Monday, February 24, 2014

Environment For Sextet - John Zorn, Andrea Centazzo, Eugene Chadbourne,Tom Cora, Toshinori Kondo, Polly Bradfield

This was originally released in 1979 via Itcus Records. The album was produced by Andrea Centazzo and one of John Zorn's first releases. This was recorded November 7th, 1978 on a Radio Broadcast WKCR. Now I know about Parachute which is Eugene Chadbourne's label, but I'd never heard of Itcus. I guess the label belongs to Andrea Centazzo, a percussionist. Since there are names I've never seen before I'll list what the people play. On cello Tom Cora, on guitar is obviously Eugene, on percussion Andrea, on reeds Zorn, on trumpet Toshinori Kondo and on violin Polly Bradfield. Now an over simplification of Free Jazz is improvised music that disregards the structures of Jazz. Chord changes, tempo it's really kind of free form. With that in mind you know this album won't be "pretty". But when you think about it, beauty is a very  relative. It varies from person to person. So listen/read with an open mind for experimentation. I was planning on doing this review a week ago, but in that time I've learned something. This is a new beginning, I'll start reviewing Ennio also.
  1. Environment For Sextet: The things that I feel I'm gonna have trouble doing for this review is describing the sounds. But I'll try. It's kind of like an organized chaos. There is strings that sounds like they are creaking. The drums are going pretty crazy, and the horns and squealing. Then every few seconds, about maybe 10 or 20 or 30 there's a silence. After the third time a drum fill breaks the silence. It lasts only a few seconds before silence again. Under the silence you can hear Zorn playing around with the reeds and Centazzo playing around with the drums. Actually around 4:25-ish the squeals remind me of The Return of The Son of Monster Magnet off Frank Zappa's debut Freak Out!. The chimes in here remind me a little of Larks' Tongue. The reeds kind of do too. The two songs I compared this too are two of my favorite songs. I like the way the guitar sounds, it don't sound that pretty, and kind of sounds weird. This song progressively picks up it's pace again. Zorn and those bird calls. I also like that drone in the background. This song makes me feel kind of nervous.
  2. Solo Improvisations: This intro to this reminds me of Naked City, but with less structure. By that I mean Naked City has odd things like that but they are always broken up or cut off by a different composed or thought out kind of idea. This is just free as can be. But the thing is it's pretty cool that they did this. This is the shortest track, at 5:58 on the CD. There is slide he's playing on the guitar that sound like things I've done, or tried to do. He's making them way more interesting and this is feels like it could be maybe in a movie or something. And the cymbals rhythm that Centazzo is keeping is great. I wonder if not for him would this be kept together. Thought it's really not that kept together.
  3. Second Environment For Sextet: Some of whats going on reminds me a little of Classic Guide to Strategy, but this is keeping my attention more so. Maybe it's because I can tolerate it more, or maybe it's because there's more going on. This is the longest part at 17:12, and probably my favorite part. This is very chaotic and great because of that. There are elements that I found in the first Environment that reappear here. The trumpet reminds me of Bitches Brew at around the 3:45 mark. This is truly something that I imagine was fun to do. It also sounds kind of fun and has feeling that's going into it. These players are kind of clicking, and able to think of the same level as each other. This really sounds like some of the things that Zorn would do later on in his career. This is obviously where it all started. There are certain moments here that remind me of The Crucible. There are also parts that remind me of The Yellow Shark, especially Be-Bop Tango. The only complaint is that this is kind of long, not too long. I probably wont listen to this twice in a row, maybe every once and a while, but it's a long track.
  4. Solo Improvisations (Part Two): This wraps up the album. This is kind of crazy sounding. I could imagine someone about to be killed, or someone going crazy with this in the background. At this point I kind of have a lack of words to describe what's going on. I like just the flurries of insanity that go on in this and throughout the rest of the album.
Overall I have to give this free jass release a 7.5/10. Unless you're able to sit thought random happenings, ie. In C or chance music in general, you may not like this. I find this very interesting, but you may not. But now back to me, if there's anything I learned from this it's definitely look up some more of these artists. I enjoy this music though, it gives me ideas and helps keep me in check. How may you ask..... MUSIC HAS NO RULES!!!!!!! There are certain things that are common and are used in certain genres, but realistically there isn't a rule that says you can't do this here. Who's gonna lock you up for having a micro-tonal solo over classical music. Oh yeah, also I plan on reviewing all the albums I just torrented (LPS not on CD or Cassette ever). This is the only way I can listen to them and hopefully decide if I'll find the real deal someday. But I plan on doing all the Parachute Records and most of the Avant and Tzadik labels and any other label that is related to anyone on this album. This also got me pumped to listen to The Topography of the Lungs by Derek Bailey, Evan Parker and Han Bennink.

Saturday, February 15, 2014

Black In The Sack - Blowfly

This is my last review for this month (probably). I think its kinda hilarious this is going up for a Valentines Day review. The holiday of lovers. But seriously, Im not huge on it (single) but people who oppose it are full of shit. At least i can admit I'm single on VD. Well, now that i got that outta the way, this is the latest LP by Blowfly. It was released in September 2nd 2012 but was finally uploaded to Spotify Feb 11, 2014. That's the day I'm starting this review. On the Spotify thing it says credits Tesco Vee as an artist on all the tracks. Sorry about the cover, there aren't really any other versions that are as funny as this one. I kind of want to guess before the review what the parodies are of. I'm also digging the design of his name. The album was originally released on cassette on Burger Records and produced by Rat Bastard.
  1. Oh, Ben: I wonder if this is a spoof of the MJ song about a mouse. Damn I'm on fire with those guesses. This is the prettiest ballad I've heard about a homosexual mouse. It's actually pretty hilarious. It's pretty funny, and I think it's great that that's the way it is. The funniest lullaby I've ever heard.
  2. AM/FM: Could this be a Steely Dan spoof. You know... Well I was wrong, it's a spoof of Thriller's classic track Beat It. It's a "message" from Michael Jackson. This is pretty good and it's kind of funny, not as funny as the prior track, but still.
  3. The Sound: This track features The Meatmen. He mentions that this is out to a friend of Sam Cooke. I think it's supposed to be a spoof of (What A) Wonderful World. I'm not 100% positive, but I'm pretty sure.
  4. Dirty Chicken: I'm not sure what song this is. I'd probably enjoy the cover more if I knew what song it was, but it's just ok. This isn't as good as some of the prior tracks, but it's still pretty good.
  5. Black In The Sack: I kind of want this to be an AC/DC spoof of Back In Black. Oh my GOD! I'm right, thank you. The backing band on this album is pretty solid. This sounds like there are audio glitches in the track, but whatever, that's hilarious. A great track, and honestly his voice is funny because he does a hilarious job at Brian Johnson vocals. I think he does a better Brian Johnson than the man himself.
  6. Spermy Nights (Slight Return): A double reference, Jimi and The Weird World Of Blowfly album track name. This is a ballad version more, just him and a piano. It's more in the style of the I Belive My Dick Can Fly parody of the R. Kelly song. His voice singing over the piano makes it kind of pretty. Kind of like the aged Johnny Cash voice. I'm not saying he sounds like Cash, but age does things to your voice, and you hear it hear. It's actually added to the effects of the song.
  7. Girlies In The Morning: I think this is another pretty solid song, but I'm not sure what it's a spoof of if it is one. This is a nice song to follow up the prior track.
  8. Dick Stabbath: This track starts out with a dracula impersonation, it's kinda cheesy, but funny enough. I think that the drac is FISTFULA (note it's actually Tesco Vee, FIST is the backing band). The intro is how they'd introduce a monster movie on TV. This is a parody of Black Sabbath by Black Sabbath off their self titled 1970 debut. This is pretty much the typical Blowfly lyrical content, but the instrumentation is almost like a cover, and it's fricken great. I think it's funny, but they did a great job at the replication. The tone of the guitar is great. Actually, beside the original, this is probably the best verison I've heard ever. This actually sounds like 13 production wise. His fricken laugh, damn! This is one wicked cover. This is the first song I've heard, and honestly I'm very impressed.
Overall I have to give this Blowfly effort a 7/10. After this review I have a lot more to do to catch up with these other artist. I don't think it lived up to that Dick Stabbath, but still, it was pretty good. I actually liked it a lot more than the prior Blowfly's Punk Rock Party. You know, this album ain't that long, and it kicks the crap out of the dreaded Superblowfly that I plan on reviewing. I also plan on putting that off as much as possible. But I do plan on possibly doing The Weird World of Blowfly, Blowfly On TVPorno Freak or Electric Banana sometime this year. But I'll defiantly do Blowfly On Tour, which I'm pretty sure it came out in '74. I plan on doing a month devoted solely to albums released in years that end with 4. So 1944, 1954, 1964, 1974, 1984, 1994, 2004 but probably not 2014. PS I put links so you can see the years.

Tuesday, February 11, 2014

Joe's Camouflage - Frank Zappa

This is the fifth album in the Joe's Corsaga that started with Joe's Corsage (covering pre-Freak Out! recordings from The Mothers circa 1965-1966) in 2004 and seemed to conclude with 2008's Joe's Menage (cassette tape produced by Zappa, recorded from 1975 Virginia). This covers the band that rehearsed in the Summer of 1975 but never toured. This band is consisting of the following Napoleon Murphy BrockRobert "Frog" CamarenaDenny Walley, Novi Novog, Terry Bozzio and Roy Estrada. I've seen everyone's name on releases before except Novi. This is, I believe, her first Zappa contribution being released. She contributes viola and vocals on this album. I looked her up and she contributed to various other artists album such as Carly Simon and was on some tracks off Purple Rain and Around the World in a Day. Some of the tracks here were present on Joe's Menage and probably because they were rehearsed for the tour that "never happened".
  1. Phyniox (Take 1): This opens the album, and it's neat. This is probably the best song here. It's very interesting and reminds me of Cruising For Burgers from the Zappa In New York album.
  2. T'Mershi Duween: This track made it's first appearance on 1988's You Can't Do That On Stage Anymore Vol. 2. That recording predates this one by about a year or so. I do like this song, and I think it's got a fun feeling to it, especially after the prior track. I'm digging the viola, and Terry's drums. It has an ump-pah-pah feeling to it. This is pretty cool track.
  3. Reeny Ra: This is possibly the best track to follow it up, and it has that old Mothers of Invention feeling to it. My guess is because Roy was there, but this is a fun song. It reminds me of The Blues Brothers.
  4. "Who Do You Think You Are": Here they are playing some song I can't think of. You can hear them talking, and laughing. I guess it's good they're having a good time. That's probably the most important part right?
  5. "Slack 'Em All Down": This is just them talking. It's really kind of in between talking that would be on Playground Psychotics or something like that.
  6. Honey, Don't You Want A Man Like Me?: Later released on ZINY this track is a fun track. I enjoy this track and when I found out this would be on the album I was kind of excited to see what it was. This doesn't have a very good quality sound to it. The vocals are too quiet and it's sounds like the guitar was direct and everything else wasn't. I do kind of like the whole different vibe to it. The song reminds me a little of Society Pages. This isn't that band, with a country twang to it. But you know, if it was better sounding I'd be much appreciative, thought I believe they released the best quality they could. I like that guitar, I think it's a Spanish guitar. This is probably one of the best song on the album. And it's neat to have a woman singing on this track. Just like Bianca on Philly '76.
  7. The Illinois Enema Bandit: Another ZINY track, and again spiked my curiosity. This doesn't really sound like the album version until Brock starts singing. The arrangement sounds much more laid back and probably rehearsal sound. Usually Ray sings the song, so it was kind of nice to hear Napi sing it. This isn't as exciting as the LP version, or really any other version I've heard. The first track I heard off this was Any Downers? and that was kind of a let down. I guess this version is OK, it's only 6 minutes verses 11. So I guess I can deal with it for it's length once or twice. Novi sounds like a little mouse who hasn't hit puberty. I do like the whole vocal part, with no instrumentation. It's at the ending of the song. There isn't a solo, but there doesn't really need to be one in rehearsal.
  8. Sleep Dirt - In Rehearsal: I couldn't believe this was here, there are only one version of this track, Sleep Dirt. So I was kind of interested in hearing this, since the only other times it's somewhere is on Playground Psychotics and it was quoted in the track "Don't Eat There" from 1971 and it was the album version on The Guitar World According To Frank Zappa from 1987.
  9. Black Napkins: Originally from Zoot Allures, an album I did not to long ago. I think that this is kind of the way that it's always done. I do kind of wish there was a viola intro to the song, esp this was the only time a person played viola to my recognition on a Zappa release. I like the synths in there, but you know there isn't really anything here I'ven't heard before. This song kind of seems like a really long 8 minutes.
  10. Take Your Clothes Off When You Dance: This track finds itself from WOIIFTM from 1968. The track is older than that, an instrumental recording on 1996's The Lost Episodes is from 1963. This is the version that's essentially on FZ:OZ and Joe's Menage. It's got a reggae feeling to it. I can get down with track, possibly the first track that I truly like. Thought it's nothing special. It's the best track here.
  11. Denny & Froggy Relate: This is kind of an interview set up, where they play I'm The Slime in the background. It's actually kind of neat sounding with the violin, but it's only 31 seconds.
  12. "Choose Your Foot": This is essentially the same as "Slack 'Em All Down". A dialogue dominant track. A field recording type thing.
  13. Any Downers?: This is essentially the same version as the one on the bootleg I heard recorded claims to be from around 1973. This version, well honestly, it's actually a pretty boring 6 minutes. The ad lib in there is kinda funny, and the "Are you holding any Denny" and his response is kinda funny, but beside that its kinda anticlimactic. There's a solo but the song is still a little too long and doesn't reach the same heights as the album version. The lyrics are slightly different too. But you know the song just kind of drags on a little. I do think its a good song, just I don't think the 6 minutes is really justified.
  14. Phyniox (Take 2): This is kind of the same thing as the first take, though I enjoy the second a little more. It's better put together in my opinion. 
  15. "I Heard A Note!": This isn't anything special, it's just kind of field audio, thought there isn't really much of anything in it, other then a few words. I don't really think that this was necessary to be on the album other than to have some rehearsal dialogue, which there isn't much in this recording.
Overall I have to say that this album gets a 4/10. I kind of was thinking about this and what it should be. This is essentially a better sound quality version of Joe's Domage, but with the Summer 75 band instead of the 72 band. You know, I think it's Ok, but I think that if this band were to tour, It may have been a little different. Not entirely different, some of my favorite tracks might be different, but you know. It's probably better the way it happened, fate worked itself out. Look forward to next month were I do THE Captain's classic and a Zappa classic, both of which were released in March. Another hint, they were ten years apart. I'd give this a listen or two.... that's probably it though. The only thing that saved the score was the fact it was rehearsals and that second and third tracks.

Sunday, February 9, 2014

Kill 'Em All - Metallica

This is the debut by the Big Four's most popular and successful band Metallica. Now my favorite, musically, is Metallica, but their personalities are pretty much shit. Well not all of them, more Lars than anyone else. But personal problems aside I will review their first album. This was released in 1983 and really is a prime example of a debut, I'll explain. Oh yeah I'm not gonna dwell so much on Mustaine's contributions to the LPs writing, except in track 2.
  1. Hit The Lights: Fade in drums guitar and bass. Then a drum roll and some more feeling of a build. Here comes the riff, what a beautifully distorted riff. Then a scream, and then lyrics. This song is such a statement. Think about it, a bands first impression is their first album/ep release track. Back in the day, and when you listen to a while album you start with track one. This gets you pumped for whats to come and I can't wait to see, though I already know. The playing here is tight, like a machine and to think Kirk has only been with them for a short time. They sound well tuned and ready to shred. The solo is fricken great and he kills it. 
  2. The Four Horsemen: Slightly slowed down and an added verse an bridge this was originally Mechanix. After they kicked Dave they took the song and fleshed it out. They matured it from a car to the Apocalypse. This is a scary song and it think it fits the theme. I I we're to make a movie about the end I would try to get this song to make an appearance if possible. Maybe a clip of the solo or something, but a part. This is an epic and it really is a well put together song. Sings like this with different tempos and time signatures make Metallica stand above Slayer, Megadeth, and even Anthrax and on their first album. This solo is so epic I don't think I can begin to explain the influence it's had on me. This is truly one of y favorite solos ever, up there with Hell Bent For Leather and Buried Alive. There are others too but just to wanted to mention. This is a strong and aggressive song to. You wouldn't wanna mess with this band. Te second solos sicker, but that's not really needed to be said. It's shouldn't change any aspect of the song, just I like the second more.
  3. Motorbreath: I wonder if the title is a nod to Motörhead or if its a coincidence? You know, as much as I live this album it has some weaker songs. By that I mean they are songs I don't listen to by themselves. The solo here is another great solo by Kirk, maybe a little abruptly cut, but still great. I'm glad this is on the album, but it's hard to live up to the last two tracks you know. The solo is really whats the best part of this track. And the post solo power chords at the end. That's interesting. 
  4. Jump In The Fire: This is an epic riff that I wish I could replicate. Not the greatest on this album, but it still tops most other bands. The chorus is so damn catchy, if after 1 or 2 at most listens your not singing along your a tool. Either that or your a parent who doesn't get with fun music. The pre-solo things is neat and I like the solo in the song. The vamp for the solo is cool too. The second solo is awesome here too and it really could listen to this albums solos alone. If only they released this albums solos on an album like Shut Up N Play Yer Guitar.
  5. (Anesthesia) Pulling Teeth: Cliff gets to shine too. This is an interesting choice I think to have here. It's obviously to show off the bassist and his skill. The only complaint is his mistake before the change. It also like how're tempo changes and its like Free form. It's nice to leave that metal world and take a second to hear a bass solo. And also the title fits the song to a t, in the best fucking way possible. I think it's cool the band comes in later but still damn, listen to them jam. Cliff your sorely missed. 
  6. Whiplash: This song brings us back to a more non instrumental world. This song honestly does take you back and makes me want to head bang. What keeps me from doing it is fear of "whiplash". Fuck it! Seriously this is a great track and kicks ass. Play this for any Mötley Crüe fags in the 80's and they'll melt. No offense to glam metal, but this is Metallica and were here to "Kill You All!". Another killer solo from Kirk and it is kind of a credo song. This is kind of like their own Motherly Love because it talks about going to towns and doing stuff. It's neat, just a though. 
  7. Phantom Lord: This is the song I've honestly heard the least on the album. I honesty couldn't remember this riff. I only heard it a few times. Part of the reason is because its a little underwhelming compared to the other tracks. But this most resembles a song of Show No Mercy. That album came out in December of that same year. The solo here is pretty cool sounding and reminds me of Hell Bent a little. The post solo vamp thing reminds me a little of Fade to Black. I wonder if they reused that for said track. The chorus is cool, but just not really Metallica.
  8. No Remorse: This has that punk attitude. The solo in the beginning before the lyrics is a fricken great idea and damn, those only thing better is a solo at the start (ie Eternal Rest). This is another great riff and there isn't much to say here that hasn't been said earlier on the review. That crunch, Damn! I also like that swoosh sound. Each solo uses the same distortion but different enough to stick out. Those harmonies, damn! I also love the double time and the singing in the double time. Great end, reminds me of the intro to the album. 
  9. Seek & Destroy: Possibly the best riff on the album, and probably most memorable. This thing honestly just could put fear down your spine. If I wast a Metallica fan I could very much see this being the theme song of the devil and his minions. This song is evil enough to be a Mercyful Fate song. That's saying a lot. Whiplash maybe the bands credo song, but this is Lucifer's credo song. The solo is an 10 in my book and really need I say more. This fricken song is a 10 in my book. This is a 10 in any logical persons book. The riff is from a guitar player stand point something to aspire to creating your own of. From my musical trained ear, I'm no expert yet, but the sequences and the whole way this song is and the harmonies and everything theory wise in this song rocks me socks off. I love the tones as the pitches and probably why I love parallel 5ths.
  10. Metal Militia: This is more the tempo of Mexhanix. Talking about your army on your first release, that gutsy and kind of like, we are hereto take over. So close to 1984 people were probably scared shitless. The intensity that started this mother ends the mother on the same not and energy and just mid blowing fun. This has some of my favorite singing by James. Its not my only, but i think its perfect for this song as kind of like an evil hypnotist. Join in on the way of the future, the "metal militia" are here to win. Propaganda if I can think of anything else. One last great solo, kinda. The marching makes this a much more anxiety filled wait for me to do Ride The Lightning. I can't wait, seriously. 
Overall I have to give this album a 8.8/10. This is the debut album and its hard for a band to have it all together for their first album. This band somehow makes it sound like they've all been playing together for years. Thrash is Punk meets Metal or vice versa. This album embraces all the aspects of thrash and probably helped progress the popularity of the genre, so Fuck Master of Puppets, the frost two are way better. I don't think the vocals need much description other than they work as are sometimes awesome. He sounds like a screaming banshee going to attack you. The shredding on this LP is hard to both reconstruct and beat. But over all an extremely consistent record and solid. 

I'll highlight my picks tomorrow because this is on my iPod. 

Friday, February 7, 2014

Too True - Dum Dum Girls

This is the latest, released in January of this year, album by Dum Dum Girls. This follows 2012's End Of Daze Ep and 2011's Only In Dreams LP. The album was produced by Sune Rose Wagner & Richard Gottehrer, who have produced with them since 2010's I Will Be and together since 2011's He Get's Me High. According to the liner notes Dee Dee and Wagner are the only two who performed on this LP. This album is my first FROM 2014, it only took me 38 some days to do that. Wow, well the albums short so why not do this one.
  1. Cult of Love: This is a pretty decent opener. It grabs my attention because of its psychedelic feeling to it. It has a solid drum track but I like the feeling from it. 
  2. Evil Blooms: This keeps up that solid drum beat. The way this track is reminds me of a distorted version of a song called Against The Ninja. It's from an 80's move called "Miami Connection", but here it's more distorted and not so Pat Benatar sounding singing.
  3. Rimbaud Eyes: I don't want to be a downer, but this album so far isn't anything special. The biggest problem is this could almost all be the same track on repeat.
  4. Are You Okay?: This track was originally written and intended for Ronnie Specktor, but after being convinced by WagnerDee Dee kept for the album. This is a pretty mellow track. It's kinda layer back and something to just sit back to. I could see this being the song in a indie movie, that doesn't make it good or bad, just "OK".
  5. Too True to Be Good: I think this is the title track, it's close enough at least. 
  6. In the Wake of You: This track can probably go without say.
  7. Lost Boys & Girls Club: There isn't anything about this track that I can't find elsewhere.
  8. Little Minx: I hope the DD was going for a 80's vibe cuz this song is very 80's. if she was going for that she succeeded, if she was going for a solid track, well.....
  9. Under These Hands: This song doesn't bring any new sounds that I'ven't heard earlier in the album. Note: I'm reviewing on Spotify Shuffle Play because of the iPod app. 
  10. Trouble is My Name: This closes the album and if you like consistent sounding song then you'll love this thing, if you like variety, look elsewhere. The vocals on this track remind me so much of Eisley's new album Currents from last year. This and the first track are probably my favorite off the album.
Overall I have to give this 10 track half hour long album a 5/10. Lets hope sone of the albums to follow this year are better than this. No that this isnt any good, just not great. If anything this album reminds me of a group called The Lovemakers which have an LP I'm reviewing. The albums from 2005, and some of the tracks are more electronic sounding, but production wise it reminds me of those dogs. What keeps this from being boring is that its so short. Please bring up my hopes St. Vincent and July it's already been broken by Joe's Camouflage. That don't look forward to that review.

Sunday, February 2, 2014

Misfits - The Kinks

This is the 1978 album by The Kinks. In order it's number 16 and was released via Arista Records and released May 19th. It is more well liked than it's predecessor Sleepwalker. I was on the computer and I couldn't find much information about this album. I mean I found out it was recorded from July 1977-January 1978. I also have the UK LP track listing for the review up. I figured why not do this during the Super Bowl, I did it two years ago Lana Del Rey style. Beside, I already saw the Puppy Bowl so I'm set.
  1. Misfits: This opens the album, and has a country twang to it. This is a pretty soft track that's easy to listen to. I also like the organ in the bridge that gives it a gospel influenced vibe to it. This is a good way to open this album and from this I think it will be a solid listen, hopefully.
  2. Hay Fever: This has a ballad atmosphere to it. It opens with vox, keys and bass. Kinda like their You Never Give Me Your Money. This is actually a pretty fun song and I love the bass in the song. This sounds like it could be a new wave song. It reminds me a little of Talking Heads or some other New Wave band at the turn of the 70's to the 80's. Maybe not the vocals, but the instrumentation, and it reminds me a little of The Beach Boys to. I really like that piano key fill.
  3. Black Messiah: This reminds me a little of Bryan Ferry's cover of What A Wonderful World and People Get Ready by The Impressions. This song has an island vibe to it. I love it, and it's a great surprise. You don't think that the, more or less, unloved Kinks albums would have any great tracks. This is probably my favorite track because of how sharp it is. The New Orleans influenced solo is great too. This is definitely a standout to me. It talks about race and kind of says people want to be equal, but no one's really doing anything to it. He's the only "honky living on an all black street" like it's no big ordeal. And what if God was Black. Interesting thing to think about. This is truly a great track, and a shame it's not on any comps. {9/10}
  4. A Rock 'N' Roll Fantasy: This track has another gospel influenced intro. This song isn't really rock and roll, it's more soft rock. The song picks up, and I like the instrumentation on this track. This is actually a pretty song. It mentions "The King Is Dead", I wonder if that's an Elvis reference. This is a nice song to follow up Black Messiah. A spiritual themed song, followed by a spiritual influenced sound.
  5. In A Foreign Land: This song starts out and reminds me a little of Come Dancing. Just the first few seconds of the song. This song is similar to that song in it's set up and structure. It's not such a dancy song though. It also kind of reminds me of Do It Again by The Kinks. The guitar reminds me of Already Gone by the Eagles. This is another decent song.
  6. Live Life: This sounds like a old school Kinks song riff. It reminds me of some of their early 60's stuff, but then with a 1970's edge to it. I know they kind of lost their original sound with albums like Village Green, Arthur, and even the previous three or four albums before this one. They were opera influenced. This has that rock and roll flavor that's been needed. The solo in this tracks pretty great and is one of the best I've heard Dave play.
  7. Permanent Waves: No, not the Rush song of the same name. This is another New Wave influenced track. I think this isn't really an amazing track, but I think that it's a decent track.
  8. Out of Wardrobe: This track has a Drag theme to it. I like the guitar in it, the twang reminds me of raga, or at least country. This is better than the prior track in my opinion, and I think it's funny they brought this theme back after Lola. You know that "Lady-man-lady" theme. It's actually kind of a funny song in a way.
  9. Trust Your Heart: The only Dave Davies penned song on this LP, the rest by Ray, and also has Dave as the lead vocalist on this track too. This is another soft song, and I could see the vocals being from Elton John. I actually like Dave's vocals for a change of things, you know. The guitar in this is pretty sick sounding too. Its reminds me a little of Night Moves. This more so reminds me of a Who song than anything else.
  10. Get Up: I like the whole distortion intro. This song has a build up to it, much like what The Who do. This actually reminds me of a song from the Tommy movie. You can hear Dave singing again, not lead though. The acoustic guitar gives it a Who vibe to it. I love that the singer has a growl, damn! This is a good way to end off this album and a solid listen. It ends on a fun note.
Overall I have to give this album a 7/10. Some of the songs obviously have themes to them but I decided to only really talk about the immediate ones. I think that you should definitely listen to this album and I suggest it. This is still a consistent album and pretty solid listen.