JAMESON RAID, with their roots back to 1973, have plenty of skin in the metal game. Usually considered a part of NWOBHM (New Wave of British Heavy Metal), they have a sound that is uniquely their own. In my opinion this reissue serves as a collection of some of the best work from the group, and gives credit to the artists from their most prominent eras. The promotional material gives credit to the musicians that I have listed for this article, which puts the original production of these tracks between '76-'80, with the same lineup serving '08-'11 which is when these beautiful originals resurfaced. So that's a lot of history to go along with these tracks, and reviewing them should probably been seen as a new release that is far older and more seasoned than I am.

I am going to begin my focus with three tracks that are repeated at the front and back (as remixes) of this album. As well as offering large sonic differences between the two mix styles, these tracks are all fantastic from start to finish. The three I will begin with together are of course "Seven Days of Splendour", "It's a Crime", and "Catcher in the Rye". The most spectacularly notable part of these three tracks is the remix, to me. All three get love at the beginning of the album, sticking to very a very era capturing soundscape. Treble abounds as these tracks give the original punch of the recording, which in comparison to the remix seems very thin (but very genuine). You feel the hit of each stick and the picking of every string through this remaster, giving such a fantastic life to the tracks with modern technique.

The remix however takes the entire experience to another level, which I personally feel is a double-edged blade. Instead of the thin pluck of a guitar pick, the sound is saturated in gain. The light and era appropriate bass hum, the remix chooses to go head first in to 2020's finest bass boost that I've seen to date. Bass dominates all three of the remix tracks, and it is really fantastic. The only downside to me in all of this modern process is that the drum tracks in the remix seem very "trigger" friendly. The style and finesse of the first three tracks seems harder to find in cymbal strikes that are perfectly level to the same volume and expression, executed in a more "fixed" and robotic rhythm.

Seem previously on "JUST AS THE DUST HAD SETTLED", the track "The Hypnotist" deserves note as my absolute favorite. The groove of this track is infectious, and the offering on this album is notably boosted from where it once was. The experience is, to me, a middle ground between the original sound and the full "remix" of the last three tracks. Overall, this album (reissue) is a phenom. Especially if the band is already on your radar. If you have ever blared your guitar with an "invasion" themed tone, this album deserves your attention just simply to learn from the originals. Take off your hats and show respect, JAMESON RAID will certainly be showing us how it is done for years to come.