us who listen to the entire album.

We're All Gonna Die (feat. Iggy Pop) is a song that only Iggy Pop could have sung; one filled with raw, high-energy rock. It’s the perfect way to close out the standard edition of Slash.

Slash is an incredible album that has and will continue to stand the test of time. While I’d love to see another multi-artist collaborative release from Slash, sometimes less is more and this is one instance whereby a singular release is all that is needed. From blues-based hard rock to ballads, Slash's iconic guitar playing remains front and centre with each of his guest vocalists bringing a unique element to each track, making it a must-listen for fans of classic and modern rock alike.

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