Diamond Head – Borrowed Time (Album Review)

Diamond Head's 1982 studio album, Borrowed Time, stands as a pivotal release in the band's discography, for it’s a musical masterpiece that further cemented their enduring legacy and influence on the metal genre; despite a shift towards more mellow compositions. While their unique blend of New Wave and British Heavy Metal resulted in Diamond Head being a core influence to the likes of Metallica, commercial success was sadly not achieved. However, as music lovers know only too well, what is successful with the masses is seldom representative of the greatest music ever recorded. 

Given the early 80s was still dominated by the vinyl record, as the predominant format of the era, it amazes me that the album didn’t see more success, for who wouldn’t have wanted to have that incredible artwork on display in their homes? Rodney Matthews certainly created a magnificent piece of visual art; one that is perfectly aligned with the music contained within and it is as fresh today as it was when first released.  

Sonically, while the band is in fine form, Borrowed Time could do with a remaster. I know, remasters are a dirty word when it comes to classic albums, but the lossless Apple Music stream, a direct counterpart to the current CD releases, is a little thin. You may need to adjust the EQ levels in order to increase the bass in both the low and midrange. Doing so gives Borrowed Time a greater sense of presence. Some fans may not be fussed by this aspect, and while EQ can indeed address some of the elements, the modern EQ settings are an all-or-nothing approach and if you don’t have access to a manual equaliser, you’ll likely agree that a remaster, by a skilled engineer, would be a better approach. That said, it’s a minor quibble and Borrowed Time is so good that I can usually look past this aspect and thoroughly enjoy the music; a selection of songs that when combined in the album format result in one of the greatest hidden gems the metal industry has ever known. 

In The Heat Of The Night opens the album with Diamond Head’s signature rhythmic heavy metal sound, killer riffs, and incredible vocals by Sean Harris. Ultimately, it’s one of Diamond Head’s greatest tunes; of course, that could be said about nearly all of the songs from Borrowed Time. 

To Heaven From Hell flows seamlessly and continues the driving rhythm while slightly increasing the aggression of the guitar riffs. The bass tracking by Colin Kimberley is fantastic, even if it is a little concealed in the mix. One thing that you’ll notice immediately is the sing-along nature of the song, for you won’t be able to help but sing along to the song’s chorus. 

Call Me is one of the greatest songs ever recorded in all of music history. If you were singing along to To Heaven From Hell, you’ll be chanting Call Me as the catchy chorus demands interaction. Harris shines even further on lead vocal, but so does the entire production as the melodic styling, coupled with the soaring musicality, ensures Call Me is nothing less than a masterpiece. 

Lightning To The Nations appeared on Diamond Head's debut album Lightning To The Nations but as solid as that original recording is, I much prefer the spit and polish that has been applied to the version on Borrowed Time. It’s simply more powerful and polished when compared to the original recording. The result is that this version sounds optimal while the original has always been closer to a demo than a fully-fledged recording.

Borrowed Time has a slightly darker tone, but that bass performance is exceptional and can be heard as an influence throughout Metallica’s first three records. Yes, dear reader, I adore the bass guitar and when it features prominently, especially as a buildup to a song, there’s nothing better.

Don't You Ever Leave Me is, arguably, the only B-side to be heard on this remarkable album. That isn’t a bad thing for it’s a solid and thoroughly enjoyable tune. What is lacking here, however, is a driving rhythm. Yes, it’s a slower-paced tune that showcases Diamond Head’s versatility as musicians, but I’d argue the tempo, and the length of the song, is the core reason why it’s not a standout. That said, that guitar and intertwining bass solo mid-song is a highlight. Hence, as I alluded to earlier, B-sides and album-only tunes aren’t always a bad thing for they offer further insight into the musicianship of an artist and quite frankly, every song need not be a hit for the album to be extraordinary. 

Am I Evil? is one of Diamond Head’s most recognisable tunes and it certainly helps when Metallica covered, and continues to perform, this classic. Metallica's rendition, as I previously declared, was bloody brilliant and if Satan has a playlist, this song would most certainly be on it. That statement can easily expand to this edition of the song and while it originally appeared on Diamond Head’s debut, Lightning To The Nations, I find myself continually gravitating towards this version on Borrowed Time as I simply prefer their second album. That said, if you’re after a rawer, more demo-styled, interpretation, the original has you covered. With a dark and brooding atmosphere, combined with truly captivating performances, Am I Evil? is not only a perfect closer, but it will encourage you to play Borrowed Time, time and time again for this is one album that can be seldom listened to only once. 

Borrowed Time, ultimately, is not only one of Diamond Head’s greatest releases, it's one of the best metal albums of all time. With a diverse range of tracks, showcasing the band’s musical prowess, this is classic metal at its very best. It really is a shame that this album didn’t receive the recognition from music lovers that it deserves, but thanks to their peers’ latching onto the album as inspiration, and covering a number of their tunes, we’re incredibly fortunate to still be able to appreciate Borrowed Time; even if it remains a niche release in music history. Of course, dear reader, if we share it as I have done here, then new listeners will be able to experience the music we know and love. So don’t be shy. Share this album with anyone who appreciates music for it may be metal-focused but Call Me, amongst others, will appeal to just about any music lover.  

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Cold Chisel – Circus Animals (Album Review)

An Australian masterpiece ruined by remastering! 

Yes, dear reader, Circus Animals is, without a doubt, one of the greatest Australian releases of the 80s, but the 2011 remastered edition makes me want to stop playing the album in disgust. Seriously, it sounds as if the life has been sucked out of the recording. The energy is gone. Barnsey might as well be a pop star from the 60s as much of his vocal grittiness is missing and the entire remastered album sounds so shallow that I’m not sensing a soundstage beyond my speakers. There’s certainly no room-filling sound that ensures their pub-rock legacy is maintained.

Adding insult to injury, Circus Animals is presented as an Apple Digital Master; proving that mastering matters far more than the delivery method for the Apple Digital Master process usually brings out the very best in the recording. Not this time! 

I’d turn to Qobuz, but the same mastering can be found there as well, meaning that to fully enjoy this album, I’m going to have to seek out one of the initial vinyl editions, or a pre-remastered CD. While many readers would likely declare that this should have been my first act before penning a review, think for a moment of the new fans, perhaps experiencing Cold Chisel for the very first time, and then suggest to them that they should go and get a beaten up original pressing because the record label, band, and mastering engineer had to reduce the dynamic range, increase the loudness of the recording, thereby making it more fatiguing to listen to. 

I just hope that in their infinite wisdom, someone kept, under lock and key, the original first-generation mastering tapes for a future reissue when this type of mastering style comes to an end. 

Yes, dear reader, I’ve reflected on the negative thus far but I’ll try to refocus my attention to the music itself for it is truly iconic and deserves to be celebrated nonetheless.

Released in 1982, Circus Animals, Cold Chisel’s fourth studio album, would not only top the charts but would deliver a slew of instant classics. Showcasing Chisel at the height of their creativity, Circus Animals perfectly blends the band’s raw energy, poignant lyrics, and a diverse musical palette while featuring one of the most remarkable ballads ever recorded; When The War Is Over. Of course, Circus Animals is far more than a singular song, so join me as I take a look at the individual songs that make up this landmark release.

You Got Nothing I Want is about as raw as Australian rock and roll gets. The song's catchy chorus, coupled with Barnes' powerhouse vocals, sets a rebellious tone, with a defiant and energetic rhythm, that establishes the album's overall attitude.

Bow River is a blues-infused rock masterpiece. It’s a shame that the mastering is lacklustre because this is not only one of the greatest songs Cold Chisel ever recorded, but it deserves to be turned up to 11 without the dreaded listening fatigue entering the equation.

Forever Now has a beautiful melody and arrangement and while some may prefer Chisel’s harder-hitting hits, Forever Now is an incredible ballad-styled tuned with a sing-a-long chorus that is simply captivating.

Taipan introduces a more experimental and atmospheric sound. The instrumental interplay, tribal rhythm, and dynamic shifts in this track showcase the band's musical dexterity, adding a layer of complexity to the album, thereby demonstrating why they are so revered.

Houndog might well be an album-only tune, but don’t let that deter you as this gritty bluesy number, with its driving rhythm, is exceptional.

Wild Colonial Boy is a solid tune, but while the combination of acoustic and electric elements is appealing, I’d argue that the song is too focused on the storytelling aspects. Granted, some people appreciate music for its literal interpretation, but as someone who considers the human vocal as an instrument in the mix, rather than a storytelling device, I find Wild Colonial Boy to be somewhat disjointed. 

No Good For You is a straightforward rock track and hidden gem. The guitar-driven arrangement and Barnes' commanding vocals, along with the backing vocals, are a perfect addition to the album as it has an infectious quality that will stay with you long after the album has ended. 

Numbers Fall has a killer synthetic entrance that morphs into a low-toned gritty bluesy masterpiece. With a blend of rock and new wave influences, Chisel further showcased their willingness to experiment with their sound ensuring that Numbers Fall sounds familiar, yet unique. 

When The War Is Over is, without doubt, one of the best songs ever written and recorded, by anyone, anywhere. Cold Chisel doesn’t get much better than this! Although, John Farnham’s rendition is spectacular. 

Letter To Alan is a fantastic closer that will encourage you to listen to Circus Animals again, but I’d suggest that When The War Is Over would have been a stronger closer. 

Remastering issues aside, Circus Animals is a masterful display of the band's musical prowess and artistic depth. While many consider this album to be Chisel’s greatest, perhaps only ever challenged for that position by East, I find that I would have to agree with that perspective for it is primarily hit after hit and plays like a Greatest Hits release, rather than a standard album. From the powerful vocals to the skilful instrumentation and thought-provoking lyrics, this album stands as a testament to Cold Chisel's status as one of Australia's most iconic rock bands. They certainly broke the mould when they chiselled out this masterpiece. 

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Alabama – Mountain Music (Album Review)

Released in 1982, Mountain Music solidified Alabama's status as one of the leading forces in the country music scene during the 1980s. With a unique fusion of country and southern rock, with a touch of pop, Mountain Music marked a significant moment in the band’s career and today still stands as one of their greatest releases. 

Alabama's musicianship is on full display throughout Mountain Music, due to the band's tight instrumentation and harmonious vocals that contribute to the album's cohesiveness. Despite being out-of-print for decades, the Hi-Res Lossless Apple Music stream, an Apple Digital Master, has been made available by Sony Music and it’s quite lovely. However, I wouldn’t call it the final word in quality as I feel there is still room for improvement. Don’t get me wrong, the stream is solid but it just doesn’t sound as impactful as I believe it could and I’d love to see it in the hands of a well-respected mastering engineer. Admittedly, I haven’t had the good fortune of hearing Mountain Music via any other format and it may well be a case whereby this was simply how the album was recorded. Nevertheless, a slight adjustment to your EQ settings may be advised for this release to bring it closer to your subjective expectations.

While the sonic presentation is sufficient, an interesting difference appears when you look at the history of the album’s releases via Discogs. You’ll note on every listed format that the album artwork is considerably different to the modern streaming counterpart as the cover art no longer displays the flag of the Confederate States of America, instead opting for the current state flag of Alabama. Further investigation into this informed this Australian writer of the symbolism that the Confederate flag represents and while I can fully understand the artwork shift, I truly believe that it should remain unaltered with a further information statement to help educate, especially those of us outside of the United States, or within historical circles, as to why the album is no longer showcasing that particular flag. I suggest this merely because I feel it is essential that we learn from the past, rather than filter, delete, and then pretend it never existed.

Nevertheless, the music has remained unscathed and music lovers, the world over, can thankfully still appreciate Mountain Music, for it is a superb record that is amongst the best albums released in 1982. 

Mountain Music is a great opener. A truly epic song. However, that spoken introduction has always been a distractive element and I would much have preferred it if they would have omitted it, as they did for the single edit, as it would have been a far stronger way to launch the album. Still, once you get past that aspect, the catchy melody, infectious energy, and perfect blend of traditional country and rock elements set the tone for the entire album.

Close Enough To Perfect slows down the tempo with this poignant ballad. Randy Owen’s vocals add depth to the narrative of love and imperfection, making it a standout track on the album and one of the loveliest songs from the era.

Words At Twenty Paces is an incredible tune. That introduction is masterful, as is Owen’s vocal delivery, and the storytelling nature of the lyrics. Add to that the lively instrumentation that adds a playful element to the album and you’ve got a tune that all music lovers will thoroughly enjoy. 

Changes Comin' On flows beautifully from Words At Twenty Paces and it’s these smooth transitions that truly make Mountain Music an album experience. Of course, it helps if the song is as masterfully performed as this one is for Changes Comin' On is a hidden gem and one of the greatest songs Alabama ever recorded. Masterpiece is a grossly overused word, even here at Subjective Sounds, but when music is this perfect, no other word quite explains the audible experience as well as masterpiece does.

Green River is a thoroughly enjoyable Creedence Clearwater Revival (CCR) cover, but let’s be honest in saying that no one can perform this song as well as CCR themselves. As solid as Jeff Cook’s vocal delivery is, he’s no John Fogerty.  

Take Me Down is a lovely country-twanged tune that will have you toe-tapping from the very first note. 

You Turn Me On is sonically magnificent. Seriously, you’ll want to turn the volume up on this softer country tune as Owen’s vocal is stunning and the musical elements are hypnotic. I do, however, feel that the song would have been best served if Alabama had omitted the spoken word lyrics as they are a little distracting and not quite Barry White-level smooth. 

Never Be One is a song that would have resonated with a broader audience, and likely been a hit, had it been released as a single. Still, as an album-only tune, it’s a beautiful piece of music; until the closing moments that is. Yes, it’s cute, adorable even, but it detracts from the song and Teddy Gentry’s incredible vocal presentation. 

Lovin' You Is Killin' Me is a mid-tempo track that combines elements of country and rock. The song's catchy chorus and relatable lyrics make it an engaging addition to the album, showcasing Alabama's ability to balance fun and sincerity.

Gonna Have A Party continues the fun aspect and is a compelling closer that will get you toe-tapping, head-bopping, and excited to play the album again. Ultimately, the song lives up to its title, with infectious enthusiasm and a lively performance from the band.

In conclusion, Alabama's 1982 album Mountain Music is a timeless classic that continues to resonate with country music enthusiasts. Its blend of country, southern rock, and heartfelt ballads, with a touch of pop, solidifies its place as one of the best country music albums in all of recorded music history. Whether you're a fan of classic country-styled music, or not, Mountain Music is a must-listen and represents the very best of Alabama's musical legacy.

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Willie Nelson – Always On My Mind (Album Review)

Released in 1982, Always On My Mind is a further testament to the enduring artistry and musical prowess of Willie Nelson. Released at a pivotal junction in Nelson's career, this album showcases his distinctive blend of country, pop, and folk influences, cementing his status as a genre-defying artist. While Always On My Mind isn’t a traditional covers album as it includes a mix of original compositions and covers, I often associate it closely with his 1978 masterpiece Stardust, as I find the two albums are somewhat interchangeable, particularly regarding their style and influences. Always On My Mind, however, isn’t quite as spectacular, but it remains one of the very best albums released in 1982. 

Yes, fans of this release may be perturbed by my suggestion that it doesn’t meet, or surpass, Stardust, but a core reason for that position is due to the fadeouts on this particular release. Rather than lengthy gradual reductions, were often met with the fadeout ending abruptly. The result is that the album’s structure loses a little of its fluidity. Other than that, Always On My Mind is beautifully recorded and while I’d argue that the song selection isn’t as strong as Stardust, this album is highly polished with arrangements and a contemporary sound that is not only tastefully done but pays homage to the originals as Nelson's distinctive vocal and expressive guitar playing take centre stage and meld perfectly with the album's rich and textured sonic landscape. 

The Hi-Res Lossless Apple Music stream, an Apple Digital Master sounds perfect in every way; other than the aforementioned issue with the fadeouts, of course. One aspect of the stream that is different to Stardust is that this album is included on Apple Music as a Dolby Atmos stream. The surround mix is intriguing for it adds a further sense of air and separation between musical elements. It’s as if you’re hearing the album for the first time, all over again, and you’ll most certainly hear things that were previously concealed in the stereo mix. 

The problem that exists, and it’s a good one to have, is that I thoroughly appreciate both the surround and stereo mixes. I will likely default to the stereo option as I don’t always have access to my Atmos-compatible system, but one thing is for certain, this is an example of Atmos being implemented respectfully to a classic album that wasn’t recorded with surround sound in mind. It’s refreshing to hear how lush the presentation is for the quality of this particular release is the exception rather than the rule as too many Atmos mixes are being rushed to market without adequate quality control checks. 

The only aspect that doesn’t align with these thoughts is the vocal echo on Do Right Woman, Do Right Man as it's further pronounced via the Atmos mix and can be particularly distracting. That said, join me, dear reader, as we explore the songs that make up Always On My Mind.

Do Right Woman, Do Right Man is a beautiful opener with soulful vocals and a country-infused arrangement, underscoring Nelson's versatility. While no one quite sings it like Aretha Franklin, Nelson has recorded a simply stunning rendition that’s a worthy peer and, in my mind, is my preferred version of this classic tune. 

Always On My Mind is the emotional centrepiece of the album. With its heartfelt lyrics and Nelson's poignant delivery, Always On My Mind isn’t only the perfect album title, but it’s one of the greatest songs Nelson has ever recorded. Yes, Elvis Presley’s is most likely the rendition most people are familiar with but as incredible as that recording is, Nelson does it better.

A Whiter Shade Of Pale further demonstrates Nelson's eclectic musical influences and his ability to make a song his own. Nelson puts his spin on this Procol Harum classic and the result is astonishingly good as he transforms the tune from its core psychedelic rock styling into an idyllic country-tinged ballad. The inclusion of Waylon Jennings offers a lovely contrast, but the song ends far too abruptly for my liking. 

Let It Be Me is a lovely interpretation of the Everly Brothers' classic and is perfectly suited to Nelson.  

Staring Each Other Down shifts the tone of the record and while this is most certainly an album-only tune, it simply doesn’t match the songs that we've heard thus far; a shame considering it’s a lovely song. It just isn’t suited to the album. 

Bridge Over Troubled Water is a rendition of Simon & Garfunkel’s classic that brings a new dimension to the song while paying homage to the original. If nothing else, Nelson’s magnificent vocal delivery on this song is what makes it a true masterpiece for while it is a classic tune, Nelson’s is one of the most impressive covers I’ve ever had the privilege of hearing.

Old Fords And A Natural Stone is a beautiful song. It’s tunes such as this that further cement Nelson as a master musician for he breathes life into the music composed by Bobby Emmons and Chips Moman. 

Permanently Lonely is a sombre ballad, but Nelson's emotive vocals, coupled with the melancholic instrumentation, create a poignant atmosphere that resonates with the listener. I do, however, feel that the backing vocals are a distractive element and I believe the song would have been stronger had they been omitted. That said, when you listen to the original, from the 1968 release Good Times, you’ll be glad that this re-recording was undertaken for it’s a considerable improvement over Nelson's original composition.

Last Thing I Needed First Thing This Morning is a lovely album-only tune but it’s unlikely that you’ll seek this song out on its own; despite being released as a single. It is, however, thoroughly enjoyable when appreciated within the album’s linear structure. 

The Party's Over was, in my opinion, the wrong track to close the album with. Thankfully, whenever I put Always On My Mind on, I never listen to it once but choose to play it on repeat so that aspect is less of an issue. However, if I were to listen to the album a singular time, The Party’s Over doesn’t exactly compel me to play the album again. That all said, the classic country honky-tonk feel is rather enjoyable and as a song on its own, I can certainly see the appeal. It just isn’t a strong closer. While this particular version is a re-recording of the original from Nelson’s 1967 The Party’s Over, I honestly don’t feel either recording is exceptional.

Willie Nelson's Always On My Mind is a lovely album and while it isn’t quite the masterpiece that Stardust is, it further encapsulates the essence of his musical artistry and is another of his timeless releases. The lasting appeal lies in the authenticity of Nelson's delivery, the quality of selected songs, and the seamless blending of genres. Always On My Mind not only reaffirmed Nelson's standing as a country music icon but also contributed to the broader cultural impact of his music; an impact that continues to this very day.

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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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KISS – Creatures Of The Night (Album Review)

Released in 1982, Creatures Of The Night marked a pivotal moment in the storied career of KISS. The band, facing challenges and lineup changes, unleashed an album that not only revitalised their sound but also solidified their status as rock and roll legends. With their last truly epic album being the 1979 release, Dynasty, KISS returned to their hard rock foundations with Creatures Of The Night; a sound that was refreshing at the time and is ultimately timeless even when appreciating the album some four decades after its initial release. 

Part of the appeal is due to the production of the album as Paul Stanley and Gene Simmons, along with co-producer, Michael James Jackson, were able to successfully capture the raw energy of KISS' live performances while maintaining studio precision. The result is a highly polished, yet edgy, production that allows each musical element to shine.  

While there is never any guarantee as to the sonic prowess and stature of remastered releases, the 2022 remaster of Creatures Of The Night is superb. Sure, some will complain that it isn’t as dynamic as the original analogue releases of the album, but in all honesty, it rocks! As such, it’s a fun, lively listen, that I could listen to on repeat for hours on end. 

While the lossless stereo mix is my preferred edition of the album, the Dolby Atmos mix, via Apple Music, is a little muddy in the low end and lacks instrument separation as a result. That said, on some tracks the surround mix does enhance the music, but the question that has to be asked is if it makes the album more compelling. The short answer is: No. The Atmos mix is fuller, less treble-focused, and as such reminds me fondly of the sound that I’d get from high-quality compact cassettes. That, of course, doesn’t mean that I dislike the surround option; anything but, I just find myself gravitating to the stereo mix more often as it simply sounds right.   

Creatures Of The Night serves as a powerful opener, setting the tone with its thunderous drums, blistering guitar riffs, and anthemic vocal delivery by Stanley. 

Saint And Sinner has a swagger about it that becomes infectious. While it’s a run-of-the-mill rock tune, the groove is catchy enough that you’ll find Saint And Sinner quickly becomes an earworm; an unlikely one, but one nonetheless. The guitar work, including Simmon’s bass, is some of the greatest on any KISS recording as it becomes the driving force behind the song.

Keep Me Comin’ is a killer tune that’s KISS 101. With soaring instrumentals throughout, compelling vocals, and an addictive harmonious chorus; what’s not to like? Yes, those who don’t like glam metal may find it to not be to their tastes, but rather than focus on influences and subgenres, I much prefer to rock out to this dose of raw, unbridled rock. 

Rock And Roll Hell is magical! That bass guitar entry is what bass guitar dreams are made of and I’m so glad that Simmons was the lead singer on this tune for it suits his style perfectly and simply wouldn’t have worked if Stanley had been the vocalist. Most interesting, however, is that Bryan Adams co-wrote the song with Simmons and Jim Vallance. While Adams is an accomplished rock star in his own right, he was still in his infancy when this song was written and it’s a masterpiece if there ever was one. 

Danger is fast-paced, adrenaline-fueled, and is one of KISS’ most relentless tracks as it relates to raw intensity. It’s a killer tune that continues to grow on you the more you listen to the album.

I Love It Loud has an interesting fade-out, similarly styled to The Beatles’ Helter Skelter. While it’s a recognised recording technique, and it works exceptionally well, I’m not entirely sure that it was necessary as it doesn’t add anything to the song. Subsequently, I feel it would have been better had this element been omitted, but that doesn’t change the fact that I Love It Loud is a quintessential KISS anthem, with a chanting chorus and thunderous rhythm, that makes it an instant classic.  

I Still Love You slows the tempo as it’s the only power ballad to be included on Creatures Of The Night. While many fans prefer KISS for their pure rock numbers, I must admit that I love a good power ballad and this is no exception for it not only works well within the album’s structure, but it’s perfectly suited to Stanley’s incredible vocal range.

Killer returns the album to its high-energy, riff-driven, sound that defines the album and is a quintessential B-side. 

War Machine closes the album with a bang and is so addictive that you’ll find yourself quickly playing the album again. The militaristic drumming and aggressive guitar riffs reinforce the overall theme and leave a lasting impression. While numerous songs could be declared as the best song in KISS’ extensive catalogue, War Machine is right at the top of any list for it doesn’t matter if you experience it via Creatures Of The Night, or in concert, you’re going to be blown away with the attitude of this incredible song. 

Creatures Of The Night was a much-needed return to form for KISS following the lacklustre Unmasked and the downright atrocious Music From “The Elder”. The impact from Creatures Of The Night reverberated through the 80s, influencing the glam and hair metal bands that followed but ultimately showcased that KISS still had it, along with the ability to evolve while staying true to their rock roots. Creatures Of The Night is, subsequently, a must-listen for both die-hard fans and those looking to explore the diverse landscape of 80s rock music.

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Dire Straits – Love Over Gold (Album Review)

While some may question if five songs can be considered an album, there is no doubt that Love Over Gold, Dire Straits’ fourth studio album from 1982, is a quintessential album experience. While each of the five songs stand out on their own, when you listen actively, to the intended album structure, you’ll encounter a rich and rewarding experience that will have you coming back to this incredible release. 

Exploring longer and more intricate compositions than ever before, Love Over Gold was arguably less commercial in its intent than their previous releases. While that could be seen as a missed opportunity, the artistic depth and musical sophistication of the album ensures that it’s timeless and remains an essential element in Dire Straits’ back catalogue. With complex arrangements, extended instrumental passages, and a greater emphasis on atmospheric elements, Love Over Gold is every bit a Dire Straits record but more importantly, it is an experience that has to be heard firsthand in order to be fully appreciated. While the music scene in 1982 was the launching pad for some of the greatest 80s releases, it’s fair to say that Love Over Gold was somewhat lost in the crowd for it truly is one of the greatest albums ever recorded; particularly within the progressive and art rock genres. Yes, it charted and sold respectfully, but it never quite reached the heights that an album of this calibre should have. 

Nevertheless, when looking at masterpiece releases, it isn’t uncommon to note that the artist had a guiding hand from an experienced producer to achieve the very best possible outcome. While that had previously been the case with Dire Straits’ earlier releases, Mark Knopfler showcased his vision by not only writing all the songs but also acting as the sole producer for Love Over Gold. Quite frankly, the man is a musical marvel and while I don’t find his post-Straits output to be as compelling, albums with the spit and polish of Love Over Gold usually only come once in a career. Yet, Dire Straits’ catalogue is remarkably impressive from their self-titled debut in 1978 to their final studio release in 1991. 

Speaking of the impeccable production quality, the lossless Apple Music stream is derived from the core 1996 CD remaster and while I’ve heard some declare these remastered editions to be somewhat lifeless, I thoroughly enjoy them. Granted, when it comes to this album I haven’t compared this mastering to any other, but perhaps that is a good thing. At some stage, even the most ardent of fans need to just rock out and thoroughly enjoy the version of the album that they have access to rather than continually trying to seek out a better copy. Yes, the stream could be a little smoother, in places, but I wouldn’t call it shrill; not by any stretch of the imagination. It just needs a little more fluidity to take it a few percent closer to absolute perfection. 

Nevertheless, I couldn’t be happier with the stream for every musical element is given room to breathe in an expansive soundstage that has plenty of headroom available to pump the volume while also adjusting the EQ without adding degradation to the album’s overall presentation. While I tend to enjoy Love Over Gold, when listened to with no added EQ, the aforementioned smoothness could be achieved with minor manual adjustments to the EQ settings. It’s just a shame that modern EQ options, particularly in the case of Apple Music, apply an all-or-nothing approach and unless you’re on a Mac, you’ll find there are no manual EQ settings available to adjust; a major oversight, certainly! That all said, join me as we explore the music that makes up this essential album from Dire Straits’ illustrious career.  

Telegraph Road is an epic 14-minute musical wonder that serves as the perfect opener for Love Over Gold as it sets the tone for that which we’re about to hear. If you haven’t already, you’ll want to turn the volume up for the initial moments, before the building of the song, are simply magical and the increased volume will only enhance the experience as the song unfolds gradually. It really is a musical journey that showcases Knopfler's storytelling capabilities and the band's ability to build tension and release it with masterful precision.  

Private Investigations is akin to a broody, noir-like tune with elements of classical and folk music that further highlights Knopfler’s virtuosity as a songwriter and musician. It’s a beautiful song that has a cinematic quality that will leave you in awe every time you listen to what can only be described as a masterpiece. Plus, that bass-driven rhythm is hypnotic.

Industrial Disease is a departure from the album's overall intensity, yet don’t let that aspect deter you for it flows seamlessly when listening via the album structure. Featuring witty lyrics and a more upbeat musical arrangement, Industrial Disease is classic Dire Straits as it’s a commentary on modern society backed by some addictively good rock and roll licks. 

Love Over Gold is a magnificent title track that can be best described as Jazz rock; albeit with a slightly bolder rock edge. While the entire album is an incredible audible journey, the mix of this particular song is stunning. The stereo imaging alone is so expansive you’d swear it was a surround mix, yet it is just stereo done right. 

It Never Rains with its more upbeat, rock-oriented sound, serves as the perfect closing bookend to an album that is not only one of the greatest ever recorded by Dire Straits but is amongst the greatest albums ever released. It Never Rains, however, is the weakest song on the album but given the quality of the music that preceded it, it is more than acceptable and is, arguably, more closely aligned with the overall style of Dire Straits’ prior releases. Either way, as an album-only tune, It Never Rains is thoroughly enjoyable.

Love Over Gold stands as a bold and ambitious statement in Dire Straits' discography. It's an album that rewards attentive listening, offering a rich tapestry of sound and thought-provoking lyrics. While it may not have been as well received, commercially, as some of their other works, its artistic depth and musical sophistication make it a timeless and essential part of the Dire Straits catalogue as well as the 80s music scene.

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