Faith No More – The Real Thing (Album Review)

It may not have been their first record, but The Real Thing, released in 1989, is Faith No More's breakthrough album and so happened to be the debut with their new lead vocalist, Mike Patton. With a blending of genres, including funk, metal, rap, and elements of progressive rock, The Real Thing is a groundbreaking release that has become not only a classic of the associated genres but is amongst the very best music released during the era.

While fans of Faith No More’s previous vocalist, Chuck Mosley, may lament the lineup change, it’s fair to say that Patton, much in the same way as Brian Johnson did with AC/DC, took on the role as new lead vocalist and not only paid respect to his predecessor but ensured that his unique styling melded perfectly with the band. Additionally, as solid as their earlier albums We Care A Lot and Introduce Yourself are, both pale in comparison to the higher production values, songwriting, and musical performance featured on The Real Thing; a release that would see Faith No More rise to the top of the charts for the first time in their career.

While the recording and mix of the album are excellent, the mastering of the lossless Apple Music stream is less than ideal. The soundstage is a little too boxed in, meaning that you’ll notice your speakers rather than them disappearing. There’s adequate separation between all elements, and the lead vocal does position itself perfectly atop and slightly in front of the musical bed. It just isn’t as immersive an experience as one would ideally like. If you have a manually adjustable equaliser, attached to your stereo, you’ll likely find it useful in extracting a sonic presentation that best suits your subjective tastes.

From Out Of Nowhere was the first single released from The Real Thing but it failed to set the charts on fire. It’s a great tune, and an incredible album opener, but it just doesn’t have the hook that Epic does. Nevertheless, its energetic driving rhythm makes it an ideal album opener.

Epic is funk metal gold. It is also one of Faith No More's most popular songs. Featuring a mix of rap verses, killer guitar riffs, and a memorable piano outro, along with Patton’s charismatic vocal, Epic is, for lack of a better term, EPIC!

Falling To Pieces is a bass guitarist's dream come true. That groove-filled introduction is exceptional and doesn’t stop there for the catchy hooks, playful vocal delivery, and overall tight performance ensure Falling To Pieces is another standout.

Surprise! You're Dead! limits the funk and is straight-up thrash metal. It’s raw and relentless with an aggressive vocal and rapid-fire guitar riff that is worthy of comparison with any other thrash metal release of the era. While it’s a great little tune, and showcases Faith No More’s diversity, I must admit that I prefer their funkier and more easily accessible tunes.

Zombie Eaters opens with a gentle acoustic guitar and soft vocal approach before quickly evolving into a powerful and dynamic track. The alternating between mellow verses and explosive choruses is intriguing for it shouldn’t work. Yet, the band had the talent to not only pull it off but to blend the contrasting elements perfectly. While it isn’t one of their most well-known songs, Zombie Eaters is a hidden gem.

The Real Thing has a sprawling expansive structure with an epic eight-minute runtime. In classic Faith No More style, The Real Thing is so carefully crafted that you’ll be captivated from the very first note to the last, even if the outro is unnecessary.

Underwater Love returns the album to its funkier vibe with a laid-back groove, killer bass track, and smooth vocal presentation. While Underwater Love was never destined for anything greater than being an album-only tune, it’s songs such as this that make The Real Thing one of the best albums released in 1989.

The Morning After is another tune that shows off Bill Gould’s incredible skill on the bass. In many respects, his bass tracking is the backbone for the entire song and makes for a memorable hook and the skeleton on which the song's dynamic arrangement rests.

Woodpecker From Mars truly showcases the band’s musical prowess for the intricate guitar riffs, dynamic drumming, and atmospheric keyboards come alive sans a lyrical component. It’s fair to suggest that vocals can, at times, overshadow the musical genius of the band, but Faith No More has proven that in the absence of vocals, a different kind of intensity is possible; one that tells a story of the Woodpecker From Mars through our emotional response to the music.

War Pigs is a Black Sabbath cover and stays true to the original whilst simultaneously adding their own unique touch to this classic tune.

Edge Of The World closes the album with a jazzy, lounge-inspired track, that further showcases Patton’s vocal versatility as well as the band’s talent and ability to not limit themselves to specific styles and genres. Yes, the song's smooth piano, laid-back rhythm, and crooning vocals provide a surprising conclusion to the album, but it’s delightful and is most certainly in the key of Faith No More.

No matter which way you look at it, The Real Thing was a groundbreaking album that solidified Faith No More's place in the alternative, rap, and funk metal scenes. Its seamless fusion of genres, innovative songwriting, and charismatic performances make it a timeless classic. Mike Patton's debut as the lead vocalist brought a new dynamic to the band's sound, and the album's diverse range of tracks ensures there's something for everyone. Whether you're a fan of metal, funk, rap, or hard rock in general, The Real Thing has it all, making it an essential listen for any music enthusiast.

Check out more reviews by Subjective Sounds

Alice Cooper – Trash (Album Review)

Released in 1989, Trash marked a significant comeback in Alice Cooper’s career, with a shift towards the glam metal sound that dominated the late 80s. Produced by Desmond Child, known for his work with artists like Bon Jovi and Aerosmith, Trash is anything but the literal meaning of the word as the album is presented as a polished and commercially accessible version of Cooper’s signature shock rock style.

As we explore music that resonates with us, it isn’t uncommon to think of the magic as being that of a single entity; in this case Alice Cooper, either the man or the band. The reason we do this is that it allows us to compartmentalise a collection of songs far more succinctly than knowing every person associated with the making of the album. However, when you have such a titanic shift in one’s musical output, it’s worth examining the differences and the first place to look is the production and songwriting teams. In this instance, Child was paramount to the sound of Trash from both the production chair as well as being a co-songwriter on nine out of the ten songs on the album.

As much as I appreciate Cooper’s 80s output, Trash is Cooper’s most polished and radio-friendly album from the era. With its glam metal sheen, anthemic choruses, and slick guitar solos, Trash not only became one of Cooper’s greatest releases, but it would introduce him, or reintroduce him, to a broader audience and subsequent mainstream success. While legacy Cooper enthusiasts may declare that an album such as this was a sellout, there is little doubt as to how important songs such as Poison and Bed Of Nails have been to Cooper’s continued dominance post-1989.

As one of Cooper’s most popular albums, it has seen numerous reissues and I’m incredibly fortunate to own the 2017 Limited Edition, Numbered, Red Transparent Vinyl Reissue. Not only does it look incredible, but it’s a sonic powerhouse. To say it is the very best version of the album I’ve heard, wouldn’t be an understatement. The vinyl is so silent that if you were listening on headphones, you’d have a much better chance of hearing the blood cursing through your veins. Music On Vinyl (MOV) certainly reissued this masterfully with a dynamic presentation and soundstage that is wide and immersive. It’s an experience that needs to be had in person for you’ll find yourself looking in awe as the music emanates from your stereo.

Naturally, Vinyl isn’t for everyone and as it pertains to the CD release, I always found it a little too shrill. It’s a perfect facsimile but you’ll likely want to adjust your tone controls to rein it in slightly. Keeping with the digital formats, the Lossless Apple Music stream, an Apple Digital Master, is a little lacklustre. It doesn’t have the clarity of the CD release or the presence of the vinyl reissue. While saying that it sounds a little flat and lifeless would be an overstatement, the music is somewhat concealed when compared with the album’s physical counterparts.

Of course, if you’re not like me searching for the very best-sounding copy of certain albums, endlessly comparing editions, you’ll likely find the Apple Music stream to be very pleasing. That said, if you find yourself listening to the stream and questioning if it sounds right, then it may be worthwhile exploring other avenues.

Poison is a quintessential 80s rock anthem. Its infectious chorus, driving guitars, and Alice's signature snarl made it a massive hit, so much so that it could be said to be Cooper’s trademark tune. If nothing else, it is the song that he is most well known for and for good reason as it’s exceptional.

Spark In the Dark continues the album’s energetic vibe with catchy hooks and a strong, rhythmic drive. It exemplifies the album's glam metal styling, with layers of guitar riffs and a memorable chorus that will see you not only singing along but playing along via your air guitar.

House of Fire is another high-energy rocker that shines, due in part to its collaborative songwriting between Cooper, Child, and Joan Jett. Add a few killer guitar licks from Joe Perry (Aerosmith) and you’ve got an incredible rock and roll tune with melodic sensibilities.

Why Trust You features a punchy rhythm, aggressive guitar work and Cooper’s gritty vocal delivery. It may not be a standout, but it’s a hidden gem and a perfect album-only tune that works with the flow and overall style of Trash.

Only My Heart Talkin’ flows seamlessly from Why Trust You, before dropping the tempo to that of a power ballad, that features Steven Tyler (Aerosmith) on vocals; a combination that works exceedingly well. The collaboration between these two amazing vocalists, along with the ballad focus, ensures the song has emotional depth and a melodic structure that provides contrast to the heavier tracks thereby showcasing Cooper’s versatility.

Bed of Nails co-written with Cooper, Child, and Diane Warren is a perfect blend of hard rock and pop sensibilities. Its anthemic quality and catchy chorus make it a standout track and was mildly successful when released as a single. Although, if you ask me, Bed Of Nails is so good that it should have topped the charts, worldwide, in 1989.

This Maniac's In Love With You is 80s music 101 with its playful lyrics and upbeat tempo. While much of the focus of Trash is the album’s glam metal aspects, This Maniac’s In Love With You is a reminder of Cooper's roots in shock rock and performance art; one that tips the hat to his late 70s and early 80s releases. As a fan of that era, especially his blackout albums (Special Forces [1981], Zipper Catches Skin [1982], and DaDa [1983]), This Maniac's In Love With You is, subsequently, one of my favourite songs from the album and is a genuine hidden gem for those not familiar with the record.

Trash is a rebellious high-energy number with a raw edge. Despite being the title track, it isn’t the strongest song and one that, while I can appreciate it, simply doesn’t meld with my soul. Jon Bon Jovi’s vocals don’t work as well on this track as Steven Tyler’s did on Only My Heart Talkin’ plus the lineup of guest musicians, including Tom Hamilton and Joey Kramer (both of Aerosmith fame) adds to a confusing mismatch. It just goes to prove that no matter how many talented musicians get together, if they aren’t on the same page, creatively, you’ll end up with a song that fails to impress.

Hell Is Living Without You is a magnificent tune with a moodier and slower tempo. When I consider Trash to be one of the greatest albums released in 1989, it’s songs such as Hell Is Living Without You that I think of for it’s a masterpiece.

I'm Your Gun closes the album out with a bang, but I really wish the album had been re-tracked to have this song positioned prior to Hell Is Living Without You as I feel the previous track would have been a much stronger closer for the album. Nevertheless, this fast-paced rocker with aggressive guitar riffs and an unapologetically bold attitude is a fitting end to an album full of high-energy tunes.

Overall, Trash is a landmark album in Alice Cooper’s career, blending his iconic shock rock style with the glam metal sound of the late 80s. With memorable hits, expert production, and Cooper’s charismatic performance style, this album stands as a testament to his adaptability and enduring appeal. Whether you’re a long-time fan or new to his music, Trash offers music lovers a thrilling and enjoyable listening experience.

Check out more Alice Cooper reviews by Subjective Sounds

Aerosmith – Pump (Album Review)

Released in 1989, Aerosmith’s tenth studio album is amongst their tightest for its all killer with no filler; with the minor exception of a Hidden Track closing out the album. Teaming up again with producer Bruce Fairbairn, following the success of 1987’s Permanent Vacation, proved to be a wise decision as Pump would not only close the 80s out with a bang but, in retrospect, has stood the test of time whilst simultaneously becoming a timeless addition within the annals of hard rock and glam metal history.

With a blend of hard rock, blues, and ballads, Pump showcases Aerosmith's versatility. Of course, with impeccable production values, Aerosmith’s high-energy sound is captured, as is the essence of the band's 70s raw edge, while still appealing to the contemporary rock scene at the time. The album's sound is clean yet powerful, allowing each instrument to shine. As such, Joe Perry and Brad Whitford deliver exceptional guitar work, ranging from blistering solos to intricate riffs. Tom Hamilton's bass lines provide a solid foundation, while Joey Kramer's drumming drives the album's relentless energy. Steven Tyler's vocals are a highlight throughout, demonstrating his wide range and emotive power. His ability to convey both raw energy and deep emotion is a key component of the album's success and appeal to a broad audience.

That said, while the recording and mix of the album are top-notch, the mastering has been an issue throughout the years as there are very distinct differences between releases. For instance, the 2001 remaster boosted the volume across the entire album by crippling the album’s dynamic range. It gives it a punch-in-your-face approach, but you’ll be looking to turn the volume down before too long as it’s simply too fatiguing. The original releases were arguably perfect but as they are long out-of-print, the new music lover, uninterested in attainment via the secondhand market, will need to be content with current offerings.

While I was fortunate to have owned the 2013 vinyl picture disc release, the mastering on that particular edition is perfect and while the picture disc format always has an increased noise floor, you can only really hear it at the beginning of each side, before the music starts, and momentarily between tracks. While no mastering information was given for the picture disc release, Universal Music gave music lovers an admirable reissue that proves a well-mastered album is essential. Nevertheless, most people these days stream and for that purpose the Hi-Res Lossless Apple Digital Master is interesting.

Where the 2001 remaster is mastered too hot, the Apple Music streamed edition is a little too reserved. For instance, Aerosmith’s trademark cowbell positively rings through your soul on the 2001 remaster whereas it is somewhat lost in the soundstage on the streamed version. Some may suggest using tone controls to dial back the 2001 remaster but the fatigue is still present as the entire recording is brickwalled. Similarly, because of the mastering style, the shimmer of the high notes from the Apple Music stream is somewhat lost. Think of it this way, the Apple Digital Master is akin to what one may have heard had they turned on Dolby Noise Reduction in the Compact Cassette days as it reins in the treble range.

As to which release I prefer, I have to say that it’s the Apple Music stream for despite owning the 2001 remaster, that version is too fatiguing to thoroughly enjoy. Plus, it’s Aerosmith, you should want to turn the volume up, not down, and the Apple Music stream allows us rockers to do just that.

Young Lust opens the album with a high-octane tune full of raw energy that sets the tone with its driving guitars, rhythmic drumming, and bass performance as well as Steven Tyler's unmistakable vocal prowess.

F.I.N.E. as an acronym for “Fucked Up, Insecure, Neurotic, and Emotional” is bloody brilliant! The energetic pace, infectious riffs, and catchy chorus ensure that this playful number is not only a standout but an anthem-worthy tune.

Going Down / Love In An Elevator is one of the album's most famous tracks, combining a funky groove with rock sensibilities. The escapades in an elevator add a cheeky and memorable structure to the song's dynamic approach that keeps it engaging throughout. At its core, however, Love In An Elevator is a solid blues-based rock and roll tune that is a forerunner to Aerosmith’s Livin’ On The Edge from 1993’s Get A Grip.

Monkey On My Back is brilliantly distorted with gritty guitar work and a compellingly addictive rhythm that will see you head-bopping and toe-tapping throughout.

Water Song / Janie’s Got A Gun is an incredibly powerful song and another highlight from the album. Tyler’s vocals are particularly strong on this socially conscious tune that addresses issues of abuse and revenge. Perhaps the most appealing aspect of this song is that it can be appreciated for both its lyrical intent and musicality.

Dulcimer Stomp / The Other Side has an upbeat and infectious nature that’s hard to resist. The Dulcimer Stomp portion of the song provides the perfect segue into The Other Side; a song that is quintessentially, Aerosmith.

My Girl has a bluesy rock twist that, despite being modern, feels as though it could have been a 50s tune; one that would have set many a dance floor alight.

Don’t Get Mad, Get Even has one of the greatest didgeridoo performances, thanks to Randy Raine-Reusch, that has ever been recorded outside of the Indigenous Australian music scene. With a swaggering rhythm and sense of defiance, Don’t Get Mad, Get Even is a killer tune and is somewhat of a hidden gem for if you’re not familiar with Pump, you may have overlooked this masterpiece.

Hoodoo / Voodoo Medicine Man is a darker more experimental tune that features complex instrumentation and an eerie atmosphere. While it may very well shift the style of the album, especially as it applies to the introduction, the brooding intensity stands out as a unique element that envelops your soul and doesn’t let go until the final note.

What It Takes will appeal to fans who have been captivated by songs like I Don’t Want To Miss A Thing. Aerosmith's ability to blend emotional depth with rock balladry knows few peers and as a closing tune, it encourages me to play the album again. Plus, as it pertains to Aerosmith’s ballads, What It Takes is one of their best. One aspect, however, that I wish to lament about is Randy Raine-Reusch’s closing instrumental ‘Hidden Track’. I’ve never been a fan of hidden songs and while I’ve got used to hearing it on the back end of What It Takes, I simultaneously wouldn’t object to it being removed as I feel it detracts from an otherwise exceptional song and album.

Overall, Pump stands as one of Aerosmith's defining albums, representing a peak in their late 80s and early 90s career resurgence. Its blend of hard rock, blues, and ballads, combined with a polished production and memorable songwriting, make it a highlight in the band's discography. It is most certainly one of their very best.

Check out more Aerosmith reviews by Subjective Sounds

Alice Cooper – Welcome To My Nightmare (Album Review)

There are classics and then there is Welcome To My Nightmare. Going solo, after the official disbandment of the Alice Cooper Band, Cooper would return with a debut solo album that not only built upon his previous successes but also took his musicality to new and unexpected heights. While it was familiar, yet different, Welcome To My Nightmare delves into the dark and twisted recesses of Cooper's imagination, taking listeners on a journey through the nightmares of a troubled mind. As far as concept albums go, this is amongst the greatest and stands as a cornerstone in the history of rock music.

While one of the most appealing aspects of Welcome To My Nightmare is its story-driven approach, you need not worry if you’re not interested in that style of album for I’m sure Steven, the album’s protagonist, won’t mind as the songs are exceptional in their own right. From the haunting opening track, to the chilling finale, this album immerses listeners in a theatrically surreal world filled with macabre imagery and unsettling melodies that will leave a lasting impression for it is nothing short of a musical masterpiece.

Being a master storyteller is but one part of Cooper’s musical skill, for his ability to deliver emotive vocals, alongside poignant lyrics, is profound and elevates his music to another level entirely. Welcome To My Nightmare, along with so many of Cooper’s solo albums, pushed the boundaries of what was possible with music and the album format and while we’ll take a look at the songs that make up this incredible release, I dare say that it is best heard in its linear structure for it’s a textbook example of how to write, record, and release a concept album.

While the music is one aspect, the record's iconic cover art perfectly encapsulates the album's theatrical spectacle. Drew Struzan’s illustrations pop off the canvas and as much as it can be appreciated on the smaller screen of a smartphone, this is an album cover worthy of vinyl ownership. Speaking of which, I’ve been fortunate to own the 2018 Limited Purple Vinyl Edition; a visually stunning and thoroughly enjoyable reissue with a relatively low noise floor and a rich dynamically charged sound stage that has plenty of clarity, oomph, and analogue warmth to captivate most music lovers. However, is it the final word in sonic quality for this classic album? That is, naturally, subjective and while I’m aware of the Analogue Productions reissue and respect what Chad Kassem and his team do with their remasters, as I own quite a few, I am growing weary of 45rpm releases.

Granted, I acknowledge that the entire Atlantic 75 Audiophile Series is being delivered exclusively on 45rpm 180-gram heavyweight vinyl, as well as Hybrid SACD releases, but with an album such as this one, the flow naturally suffers from being placed across four sides rather than two. For instance, Years Ago flows nicely into Steven but these songs are separated on Sides 3 and 4. Perhaps I’m being pedantic as I can see how a separation here would be appropriate, but after so many years of hearing this album in its original sequencing, I fear it would detract from the flow of the album.

Additionally, I strongly believe that if a mastering job is done properly, the benefits are also noticeable when released at 33rpm. For instance, as incredible as the Analogue Productions edition of Aaron Neville’s Warm Your Heart is at 45rpm, the Acoustic Sounds Series (also supervised by Chad Kassem) of Nina Simone’s I Put A Spell On You at 33.3rpm is every bit the aforementioned contemporary, once the recordings differences are taken into account, and it’s simply extraordinary.

Given all the praise I’ve seen directed at the Atlantic 75 Audiophile Series reissue, I really should pick up a copy, but it still amazes me that these releases are exclusive and limited. If they are the very best that these albums have ever sounded, and I have no reason (based on my own experience) to suggest otherwise, then why don’t they become the definitive standard henceforth; on every format, future release, and digital delivery platform? I don’t know about you, dear reader, but I feel it’s gatekeeping at its finest and unnecessarily feeds the FOMO attitude that is prevalent within music-collecting circles.

Turning our attention to the lossless Apple Music stream and what we’re presented with is the same mastering as that available on the standard CD counterpart. It’s a solid facsimile, with adequate dynamics and detail, but it’s also a little underwhelming and brittle, particularly in the treble range. Yes, EQ settings can address some of these shortcomings, but if a better master were available, such as the most recent reissue, we wouldn’t need to make these accommodations.

Welcome To My Nightmare serves as an ideal ominous introduction to the album’s central theme with eerie effects and haunting vocals. It’s surreal and is one of those songs that builds masterfully as it progresses. Additionally, the soundstage is immersive and by the time the brass instrumentation enters the mix, you’ll be in sonic heaven. Welcome To My Nightmare is, subsequently, a killer 70s tune, embracing various aspects of funk, jazz, and disco.

Devil’s Food is interesting in its delay to get started following the quiet final moments of Welcome To My Nightmare. It may be a minor aspect, but it’s a technique that I wish was applied more as it allows the senses a moment to reset. Nevertheless, Devil’s Food continues the dark and brooding atmosphere that flourishes when Vincent Price’s role as the curator enters the mix. In many respects, Price’s inclusion shouldn’t work, yet it does and provides an astonishing segue into The Black Widow.

The Black Widow is one of the best songs from the album and perhaps one of the most underrated. With a menacing guitar riff, sinister lyrics, and dramatic delivery, The Black Widow is one of the finest songs from Alice Cooper’s back catalogue.

Some Folks offers a departure from the album’s overall darker musical style by injecting a dose of dark humour with some killer swing, big band, and jazz-inspired elements.

Only Women Bleed is, arguably, Cooper’s greatest musical accomplishment. His emotive vocals and the song’s haunting melody combine to create a powerful ballad that knows few peers.

Department Of Youth aims to be a high-energy anthem that celebrates the rebellious spirit of youth culture, yet it isn’t a standout and I question if the inclusion of The Summerhill Children’s Choir was beneficial or detrimental to my appreciation, or lack thereof, of this tune. Let’s just say that I wouldn’t seek Department Of Youth out, on its own, outside of the concept album structure.

Cold Ethyl is a killer rock tune containing infectious rock riffs and tongue-in-cheek lyrics that create a twisted love song unlike anything else on the album. It’s original, you’ve got to give it that, and Cooper’s theatrical delivery adds a macabre charm to the song’s already gleefully morbid subject matter.   

Years Ago is a perfect interlude-styled haunting ballad that tends to drive anxiety directly into the soul of the listener. Yet, it’s compelling and is one of the best songs from the album.

Steven is one of the record's most ambitious tunes. Not only is the storytelling compelling but every musical aspect is perfectly positioned in the mix. The result is a song that is the sonic equivalent of an Alfred Hitchcock film. It is, without a doubt, one of the greatest Alice Cooper recordings of all time.

The Awakening flows beautifully from Steven and is somewhat of a musical interlude, but it’s a little too short for my liking as I feel it should have been extended. Nevertheless, the atmospheric music and eerie sound effects, merged with Cooper’s extraordinary vocal presentation, ensure that The Awakening is memorable.

Escape is a great closer, but it doesn’t flow as well from The Awakening as the other songs throughout the record have. Yes, there’s a delay between songs, but I’m not sure it’s enough to ignore the shift in style. Despite that aspect, it’s an epic finale that will compel you to play the album again.

Welcome To My Nightmare is not only one of Cooper’s best albums, but it’s one of the greatest records, concept or otherwise, from the 70s; particularly 1975. It really is a triumph of creativity and innovation that pushed the boundaries of the concept album to the very limits of what such a release could achieve. After more than four decades, it remains a timeless classic that continues to captivate and inspire music lovers and Alice Cooper fans alike.

Check out more Alice Cooper reviews by Subjective Sounds

Quiet Riot – Metal Health (Album Review)

Released in 1983, Quiet Riot’s Metal Health is a landmark release within the metal music scene. Delivering a relentless barrage of heavy riffs, thunderous drumming, and explosive vocals, this legendary album not only catapulted the band to mainstream success but also played a pivotal role in bringing heavy metal, and hard rock, to the forefront of the music scene during the early 80s.

While music lovers will contend that it’s all about the music, there is no doubt that the iconic cover art played a crucial role in the album’s success as it perfectly encapsulates the rebellious and energetic spirit of the music within. Plus, music in the early 80s, was still primarily distributed on vinyl, meaning that engaging artwork such as that seen on Metal Health would have stood out from the crowd at any local record store.

Of course, album artwork alone couldn’t secure the multi-million-selling sales success that Quiet Riot experienced with this release, so the music does play a pivotal role. From start to finish you’ll be met with the spectacular guitar riffs of Carlos Cavazo, providing a solid backbone for the album's raw and aggressive sound. The rhythm section, comprised of bassist Rudy Sarzo and drummer Frankie Banali, lays down a foundation of power and precision, driving the music forward with unwavering force. However, perhaps most notable is Kevin DuBrow's vocals for they showcase both power and range. His ability to seamlessly transition from gritty, aggressive delivery to melodic harmonies is stunning and his charismatic presence adds the final layer of intensity that makes Metal Health such a dynamic listening experience. It’s also fair to say that Metal Health is the famed album it is because of each member and musical element for when working in conjunction, they know few peers.

Metal Health may be rooted in heavy metal, but the diversity of musical styles, throughout, also leans towards hard rock and glam metal. The result is that the music offers enough variety that it can be enjoyed by a broad range of music lovers whilst, simultaneously, staying true to its roots.

Turning our attention to the lossless Apple Digital Master, available via Apple Music, it's dynamically charged thereby ensuring that you’ll be rocking out to every song as the soundstage is well-developed and every music element is carefully presented in the mix. 80s metal releases can often be hit and miss, regarding their mastering, Metal Health sounds fantastic via Apple Music. While it may not be the final word in sound quality, as I feel there is a little more of the recording that can be attained from the original master tapes, it certainly is not lacking in bass, treble reach, or dynamics.

Interestingly enough, and this may only apply to music lovers who like to seek out the very best possible releases of their favourite albums, Qobuz has a Hi-Res 24-bit/192 kHz edition of the album. That is in contrast to the lossless 24-bit/44.1 kHz version on Apple Music. As to whether or not you can hear a difference, or if there is indeed a difference to be heard, is highly subjective, but what is frustrating is that there isn’t a single master for music fans to rely upon. For instance, the Apple Music stream lists the album as Remastered, yet the publication date remains as 1983 rather than 2001 (when the last CD remaster was issued). Is the Apple Digital Master a specific remaster? Or is it just derived from the previous remaster?

Qobuz, on the other hand, doesn’t reference their release as remastered and maintains the publishing date as 1983. This is an ongoing issue with streaming and its relationship to the provenance of the recording for the higher-quality edition, on paper, is no guarantee that the album is a much more pleasurable listen. I really don’t understand, and perhaps this is my naivety showing, why there isn’t a singular master that is used for every edition. I understand mastering for vinyl is different to CD etc, but in the case of Apple Music vs Qobuz, you would think that it would be best for both companies to stream the same edition. These variances only manage to frustrate fans who don’t wish to listen to a substandard version of an album they hold dear and near.

Naturally, you can trust your ears and listen to both if you wish, but I’m already experiencing subscription fatigue to the extent that I have no interest in testing alternatives. If I had more disposable income I’d be better off seeking out a physical release that I could add to my permanent collection to ensure a lifetime of enjoyment. That, however, brings up another contentious issue and that’s a case that should I choose to go with a CD reissue, all editions include bonus tracks that impact the flow of the album. Plus, to be completely frank, vinyl in Australia is priced so badly at the moment that most music lovers, myself included, simply can’t afford the ~AUD$60 price tag to attain even our favourite records, with the original sequencing; especially when the CD release is close to a third of the price.

Yes, dear reader, all the above are first-world problems, but music-loving collectors will undoubtedly understand that it’s the little elements that make our collections unique; elements that can be frustrating when the music industry, as a whole, does not share the idealistic perspective that reissues should mimic the original release so that an entirely new audience can experience Metal Health as if it were 1983 all over again.

Metal Health (Bang Your Head) kicks the album off with its anthemic title track. Featuring heavy guitar riffs, pounding drums, and DuBrow's powerful vocals, the song's energetic and rebellious spirit became a defining anthem for the era and headbangers everywhere.

Cum On Feel The Noize is the only cover song on Metal Health and as solid as Slade’s original is, Quiet Riot mastered it and made it their own.  The song's catchy chorus and heavier edge propelled the song to mainstream success and has become a quintessential part of 80s hard rock.

Don't Wanna Let You Go slows down the tempo somewhat and showcases Quiet Riot’s ability to balance heavy hitters with melodic numbers. Don't Wanna Let You Go is, most certainly, an album-only tune and is a little weak, particularly when contrasted against the other songs from the album. However, after all these years, I couldn’t imagine listening to Metal Health sans Don't Wanna Let You Go.

Slick Black Cadillac with its driving rhythm, gritty vocals, and overall raw intensity, returns the album to its high-octane, hard-hitting, style that will appeal to headbangers the world over.

Love's A Bitch flows seamlessly from Slick Black Cadillac and is an absolute masterpiece. Love's A Bitch really should have been released as a single for it’s one of the very best songs on Metal Health and one of the greatest hard rock songs of not only the 80s, but of all time. With a blend of heavy guitar riffs, a brooding atmosphere, and DuBrow’s impressive vocal range, you’ll find yourself turning up the volume, if you haven’t already, while rocking along to that addictively good chorus with your air guitar in hand.

Breathless is a killer tune with a relentless energetic pace and pulsating rhythm section, along with some incredible vocals.

Run For Cover maintains the high-energy aggressive momentum. It’s a solid track, nothing to write home about, but every song on an album need not be a hit for the album to be exceptional.

Battle Axe is a purely instrumental number that presents us with a masterful guitar solo, thereby adding variety to the album while maintaining the record’s overall energy.

Let's Get Crazy flows perfectly from Battle Axe with its high-energy riff-driven approach that makes this tune one of the very best songs from the record and an ideal B-side that could have been a chart-topper under the right circumstances.

Thunderbird is a beautiful way to close the album, paying tribute to the late Randy Rhoads (Quiet Riot’s original guitarist). As a ballad, it showcases a different side of the band, highlighting their ability to deliver emotionally charged and heartfelt compositions. However, more importantly, it allows for contemplation while simultaneously encouraging repeat plays of the album.

Quiet Riot's Metal Health not only helped to define a genre but also left an indelible mark on the history of heavy metal, hard rock, and glam metal. Its raw energy, memorable hooks, and rebellious spirit make it a timeless classic that continues to resonate with metal fans across generations. Whether you're a seasoned metalhead or a newcomer to the genre, Metal Health is an essential listen.

Check out more reviews by Subjective Sounds

Night Ranger – Midnight Madness (Album Review)

Released in 1983, Night Ranger's Midnight Madness stands as the quintessential rock album that captures the essence of the era with its dynamic sound, memorable melodies, and impressive musicianship. Add to that a remarkable selection of songs, with a polished production that allows the band’s collective talent to shine through, and you’ve got one of the very best hard rock albums of the 80s.

While most people would know Night Ranger from their highly successful song Sister Christian, it’s fair to say that this accompanying album has flown under the radar, thereby making it a hidden gem within the annals of hard rock music history. If, however, you give Midnight Madness a chance, you’ll find a perfectly sequenced record without a hint of a B-side to be found.

As strong as the album is, and while I applaud the production, there is one aspect that I find to be a little lacklustre. The mastering of Midnight Madness has clarity, and enough detail, but it borderlines on being a little lifeless. Granted, the current streaming editions are the CD-counterpart releases, but if you’re looking for a bombastic rock and roll concert, in your home, you’ll likely be a little disappointed as the lossless Apple Music stream is lovely, especially when pumping the volume, but it simply doesn’t have the mid to low-end oomph that I believe this album deserves.

It isn’t only the stream that sounds a little too clinical and cold for my tastes as the MCA Records CD (MCAD-31160) release, that I was fortunate to have owned, also suffered from the same mastering technique. While there is a new 2023 remaster, from Rock Candy Records (on CD only), I’ve yet to hear that edition so I can’t comment on how it may compare. Nevertheless, it’s great to see that this classic album is getting reissued and if only we could have a mainstream vinyl reissue, I’d be thoroughly pleased because I feel the warmth (distortion) that is inherent in the vinyl format would help to smooth out some of the focus on the treble range that exists within the current streaming edition. Yes, I’m aware of the 2021 French vinyl reissue (limited to 1,000 copies) and despite having not heard it, I haven’t heard any reports, good or bad, regarding the sonic quality of that release either.

No doubt there are those of you who are thinking why not just adjust the tone controls or EQ settings and that most certainly can, and has, been done. The bigger concern is that more and more modern setups are lacking in this basic ability for the music lover to easily tweak the sonic signature to their subjective tastes. Hence, a flat transfer from an original master isn’t always the best approach as first impressions last and if an album isn’t presented in a manner that a modern music listener would be expecting, they may very well decide to skip what is otherwise an exceptional album. For us old timers, the currently available stream is reminiscent of early CD mastering efforts, in the 80s, and if you weren’t a fan of that sound then, you’re likely not going to be pleased with this particular version. However, as I mentioned earlier, if you pump the volume you’ll be met with pleasant results, that aren’t fatiguing, but still need work nonetheless. That all said, Midnight Madness really is all about the music, so let’s take a look at the songs that make up this classic release.

(You Can Still) Rock In America is a classic 80s anthemic powerhouse that kicks off the album with a bang. With its energetic riffs (including a killer guitar solo), infectious chorus, and driving rhythm section, (You Can Still) Rock in America is one of the many hidden gems from Night Ranger.

Rumours In The Air takes us sonically on a slight detour and that atmospheric opening would have been perfect had Rumours In The Air been chosen as the opening track. Nevertheless, as I mentioned earlier, I thoroughly appreciate the chosen sequencing and Rumours In The Air keeps the energy flowing with a fantastically addictive chorus and masterful bridge between chorus and verse. And, yes, there’s another soaring guitar solo to thoroughly enjoy.

Why Does Love Have To Change further demonstrates Night Ranger’s versatility for it may be rock and roll but it’s the variances within the genre that showcase just how exceptional these San Francisco rockers are. You’ll immediately connect with the driving rhythm and will be emotionally moved if not through the music, then via the lyrical depth. Plus, there’s even a little Brian May (of Queen) influence to be heard throughout, particularly in the solo, thereby making this tune nothing short of sensational.

Sister Christian needs no introduction. It is a masterpiece, in every sense of the word, and is one song that should be on every 80s playlist; I could, and have been known to, listen to it on repeat for hours at a time. Yes, it’s a ballad and I know some of you detest them, I just don’t share that viewpoint as I love them and Sister Christian is subsequently one of the greatest ever recorded. The gradual build-up, combined with a memorable keyboard melody, culminates in a timeless power ballad that is a true testament to Kelly Keagy’s musical prowess as he not only played the drums magnificently but wrote the song and took on lead vocal duties.

Touch Of Madness has a quirky introduction that works, yet I believe the song would have been just as impressive without it. Despite that, Touch Of Madness, with its upbeat tempo, catchy hooks, and core rock energy is an incredible album-only tune that’s easy to rock out to.

Passion Play takes a more subdued approach, particularly with regard to the introduction, with a mid-tempo groove that results in another exceptional album-only tune. Add to that the carefully crafted arrangements, with a meticulously textured sound, and you’ve got a song that aligns perfectly with the flow of the record.

When You Close Your Eyes is radio-friendly melodic rock at its very best. Yes, it’s a little campy, particularly in the chorus, but it’s such a good song that I look past that aspect and enjoy it for what it is.

Chippin’ Away returns the album to a more rocking vibe that features dynamic guitar work and a driving rhythm section. Yes, it’s 80s-driven rock, but it’s some of the very best ever recorded so don’t let these album-only tunes elude you, for they’re something special and in many cases match, or exceed, the singles that were released. Songs such as Chippin’ Away are what make the album experience so enjoyable for the hits are great, but it’s the quality of the album-only songs that make or break an album experience.

Let Him Run is a semi-acoustic marvel. As a closing track Let Him Run really shouldn’t work, but it does. I say it shouldn’t work because throughout the entire song you’re waiting for the non-acoustic element to kick in, a big rock opera if you will, yet it never does. It subsequently makes you feel as though something is missing and therefore permits reflective contemplation whilst also encouraging you to spin the record again.

Midnight Madness is a seminal work in the realm of 80s rock, delivering a balanced blend of anthemic rockers and heartfelt ballads. Its timeless appeal makes it a must-listen for fans of classic rock and whether you're a seasoned rock enthusiast or a newcomer to the genre, Midnight Madness remains a captivating journey that will have you hooked from the very first note to the last.

Check out more reviews by Subjective Sounds

Blue Öyster Cult – The Revolution By Night (Album Review)

By the time The Revolution By Night was released in 1983, Blue Öyster Cult was already highly successful, but in order to stay relevant to the times the band took their music in a new direction with this release. Gone, somewhat, is the multi-layered and high production value of their 70s output and while this album may not be as stylish as those that have come before, Blue Öyster Cult actively carved out a new direction for their music, experimenting with various styles, adopting contemporary trends, while simultaneously retaining some of their signature sound. It’s fair to say that Blue Öyster Cult had never quite sounded as mainstream as they do on this album, but if we weren’t to compare this release to their storied output, I’ve no doubt you’ll find yourself captivated by an incredible hard rock album that’s difficult to ignore.

While The Revolution By Night failed to be successful, by any metric, it doesn’t change the fact that the album is not only an exceptional Blue Öyster Cult release, but it’s also one of the best albums from 1983. Granted, there isn’t a standout hit to be found but as someone who appreciates the linear album structure, the lack of hit songs isn’t a primary motivator as there’s an undeniable cohesion, within the album’s sequencing, that I thoroughly appreciate. As to why the album failed to achieve even modest success, that’s anybody’s guess, but one can point to the somewhat mundane album artwork. Yes, MTV was all the rage in 1983, but just as mainstream networks still shun rock and roll, for the most part, Blue Öyster Cult would have received minimal to no coverage on that network. As a result, album covers still influenced music buyers, when they visited record stores, and let’s just say that The Revolution By Night isn’t memorable and certainly wouldn’t have stood out.

Turning our attention to the sonic quality of the album and the lossless Apple Music stream, an Apple Digital Master, is quite enjoyable to listen to. It isn’t, however, the final word in sonic quality for this album. Some moments are lovely and spacious while at other times you’ll experience crunching cymbals, a shallower soundstage, and a lack of instrumental separation. That all said, it’s still an entertaining listen and it’s moments like this that we have to acknowledge that we’re lucky to have such a solid release considering how poorly the album performed commercially. It’s, subsequently, highly unlikely that we’ll see a proper remaster of The Revolution By Night. Never say never, of course, but unless a career-spanning albums box set were to be released, it is highly improbable. Even then, all that we may receive is a reissuing of the existing mastering and end up with no sonic improvements. At any rate, the stream is more than satisfactory and as we all know, it is all about the music so let’s explore the songs that make up this highly underrated release.

Take Me Away launches the album with a burst of energy and does an excellent job of setting the tone for the entire record. The driving guitar riffs and rhythmic backbone ensure that you’ll not only be captivated but you’ll be drawn to the catchy chorus that is highly reminiscent of the radio-friendly production trends of the early 80s.

Eyes On Fire is simply magnificent and while the focus is still on a solid rock performance, Eyes On Fire harks back to the 70s era Blue Öyster Cult. It’s subsequently fresh and perfectly suited to the era. Yes, purists may suggest that Eyes On Fire is too pedestrian, and perhaps that is true when comparing this song against their back catalogue, but I’ll be damned if this isn’t one of the best songs Blue Öyster Cult ever recorded.

Shooting Shark shifts the tone of the album to a synthesizer-heavy focus with pop-rock elements; a style that was perfectly suited to the era. While it was never going to be a standout, it’s a sensational album-only track, with some killer guitar licks, that explores the band’s willingness to experiment.

Veins returns the styling to that of a more traditional hard rock sound, featuring driving rhythms and dynamic guitar work with a vocal presentation that creates a sense of urgency. Veins, while not a standout, is a thoroughly enjoyable album-only tune with, again, some killer guitar licks.

Shadow Of California is an incredible rock track with evocative lyrics and a dynamic musical arrangement. As to why it wasn’t released as a single is anybody’s guess, but this is a driving rocker that would have rocketed to the top of the charts had it been released.

Feel The Thunder borders on the psychedelic, particularly during the introduction, but it quickly shifts to being a more straightforward rock song; a shame for those who were hoping that Feel The Thunder would hark back to Blue Öyster Cult’s 70s-era output. Nevertheless, it’s a solid tune that works well within the album’s linear structure.

Let Go introduces a bluesy and groove-oriented vibe to the album and while it’s a solid song, it’s a little too teeny-bopper to be considered a true Blue Öyster Cult tune; especially given their illustrious 70s era recordings.

Dragon Lady features energetic guitar riffs and a driving tempo that returns us to the band’s hard rock styling whilst still ensuring they remained relevant to the era in which this album was released.

Light Years Of Love features a dreamy atmosphere and is a magnificent synth-driven ballad that is most certainly a highlight from the record. It’s a fantastic closer that allows for contemplation and encourages me to play the album again.

The Revolution By Night stands as a testament to Blue Öyster Cult's resilience and adaptability in the ever-changing rock music landscape. While it may not be considered a classic, on par with some of their earlier albums, it remains one of their best and is severely underrated. From hard rock anthems to atmospheric ballads, The Revolution By Night is 100% Blue Öyster Cult for despite their experimentation, their core identity is maintained, thereby making it a compelling and dynamic addition to their extensive discography.

Check out more Blue Öyster Cult reviews by Subjective Sounds