The Rocky Horror Show - The Original Roxy Cast

For my second to last Halloween review this year, I'm probably doing it next year, I decided to pick an album that I knew I liked and when it would be relatively fast so I can spend some time on the finale. With only 1 days left for the month I better get my butt moving if I want to make that last one good. This is the 1974 Roxy Location cast album. It was the second show to feature Curry, the first was the London Cast which actually originally featured one if my favorite female singer, Julie Covington. Sadly she was never recorded for the album. I still, maybe next Halloween, plan on doing the original 1973 London Cast, but for this Halloween I'm doing the best version (in my opinion).

1. Science Fiction/Double Feature: This track is sung by Jamie Donnelly, who I really wish I could find more shit with her voice. This led me to look it up, also considering I vaguely remembered her voice from somewhere. Then I saw she sings vocals, most likely backing vocals, on We Go Together and Summer Nights. So I obviously have heard her voice, though I could be imagining that I picked it out of the crowd. Whatever, that's not really the point so I should get to it. I love the hell out of this, and it's so much better I think, sung by a woman. Everything really is better if its done by women, with limited some exceptions. Some songs like....... I'm drawing some blanks. Regardless, if you want to do a song like this (lyrically) this is how to do it. Not Rocket *cough cough* Def Leppard. This also feels more like an intro and the lullaby this song really is. Also I think this has a very real feeling to it. It's not just listing things, it's kinda like this is my tribute to my loves. It's tastefully written in my opinion.
2. Damnit Janet: Sung Abigale Haness and B. Miller, who play the Sarandon and Bostwick parts. I don't really see the point in saying I like this over any other version, I might as well say it for every single track. It'll get too redundant. But this is a really great, catchy track that is also memorable and should be. That's such a fun refrain to say, and the song is great at painting the picture of these two "squares". This is a very upbeat fast number, and I'd love to play along with it. The backing vocals here really make it fun too. And the pianist's freakin fire fingers. Listen to those licks. Imagine that on Guitar, that'd be awesome. The vocals don't always do it for me, espically the review listen through, but that piano.
3. Over at the Frankenstein Place: This is another track with the same two people as last time. This is a very nice song, I can't quite pin down where I feel it's from..... maybe like Grease but still.  I do like the bass and this intro gets your attention. The vocals from Abbey are pretty great. B. does a pretty great part in his verse, and the backing vocals are nice too. Like the backing vocals remind me more Grease but the lead in the chorus.... I'm waiting for it to sing the first tracks last verse. That section that goes into like a refrain is kinda neat, and I like the grit to B.'s voice. I also dig those xylophone -esque chimes. I don't think this is as strong a song as the last two, but I still think it's better than a lot of songs, in general. I mean this is a song that took multiple listens to gather what the hell was going on, in terms of what I'm picking up on. That ending also reminds me of Summer Nights.
4. Sweet Transvestite: There shouldn't even be a comparison. The horns on this, and the emotion from Curry's vox... Damnit Janet! I mean the original [London Cast] version's superior in my opinion to that of the movie, but this might give that one a run for its money. But I love the arrangement, and though I know its supposed to be cheesy and not professional sounding, but this doesn't take away and I think only makes them stronger. The addition of the horns help to punctuate, I believe that's the right word, the guitars punch. The bite of the guitar here needs to be grit by way of In My Time Of Dying all-ah Zeppelin. And those horns help it get its grit. While there is a vocal performance I'd swap this with, or maybe it's a bass. This is the closest to perfect I've heard this song. 
5. Time Warp: I remember I never cared for this song, and year upon years upon years of hearing this on Halloween mixtapes and what not only dig that grave of never want to revisit it again.Hell this was originally written to make the play longer. But to be honest, I kinda dig this version. I really like that who xylophone, or percussion thing, that happens on the second time they say the "Lets do the Time Warp" in the choruses. I also dig the doo-wop piano stuff in the song. This is a fun diddy, and maybe it's the fresh take on the track.... Well to my ears, but I like this best. Also they don't fuck the song up in the whole section where Brad and Janet interject. Also who ever sings this intro, congrats. That's really sick sounding. Another thing worth mentioning, the music changes with each persons verse. There is a bit of a variation. While it still isn't my favorite, ti's much better. The only part that's ear worm candy to my heart and soul is the Quarter to Three sound alike with those saxophones.... Shit! Even that stupid tap dance part doesn't get on my nerves. Which is almost by definition unnecessary.
6. The Sword of Damoclese: This track is sung by Kim Milford. Also isn't Damoclese a Greek God? But is that a theremin (probably not, it doesn't really sound much like one). Kim does a solid vocal, but this sounds very much like Little Richard. At this point the whole rock n roll music is starting to loose it's steam. I mean it's basically the same style over and over and over and over. Damn it,  you would add in that doo-wop section. It's like pure ear heroin to me. Though, the music with the saxophone reminds me a bit of the Bruce Springsteen cover of Quarter to Three. Just a tad. There is also a bit of a boogie to it. I maybe wrong, but I want to boogie to it.
7. Charles Atlas Song: This like an underwritten version of Changes and Let it Be. There is lots of things in those song I find here. The only real saving grace is Curry and the organ, which sounds like Billy Preston is playing. And the piano also. It's very quick, maybe too quick.
8. Whatever Happened to Saturday Night: This intro is so All Shook Up. I love that this is sung by Meat Loaf, the reason is because this is before his solo debut (3 years) and this is totally a title I could see Jim Steinmann writing for Bat Out of Hell or maybe the follow up and sequels. Like whatever happened to drive thru.... Though if it were the 70's I think I'd be more like (what happened to the memories of my youth, or they don't make them like they used to). Like a grown up Bat Out of Hell. This is a pretty solid rock and roll number. I feel like this would fit on a juke box. But again, it's starting to wear a bit thin for a front to back listen. 
9. Charles Atlas Song (Reprise): For a reprise it's only 30 seconds shorter than the original. I mean I do love that organ and Tim Curry is always fun. But I can't say this is anything to write home about. I could listen to any other soul tracks before this and get much more soul entertainment. And re-listen-to-ability.... though Curry is great. The next track makes up for the last few missteps though, not wholly, but enough for me to get back into the mood for the rest of the album.
10. Toucha, Toucha, Touch Me: This version of the song is one of the best, or at least one of my favorite, arrangements of a song I think I've heard. The music from the movie isn't half bad, but Susan.... As much as I love you, and love the idea of you singing this to me, but as far as it sounding good.......... I really like the waltzy rhythm here, and her voice I think is the best of the 70's Cast Recordings (Yes I've heard them all). I like the grit to it, and it doesn't sound out of place, the other two sounded like they were either missing the mark, or..... Well...... Damnit, I hate to put down Susan for not really well singing..... It's like killing a small part of myself on the inside. 
11. Once in a While: While a nice change of pace, I can't get with this. It reminds me too much of Margaritaville. B. Miller takes the lead and Abbey is here too. But I mean, this song is just kind of boring and uneventful. I mean it might work in terms of the play and story, but it's just like a lame soft rock tune. Not that there aren't good ones, I'm talking about with the 80's neutered soft rock even more. Then it goes into a more RH/soft rock feel, but still.
12. Eddie's Teddy: Isn't Eddie Meatloaf....... So I imagine he is going to wear a tiny teddy on his wedding night, you know, while making poppop. Again we get another soulful track that I ain't buying into. And the worst part is it does back to the rock and roll feeling. At this point It's almost getting insufferable to listen to this. I think I'll only be able to listen to certain tracks, probably never again front to back.
13. Planet Shmanet Janet: I love the very 1950's feeling of this title. Like I feel like this would be an insult used back them (Shmanet) and Planet Janet could be like they are traveling space and they stumble upon a universe where they worship a goddess who looks like Janet (If it was SS I wouldn't put it past them) or they all look like Janet. Whatever it may be, this is a play that is a sort of tribute to those types of B-Movies. So it kinda relates. Also the rhythm here is different and I dig this. I can't quite pick what that guitar sounds like. But I love it. I love the whole like not song part about this. It's almost like like it's not a song. This is also a very solid track. I also do like the singing part too.
14. Planet Hot Dog: I don't have anything to say about this track. This is kind of a fucking stupid track. Like really fucking stupid. Not like WTF, more like No. I just.... I don't want to acknowledge it.
15. Rose Tint My World: This title baffles me a bit. It makes me try and imagine what that would be. Like is the Colour that Chicago is singing about a Rose Tint. Or is a Rose Tint something that isn't as innocent as the title suggests (I wouldn't put it past that). I liked this better as Haper Valley P.T.A. Yes the song shifts, but I think that at this point, front to back, I can't process what is going on. This album beat it out of me. I do hear what I like, but I don't know. This song probably changes up the most of any of the other songs. After going back I can process it, the song starts with a twang. It's still in tone with the other songs, just more of a country twang and the singer (Boni) has this very country feeling to the way she sings. It then goes into Kim singing and he does a great job here. I like him better here than on the Damoclese song. The song then goes into a bit of a, the only way I could describe it is the "Kiss Me, Come on and tease me like you do" section of The Who's 1975 classic Squeeze Box, but done in the Rocky Horror fashion. Then Abigail takes the mic and I love that backing piano to her part. And then the song slows down to a littler "cabaret" feeling number or "ballad" sung by Curry. It isn't that distant from the Atlas Song, but this works much better here in my opinion. And the high and his energy pays off much more, for me, here. And that almost angelic section, where I think it's B. Miller (I like to think it's Da Loaf). Then Curry's freaking rock and roll boogie by way of Great Balls of Fire. And then the backing vocals come in and it is complete. The guitar comes to complete this little diddy. And ends with a final little coda. This song keeps changing, I have to give it to them. Th
16. I'm Going Home: The three versions, actually all versions I've heard, of this are actually pretty. They aren't gorgeous, but they are very satisfying ending and just as satisfying a penultimate track. This also reminds me of like a song not on this soundtrack. The soul here feels more genuine.This is a pretty great penultimate song.
17. Super Heroes: While the film version is good, this version is more triumphant. Like a more joyous ending. The vocalist has much more power, and there is much more power in the song. And the lows are lower, and the highs are actually highs. I'm very glad this closes the set and not a reprise of SF/DF.  Though that choir type thing reminds me of a lesser effective version of the one used in Snow in San Alsemo.

Overall I have to give this a 7.5/10. I can't stand musicals, I'm serious. I don't like any of the Disney movie songs (except Bed Knobs, Poppins and Zippadee Do Da), I don't like any movie that is a musical, for the most part, unless it's Tommy, Let My People Come or Grease and really that's the only musicals have seen or heard I liked, with the exception of a few select songs here and there. This is a more professional version of the "low budget" version of the original. It's also faster and got some better [and some fucking awesome] arrangements too. While I love cheapness and low budget, maybe that's why the original also has a place in my heart, I gotta pick this. Now with that's said, I cant really say I like Rocky Horror. In fact I only want to watch the film to see Susan, dis you know she was supposed ti be nude during Touch Me but she or someone changed their mind (who cares who's fault, it is stll a disappointment). I think the worst part is that lots of the songs could be the same song give or take the singer and lyrics. Also there was a sequel from 1981 titled Shock Treatment. I'm not sure if I should review that or not. I do like some songs from that, not all, but who knows. Only time will tell and I will do Grease. I also plan my next musical review to be either Mary Poppins or Let My People Come....... Or the aforementioned (that's the right word?) Grease.

I think you should search Rocky Horror on Spotify. They have the Roxy Cast, London Cast, Sweedish Cast, Film Soundtrack and other versions too. But the only Cast recording I'vent heard anything off from the 70s is, I believe, the Mexican or Brazilian. Mainly because they are not on Spotify and I can't find a place to dowload the LP copies. But check them out and let me know what you think is your favorite upon reevaluation :)

Fresh Juice - Blowfly

While I want to save these reviews, by this artist, for one per year this month is special, well 2015 October at least. This is the first Blowfly release for Oops! Label. A label that would be his home from this album until 1988's Blowfly For President. This is also notable for being the first album not to be released on Weird World. This album is sadly overlooked in my opinion. It wasn't ever reissued on CD alone, and it's easily the best album of the 80s.

1. That's What Your Pussy's Made For: At 7 minutes this is a long track. Compared to his other 3-5 minute tracks, some albums even less. This is also a very educational song, and not in the way that his 1974 track Sesame Street is. No this is a relatively straight song, and yes in terms of serious. I wouldn't have pick up on it until I saw a review of the track. Someone mentioned this is a serious track, and I revisited it and damn! This is a lot deeper than just fuck you. Now obviously there is humor in this track, but the subject matter brought up, especially in the beginning of the track is kind of weird. It's kinda of a portrait of a girl who is destined to become a very sexually active girl. Not the kind that's like a mature, you're a woman make you're choices. It's more of a young girl who probably is confused and lost and that makes her feel good. And it's not necessarily because of her, but because of the unfortunate events of her surroundings and childhood. You know the sad thing is this song could very easily be about a real person that anyone could know. At the end of the day I think this song shows why sex education is an important part of growing up, and why it isn't cool to take advantage of kids. People are only more fucked up then they were in the 80's and I doubt it's getting any better, or it ever will..... And seriously, I may not be the smartest or deepest person, but this truly is worth checking out and thinking about. Musically it's pretty solid and very 80's new wave. It's like a perfect marriage of his 80's out put and his 70's funk. And it also have the stereotypical Fly everyone loves, but I wish the whole song told that girls story instead of the guys too. I think that's just another chance to make a gay joke. And it could have been, in a different time, a perfect chance for him to mention she gets AIDS or something. Although he did kinda do a version of that the followin year with Child Support with the Funky Party Band using his real name Clarence Reid.
2. Too Fat to Fuck: You could look at this one of two ways, Blow being Blow..... Or a song that's anti-obesity. But in reality it's just what the title says. Again the music here is great. I mean this isn't the funniest song of his, it's also not the best on this album, but it's still a solid track. It also have this disco vibe to it. Like I could picture, with different lyrics, being in Saturday Night Fever.
3. The First Black President: Easily one of my favorites from his Oops! era. Actually this might be one of my favorites. The playing here's on par with the Weird World releases. If this was done by a white person today he'd be crucified for how racist it is. I could only imagine South Park doing something the level of this songs "UnPC". I love this and it's hilarious, it's like the opposite of Obama. Obama is very diplomatic and acts very calm or "white". But for this song picture a hardcore gangster getting elected. Not a rapper like Kanye West or anyone how isn't probably that "tough" I'm talking about a guy who snorts coke, promises birth control in every purse and chitlins in every pot. Also one who gives his weed to Pope John Paul (but not by choice). I actually could imagine the events of this song happening in an episode of South Park. This song isn't the worst, the part 2 is more unPC but I love this one and it's following adventure of the First Black President. The backing track to this is phenomenal, it's so funky and reminiscent of Rap Dirty. The only bad part is he didn't continue this through the 80's. 
4. I've Got to Be Free: Oddly enough this doesn't even feel like its fits on this record. I mean it almost sees straight. It's a very romantic song, seriously. I mean if he took out the dick lines, this would be a love song. And I mean it's not like a complete rewrite, it's more of a few clean ups here and there. The only track I can compare this too, is like I Need Love by L.L. Cool Jay, but a tad dirtier. The music here is very 80's and cheesy now, but I mean I still dig the shit out of it. The only bad part is it does go a little long at 5 minutes, but it's still pretty solid.
5. Business Deal: I wonder what this track might about, P.S. I know I heard this record before but I'm gonna pretend I haven't. And in seriously the horns here are great. This almost sounds like it could fit on Disco. This really is catchy, and it really reminds me of Kurtis Blow. This song also reminds me of The Residents album Demons Dance Alone, but played on the horns. This is a very fun song, and it's pretty funny.
6. The Vampire That Are Miami: Tell me, does this get more Halloween than this. The classic tale of a Vampire who comes, eats woman's vaginas dry. Who other than Blowfly can clean up this mess and save Miami. Summoning The Incredible Fulk saves the day (blowfly alter ego of sorts - he transforms into it), and everyone's happy. The music here is very similar to Porno Freak, you could almost sing the song, but this is still a great track. This track is great and I love love love every second of it. Lots of his best tracks are story tracks though.
7. She's Bad: "insert Dolemite reference". This is more of a slow jam funk rap number. Also that bassist is awesome. I mean this is what I assume is Fly's take on a love song.
8. More Than One Pussy: Who doesn't want that. This melody reminds me vaguely of Just The Two of Us. This topic is insane, but you know I really like the sound of this song. I feel like this would offend someone, but then again who cares. I don't care if it offends someone. The point being, God created more than one woman so us men can have different women to do certain things with.

Overall I have to give this album a 8/10. This is like the other albums from the 80's. When it's great it's fricken great, when its not its just ok. There isn't a bad song on this thought. And it's so fun, if you were having a college party of something I'd suggest playing on this on Spotify if you knew everyone doesn't mind some cuss words and some profanities. The only album from the 80's I've yet to hear is Freak Party, but so far this is the best. Though I do like the On Tour '86 feeling of the original albums. Up next is hopefully another review. The only set in stone review is 31st's so lets see what happens.

The Night Creeper - Uncle Acid

This is the fourth studio album by the UK's Uncle Acid and The Deadbeats. And for this album I guess Uncle Acid decided to go solo..... :). Hey did Led Zeppelin, or Mr. Bungle ever go solo after their groups broke up? Well all jokes aside (it'd be funnier if I was doing this when they dropped the Deadbeats title on their 2013 record) a friend of mine who does reviews showed me this band, and they are pretty solid. He has his own blogger located here. Check out his reviews, he does more metal and rock reviews. And this album cover screams Halloween in my mind. Well I don't have much to say about them other than I enjoyed this first time though, let's rip it apart this time and see if it holds up ;)

1. Waiting For Blood: This is the first track I heard from the record, and I think it's a great opener. It really grabbed my attention and made me want to review the album. This riff reminds me a ton of Sabbath, but not in a bad way. Like there are times riffs remind me of something and it is like "RIP OFF" but this, maybe the vocals help and the feeling to, I don't think it's a rip off. I think the solo is solid, it's got this really Sabbath all over. I mean even the solo sounds like Tony Iommi.
2. Murder Nights: For whatever reason I think this is a spoof on the title Boogie Nights. You know the 1990's movie with Heather Graham naked. That's reason enough alone to watch it.... Its finally on Netflix. Though I'd say it's not as good as I wished it would be. But as far as songs go this has a hypnotic feeling riff. It feels a tad evil, not sinister and satanic but dabbles in the occult. And the vocals here reminds me of a song that I think people might recognize Wrathchild. The vocal melody in the chorus (or refrain) that is, not the actual voice. The actual voice reminds me of Conan Mockasin, if he were in a Sabbath genre tribute band. All thought, if this was sped up, it might pass as an Iron Maiden riff. The section that changes, the bridge of sorts, it reminds me a ton of Who Do You Love percussion wise. But it is really cool. Only complaint, turn the guitars higher in the mix maybe, they sound really awesome.
3. Downtown: I assume this is the sequel to Prince's 1980 classic Uptown, or at the very least a sister song to it rather. This descending riff makes me feel like I'm going down. I do like the vocals, they sound rather heavenly. That was a left hook for me in all honesty. I just finished listening to albums from this year that bore me or either are uninteresting. The guitarist has another tasty solo, and after guitar part reminiscent of the ending of Train Kept A-Rollin', the song ends. 
4. Pusher Man: I laughed when I saw this title. There's a funk classic by the same name from the 70's. So I was kinda hoping this would be a cover of that track. A stoner rock cover of Curtis Mayfield's Superfly track..... I can picture it now. Sadly it's not a cover, but it is a still a solid track. This is a pretty solid pleasant, to my ears, song. They don't' just focus on slow and grit. Those harmony vocals really give it an atmosphere. I really love those harmonies. I friken love them.
5. Yellow Moon:  I love the flute, thought is doesn't really sound like a real flute. It kinda reminds me of a Mellotron. This beginning have a very intro/transition feeling to it. It's also an really nice change, similar (in the way it works) to what Fluff does on Sabbath Bloody Sabbath. Also the whole guitar and everything outside the "mellotron" remind me of both The Green Manalishi and Albatross by Fleetwood Mac. But shocking as it may be, this song evolves and changes into something much more joyous. I feel like it'd be a great ending. And that piano that come in at the end, I think they know how to pull my heart strings. While it's too soon to tell, I kinda feel like with a dozen or so more listens this could be a favorite of mine period.
6. Melody Lane: Isn't that located just down the street from Penny Lane. The music isn't bad here, it's more the vocals. The robotic, sharp, psychedelic Conan Mockasin-esque vocals just kinda hurt at the beginning. Now the refrain is awesome, and this song is awesome too. It's just that beginning part I don't think clicks.The solo is another great one. While I don't think it's mind blowing, it's still pretty sick sounding.
7. The Night Creeper: The title track, as you can see, is probably one of the lesser tracks. Not that I don't like it, but like the intro is just nothing that special. At this point the album has established what it can do, and what it's sound is. So this track just feels like it's sticking within those "limitations". I mean, yes there is an instrumental part that feels a bit different in terms and feels very epic and like it's going to build up. That same epic feeling that was missing from The Book of Souls, but I don't know. I just.... wish that build would pay off rather then building and doing a Book of Souls. And that solo isn't great enough to make me feel the thrill I wanted to feel.
8. Inside: This is a song that has a very, how do I put it, marching feeling to it. I mean not really, kinda, but like the guitar has this bluesy thing. It's just like notes are missing. Like instead of doing a blues. Just get your guitar out and play any blues rhythm guitar part, you know what I'm talking about, and it'll fit. Not that this is bad, I just.... don't know what to make of this.
9. Slow Death: Another slower song, that has rain. Oh they used rain, Black Sabbath rip off. If anything, I'd compare this to a non-psychedelic Conan Mockasin track. I know I've compared to vocals to that, but this track feels like one but without the psychedelia. It reminds me a tad of Forever Dolphin Love too. And I love that electric piano roll. This is a really good penultimate track. Very soothing. I also get a vague Planet Caravan feeling from this track. And the way the song gets louder and larger reminds me I Want You. And I can't believe that was 9 minutes long.
10. Black Motorcade: Closing the album was get something that sounds like it'd be better fit on, this might be a stretch, but The Wall. With just guitar as the prominent instrument, well and organ and vocals, it's a nice closer. And those strings really help add to the feeling of mellow I get.

Overall I give this 10 track record a rating of 8/10.  If theses guys are a rip off of Sabbath they are ripping of what makes them great. The fact that the band had no fears in the 70's is why I will never speak ill of them. They had the balls to push the boundaries of the genre they established. These guys clearly picked up on that. The songs here, while similar in sound, all have a certain thing were I can tell when a song starts and when one ends. They don't all blend together. That's really good. This will most likely be a favorite at the end of the year for me. And who knows; this time maybe next year, it will be a 9 or an 8.5. This thing is really great thought, check it out if you like metal or are open to just listening to anything really.

Filth - Swans

If I do Halloween Month next year, which I mean it was a lot of fun, I think ill try to the schedule of about one ever other day, (Mon, Wed, Fri, Tues, Thurs, Sat repeat) or something of the type. Anyway this is the debut full length album by Swans, it follows a Self Titled EP released the prior year. This album was recorded in April of 1983 in New York, produced by Michael Gira, and released on Neutral Records. This is also, I think, their only release on that label. One thing I want to say is based off the cover, and title, I imagine the album will contain some form of "chains and whips" or other type of kinks. It's arguably "filth"; the club at the beginning of Irreversible, the activities Frank makes fun of oh so often..... Yes you guessed right. Now I don't like those activities, but this album also gives me the image of the total debauchery of Sister Ray, but more serious. The Heathen activity will commence, and pleasure is the only absolute (insert other art film nonsense). {Note: Anything said that offends is not meant in a serious manner, just in a stereotypical/socially accepted "facts"}. So with all that in mind, why not review it for Halloween?

1. Stay Here: This is very noisy. Like the best comparison I can think of is Everyone I Went to High School With Is Dead, minus the electronic pop through. There is a marching rhythm to it that makes me also think of Walk, but this is much darker than Pantera. With Pantera I'd think, they are gonna beat me up, with this I think I'd be best to avoid them. It might not be safe to hang out in the part of town they do. Now that that being said, I'd go to that part of town to hear them play, it's just I wouldn't stick around. I do kinda laugh a bit at those growls at the ending. My mom always says, when I listen to any form of screaming "he's constipated" and the way he's doing the vocals at the ending make me think he might be. Not that that's a bad thing..... for the song at least. Also for whatever reason, it makes me think, this whole song and album, Sister Ray. 
2. Big Strong Boss: On the tail of my Village People review, I feel like this could be a title of one of their songs. Not really but who knows. This is a very robotic feeling song. The rhythm could easily be done doing with Devo if they were doing, and honestly not a type like real, metalcore/heavy metal type song. Like I imagine a bit of a real machine making this sound, or at least they replicating the sounds and rhythms with their instruments. I also think of the Devo cover of Satisfaction. I also think of the song Critical Acclaim by Avenged Sevenfold. This would be sick if they did they type of guitar thing, like using the same distortion just playing this, that Syn and Zachy did in the beginning of that song following the organ intro, that riff. But that's pretty impressive that I was album to connect so many dots 20 seconds in. I have to give them credit for that. This also have a bit of a punk feeling to it. Like I could see a punk band playing something similar, musically speaking not sound wise. Technically the genre is No Wave though. And this might be the weirdest comparison I've done, it kinda makes me think of "Robot Roll Call". At 3 minutes this does get old kinda quickly, but that's because it's just the one thing and repeats. It's not bad, I just wish it wasn't so long.
3. Blackout: "I really had a blackout", I can actually sing it to this too (that line). Opening very heavy on drums, this feels like the beginning of an album. Like I feel like this could be titled Blackout if the album was titled that, or this could also just as easily be titled Intro. I mean this is.... I don't feel like this is as together as the last two. Though there wasn't really much, outside of those connections (in my head) going on in the last track. Don't get me wrong, I like minimal stuff, and minimalism...... but I think it is more compelling on To Be Kind. Also I like the evil, deep, Axl Rose esque voice. You know the really low one he does on Use Your Illusion.
4. Power for Power: For me, personally, the intro would be much better if there was something else going on. Like maybe throw in a solo, or a fill or anything. I mean, there isn't much really to keep your intrest. I mean at least songs or pieces like In C an some others numb your brain from the repetition, this just kinda........... shuts your brain off and you kinda, for me, have to focus. It's not the numbing where you can't focus, it's the you watch the same episode of a TV show for the 5th time in a row, all in the same day, can't focus. I like the powerful percussion towards the middle, but hat's not enough to keep my interest. Like I feel like if I do anything on my guitar, and play it over and over and over and over it'll work of this track. I think that people can do interesting things with songs like that, but it's hard when it's the whole album.
5. Freak: What kinda one is it? could it be a Porno Freak, or maybe a Super Freak. This starts with a neat "tape rewind" sound. I think it's an interesting departure from what have been mostly a sonically similar album. And Honestly, for that reason it might be may favorite track thus far on the album. It's really noise and a sonic whirlwind. I get the feeling of being inside of a tornado when I listen to this and the guitar only helps that. The sort of fade in and out thing it does. And that stop, pretty awesome. It also goes by pretty quickly.
6. Right Wrong: This song is kinda clearer. The other tracks prior were a bit more muddy, where this I can make out everything. I might be crazy, or maybe I just got used to the production here. But I think this feels.... fresh (?) and different enough to what I could imagine being a side 2. I don't know the vinyl track listing, but I imagine it like that. I mean this is really cool. I can really get into that track. The drums sound like they want to hurt you, the guitar sounds like it's pissed off and if I had the bass taken out I'm sure I'd kill my ears. The bass here is more muddy, like I can't really pick out what it's doing, but overall it's a bit of a nice change.
7. Thank You: "for letting me be my self again". This is another track that is noticeably cleaner. I like the double rhythm things. I can't think of the term, but like that drum thing he's doing. Like The Rev did on Almost Easy. Not the double bass, but the kind of timpani thing. The thing they do in the beginning of The Stroke by Billy Squire. I also like the double bass pedal thing on the drums. 
8. Weakling: I kinda feel like this would be a perfect title to a track for this album. This is pretty decent, I like the whole entire feeling. I could picture this being a stoner/sludge track if the production was a bit different.
9. Gang: This is a track has a primal feeling to it. Primal is a word I'd use to describe this album too. It's very percussive. There isn't much that happens really. It's cool sounding but I don't jive with the fade out, fade in twice in a single album. Unless it's a different part and not just the same song.

Overall I have to give this album a 5/10. When I look at this cover I feel like it fits the album. Now maybe it's the post-Money Store/NoLoveDeepWeb me but this album just attracts me to its. Kinda of like a horror movie attracts me to it in, though I don't really watch current movies often. That's a whole 'nother story, but regardless. While I don't love this, I definitely think it's worth the listen. It's dark, but the right kind of dark. I find myself liking the blue print and what happens rather then the execution or the over all outcome. I really dig the whole use of noise, but in terms of a whole piece of material I don't think its amazing, or mind blowing. Who knows, this album might change your perception of what is possible, that's the beauty of art. What I might pick up as hints or suggestions to add, someone else might find as the thing to stride for to equal. There are a lot of elements on this thing I like and while I feel like it's not amazing it may grown on me to. One thing I know for sure is, id I heard this in the 83 (or at least prior to the release of Cop) I'd be excited for what's to come. And I plan to review another Swans record, preferably as soon as possible. Also for the record I've heard other albums, and I do like some track by them much more than this album, but you gotta start somewhere.

Crusin' - Village People

I though, let's camp this Halloween up a bit more and review the third studio effort by Jacque Morelli's Village People. I did a horror movies score and a underground S&M film soundtrack, let's lighten up the mood a litte. This album is prefect for easing horror. Released on October 23rd, 1978 the title is supposedly a double entendre meaning both driving around and picking up men. Now that might not be true, who knows, but  I kinda feel like that construction worker is waiting to get a ride...... If you ah, catch my drift ;). He's always the most flamboyant on their album covers though so, in all honesty..... I guess another who knows. I'd also just like to admire the ridiculousness of this album cover. Just look at it and try to realize what you're seeing. Once you do that I can continue..... This album is known for contains their biggest hit, and it contains some other tracks too. Also I plan to have my other "Dark Halloween" review up Friday. And I'll probably only have two or three more until the final Halloween album I've had planned since the start of me deciding to do this. Cool, Let's go.

1. Y.M.C.A.: This is the anthem that's known around the world for its "gay message".... And for its very catchy chorus. I mean I don't think you can, at least to me small knowledge of the world, have lived and not heard this song. Maybe in a non American country, but if you even saw that Despicable Me 2 movie you've heard this. So do I think the fame of this tracks is as warranted as it is? Not really. Now don't get me wrong, it's a great track. As much as I don't like it, I still sing along to it while I drive to look like an asshole. The thing is there is something missing. Far and away their best track is the ode to a joyous future that is Go West. But this song, maybe the fact its about a Youth Hangout place instead of hope. But this isnt bad, its actually a decent song. Infact its extremely catchy to, I mean the second you hear that guitar and then those horns... you know exactly what track this is. And to be honest  the bass on this track is a lot more interesting then a lot of rock bands, yeah reread this sentence, I can think of. I mean when I listen to this in terms of reviewing it, outside of the overplay factor (maybe) I can't really say anything bad about this track. It's kinda cheesy, but it's not bad for you. And I mean, it is fun to sing to. It's much better than the following track. I also like how it kinda seems like it builds each chorus. It seems to get larger each time it comes along. Which I love when you add and make it larger. The only part that I guess I could maybe do without is that instrumental section, in which case I'd just listen to the single edit. But really the single edit of this isn't as terrible as the music video edit of Macho Man. That's so friken bad and abrupt. I kinda went off topic, I guess what I'm trying to say is the general public likes to turn off their brain and just have fun. They aren't concerned with philosophical deeper meanings, unless it's something masquerading as that. Where I think GW is unintentionally motivational and has a bit of a deeper meaning (to me at least) this is just a place to go. I guess when I get past this being their biggest hit.... I can give it a 7/10.
2. Medley: The Women/I'm A Cruiser: The first track isn't that bad, thought the backing vocals chant is dumb. But then I guess the whole pre-chorus isn't bad. And I mean I kinda feel like the lyrics are on here to compensate maybe. But then when the chorus comes in all I can play in my head is Can't Take My Eyes Off You's chorus. I'll give them props for three distinct sections of the songs verse, chorus and pre-chorus. I also laugh at that sound in between the repeat of the chorus, it reminds me of Drafted Again. Also I kinda feel like at 6 minutes (Women) maybe it goes a little long. But I will say there is that kinda of outro that I can play a perfect segue in my head into the next track (or section). Also I think this is the only track by the group to have a overdriven, buried be it, guitar. But I could serious do without that last chorus, even thought that guitar is welcome anytime. Thought I kinda also have the similar feeling I had with the xylophone in The Spotlight Kid. It's almost like they "just got" the instrument so lets use it as much, or in this case the overdrive. The flow is pretty good, but I wish it was less abrupt, maybe it's my copy since I'm listening to them separate, but I wish it happened at the 3-4 minute mark of Women. Sonically this track is much better up until that "epic" refrain of the title. There is another song that plays in my head, but I can't quite pin my finger on it. I still think this is not as distracting as it was in the last track (I like this more than The Women) but it still hurts kinda. It has a Broadway, show tunes finale feeling. Then a interpolation of Hold on I'm Coming happens and.... No I'm not gonna let it piss me off. I do think that multiple vocals part is a neat idea. It's a lot more interesting than the more bland tracks on Go West. Again I think this section might go a little long, and the string heavy part reminds me of a disco musical, but like a music with a disco beat not Saturday Night Fever. This is followed by the Sam & Dave track interpolation to fade. I really dig how you can hear the vocals and pick them out rather then them all at once. It's neat, but as a whole I think it might run a little long, at 12 minutes. Maybe trim the fat a little, but still.... it's not terrible.
3. Hot Cops: This isn't that bad of a track, but every time I read it I think of Arrested Development. It's a pretty decent track, outside of the whole AD thing. It also has this phased intro thingy that reminds me of another track that I can't think of. There are also parts that have glimpses of like water. It's a very wet track, not dry. I don't know it doesn't really bother me until there is a section that reminds me of Macho Man but not in a good way. It also kinda gets annoying with the chorus and seems like... I've heard this earlier on the record. So I don't really know.
4. My Roomate: This song is kinda gay, I'll admit it. Like really gay, just listen to it. There is a sonic feeling I get that makes me feel like this would be one a "gay anthems" compilation. I will admit, this is a fun song. Just because I think it's fun doesn't mean I like it. I mean there isn't really anything for me to like and want to listen to again outside of a front to back listen. Though I don't like it.... I can say it makes me smile. It just seems kinda innocent, they aren't doing anything intentionally gay.... I don't think. I feel like the kid singing this would be a kid who is kind of like a rebel-rouser and you just pat him on the head and smile when he goes "I wanna be a tough kid". You know the kid, the type all the adults think is adorable. A Shirley Temple type, but this would be a boy sing this.
5. Ups And Downs: I have to say, the novelty of lasers in a Village Person song is worth checking out again, but again there isn't anything really here to say that is good. I mean this is much more entertaining than that Solo Man album, which is disappointing to me but it is what it is. When I listen to this I have a feeling of, there's six minutes left of the film, its wasn't terrible, why not enjoy yourself for the finale. 

Overall I have to give this album a 5/10. You know I know you're supposed to dance to this, but I feel a lot of these are a little long. Where Prince's classic 1999 might have just been a little to long for one sitting (not always but it has parts when you sit that seem unneeded). On that record if you listen to each track solo not a single one seems too long or indulgent. Here all but like one feel that way, and while theses tracks are about the same length on both albums... I really wanted to love this. But I find too many things to nit pick to actually say this is great. It's weird thought, this album flys by. That's weird to say when I just said that I jsut said the songs seem a little long. But once the songs are over, the 35 minutes seems like it zoomed past.

Heretic: Jeux des Dames Cruelles - Naked City

This is the third studio album, and only soundtrack, released by John Zorn's super group Naked City. This is my first Naked City review, and since I like this album (a favorite of mine) I decided to review this. I also decided to review this keeping in the themes of Flith [;)] and more dark side of things..... what "scares" me I guess. I haven't been able to find the this film on the internet, thought if means anything I sat thought The Elegant Spanking which Zorn also scored. I would rather not relive this film, it's kinda boring but also if you can look past the kind of slow pace.... It's hilarious. Plain and simple, it's just so.... I feel like I could have written that script. So that should be saying something. The music did thought add to the experience, so I am kinda 'pissed' I couldn't find a copy on the interwebs of this. Thought based off the cover, and the inside photographs from the film, it's probably much more hardcore. I'm also not really into anything that isn't.... I don't like pain, plain and simple. However I should stop wandering and review this album. Playing on this record we have Yamantaka Eye (I should really do a Hanatarash and Boredoms review soon) on vocals, John Zorn on Alto Saxophone, Bill Frisell on Guitar, Wayne Horvitz plays keyboards, Fred Frith is on bass and Joey Baron is the drummer. But this album is pretty awesome, so let's get it on. Also I though, since the last review was a soundtrack, why not do another. One I much better like. Because they conveniently listed each player on each track in the liner notes (well back cover), I decided to mention them by name. I also would like to note I hope to have another review up tomorrow. This was intended for last Thursday.

1. Main Titles: With this track, featuring Eye, Horvitz and Baron; we get the opening to the album. It also serves as the main titles to the underground S&M film Jeux des Dames Cruelles. This opens the album, and is very odd sounding. The first time you hear it you almost have to wrap your head around what's happening. What I imagine is a they were in a room and they are just hitting a bunch of chimes and electronics and, it's crazy. It makes me thing that drums also includes percussion (though it isn't listed). It's not the most extreme thing I've heard, it almost sounds watered down listening to it now.... But it's still a great track in my opinion. And Watered Down in making it more accessible vs making it stupider and less good. Does that makes sense
2. Sex Games: This is kinda of the exact opposite of the last track. Where that was very improvised and loose, this kinda of has a very jazzy structure, be it a loose one. Frisell really sounds like he's playing if Pink Floyd did jazz. And I also like the contrast in rhythm of Frith's bass. It isn't exactly in sync with anything really. Don't get me wrong this is loose, but it's loose like..... well..... I hate to say this but.... Like if they were stoned and they played. It's still there, but not completely. But then I also feel like Baron wouldn't be having those drum bursts if he toked up before hand. It's not until about 30 seconds until the song kinda melds and works cohesively. But I kinda feel like it came together the same way It's Gonna Rain fell apart. They way they were playing eventually it would sync up, like that ones eventually it would unsync. Though there is a clear difference between this and that... that's what I liken it to, loosely. Like after that if you listen it's still together, but not completely again. I do like the razor sharp sounds the guitar is making and those bass "scales" damn. Plus while I've heard faster drumming, I still gotta hand it to Joey for keeping it together, but at the same time not.
3. The Brood: There is a very Ennio Morricone atonal film score piece feeling I get to this track. Zorn's Sax tricks you into thinking it's a string instrument. Or maybe that's Horvitz's keys playing a string sample. And throw in Joey's drums and you have one unsettling piece that is giving me goose bumps. And Zorn doesn't over do those squeals. They make the track more uncomfortable.
4. Sweat, Sperm + Blood: What's better than a Yamantaka eYe and John Zorn alto saxophone and voice harmonization in the beginning of your track. If I'm being completely honest, I kinda like that backing him up vs the Boredoms. While I haven't even come close to hearing everything by them, or everything by Hanatarash I think he's best fit here. There is a part where he does this sound where it sounds like a growl (stomach) and it's kinda funny. But serioulsy, this type of piece where it's just voice and what not.... It blew my mind when I heard this. Fuck Mike Patton was inspired to do his first solo album because of Eye. So I mean the sounds he produces with his voice, and the saxophone accompanying him. Let's just say The Classic Guide to Strategy would easily be an lot if Eye was on it.
5. Vliet: The only name I've ever seen with Vliet is Don Van Vliet. So this could be a tribute to him, it also could just be a coincidence. I love the funky bass paying here, I also love the very Residents' guitar of Nolan Cook playing on the track. This guitar sounds like it'd fit on one of the newer albums with him playing on it. It's very short, and I kinda wish there was a bit more. But I also don't know how long the track would be able to keep my interest. But I also don't haven't any lack of faith when it comes to these guys, and this album. So it's more of a devils advocate for me.
6. Heretic 1: The first of three title tracks, and this intro reminds me so much of Oingo Boingo. The rhythm and it's great. I love the guitar on this and the sax. This isn't really industrial, at least I don't think it is, but I have a very machine like quality to it. It kinda almost sounds like a backwords version of an Oingo Boingo rhythm section. With Saxophone shrieks. also it's just sax and bass. I think the saxophone is what really give it that feeling. And eventually before I can even really realize it, I doesn't remind me of what I was just listening to. Prominent bass and sax, also solid bass playing here. Then just saxophone before going into what sounds like a sped up backwards tape fuck of a storm. It's very interesting sounding. Like I can Imagine someone sticking their penis into that tape machine and having sex with it and then that is what caused the atmosphere of the track.... And considering what type of film this is sound track to, that might not be that insane.
7. Submission: I wonder what happens at this part in the movie. And to be honest, I don't really know what to make of this track. There is a feeling of a motif with the guitar, like I could imagine someone walking around or being more innocent maybe. That might be a stretch, but still. And it's funny, the guitar and the drums are together, but off, there are only seconds where it could be a "theme" in the conventional sense but not long enough to be able to be one. This actually reminds me of a Zappa track that I am blanking on at the moment. This is a very drum based track, and while I kinda whish it had the drum playing of Han Bennink on it, Joe does a great job none the less. There there is a part where it sounds like the guitar is playing a loop of a section of the South Park theme. Also the keys on this track make it more atmospheric (thought it could be looped guitar) but it adds a really nice texture here. And oddly enough the song gets more aggressive, or irritated as it progresses. In terms of a movie, what plays in my head is the sub is tired and over throws the dom. Maybe kills or hurts the person. That's what played in my head, scene wise. And then the reflection of no wait no. I could totally imagine a silent film being played with this playing to a scene. And while the drums at the ending might make more sense when you see it in practice, I can't say I feel the solo drums are necessary.
8. Heretic 2: This has to have a backwards bass on it, al thought the drums kinda sound backwards a bit too. The only part I can say that I know is forwards is the sax. This isn't all to much like the first Heretic. I mean, yes it's similar and could be a continuation or a variation, but I don't know. I get a different feeling with this one. Its not so "industrial" and more in like with the other tracks.
9. Catacombs: There is a very ambient feeling of this track, and what sounds like a saw. That saw is what I'm assuming is the keyboards on the track. While I haven't heard anything in the genre, the best way I can describe this is "dark ambient". There is a bit that reminds me a tad of Delìrium Còrdia and maybe other Fantômas tracks. Just bursts of that group in the track.
10. Heretic 3: With the same Zorn, Horvitz, Baron line up tha was on the second part, this sounds like there are game calls on this track. And this is also just so weird, I mean it's not weirder than anything you've heard earlier, but I feel like the track was maybe sped up a bit. It's more in line with Torture Garden in my opinion. It almost could be an outtake from the sequel. Althougth I am also getting more of a Radio feeling to it. I like the extra wind instruments on this and the odd noises that make it worth coming back to.
11. My Master, My Slave: Wooooooow, is what I imagine the intro is saying. It sounds like they wah-wahed Frith or Horvitz. It also sounds more like there is an actual piano on the track vs just keyboards. There is also this noise that sounds like scraping in the beginning that reminds me a tad of drum and bass music. Honestly the best thing I can compare this too is a move interesting version of something that was done on The Elegant Spanking. There are water echoes and it almost make me think of under  water.
12. Saint Jude: This track vaguely reminds me of a solo by Zappa off Tinsel Town Rebellion. This could actually be a tampered with tempo cover of one of those tracks. It's got drums, bass and guitar so it has the basis of one of those vamps. If not Tinsel Town then maybe 78-81, so like the period that Shut Up And Play Yer Guitar was recorded.
13. The Conqueror Worm: This is the name of a poem by the famous Edgar Allen Poe. I saw the 60's film they made of it, I thought it was kinda boring. I don't believe this is just Zorn and Horvitz. There is too many percussive sounds that aren't covered by sax and keys. I also think there is a whale call in this track. I also get a tad of an oriental feeling from the sounds.
14. Dominatrix 5B: I like the drums in this track, and the weird prepared guitar sounds. Then it goes into an overdriven guitar and the fastest drums by Joey I've heard. This actually vaguely reminds me of Spillane. Not a ton, but just a bit. I really like the more "metal" feeling I'm getting here. There is a lot more power and force here than on previous tracks. And Damn that drumming, he's fast.
15. Back Through the Looking Glass: Classic title, classic duo. Here we have Frith and Frisell. This picks up the guitar overdrive from the last track, and goes has these sounds that I could imagine Eraserhead having in the film. But buried, in the film. Like that type of atmospheric, thought the movie has much more settling music. This is a pretty weird track that often goes into Nolan Cook territory..... But get this, Frisell did it first. I can see this title fitting the track. The loops feel very psychedelic towards the ending, before kinda dying off and decaying.
16. Here Comes the 7,000 Frogs: That's a shit ton of frogs. While I wished there would be a ribbut, I can't say I am complaining. In reality this isn't that different from Sweat, Sperm + Blood, though parts sound more like Mike Patton doing the vocals. He also makes monkey sounds rather than frog sounds on this.
17. Slaughter House / Chase Sequence: The album seems to be making more sense, syncing together, as it moves forward. Another more industrial feeling track. This is more cohesive though and features the bass, drums and guitar trio of earlier. This is actually, while maybe not as good as the other, still solid. I mean the drums are awesome, and so is the bass, but the guitar is what is off for me. Just not feeling it, thought I am feeling the jungle vibe. Also the guitar kinda reminds me the guitar, tone wise and at certain parts sonic-wise(?), in the "live section" of Train Kept A-Rollin'.
18. Castle Keep: This much more ambient in nature. Like there is barley any guitar and it's mostly very pretty relaxing sound that lasts most of the track. It decays out before being played again. This is something that I think is easy to listen to. Thought the second time though it sounds like whistles blowing. Which isn't as pretty on your ears.
19. Mantra of Resurrected Shit: I might have second thoughts of this film.... maybe I shouldn't watch it. In fact based off that title I think I'm gonna throw up. I will give them this, there are parts where the voice and sax become one. This is probably one of the weaker tracks, thought I still do think it's solid. I can't say it's awesome, I just with he'd do voice over other instruments instead of just sax.
20. Trypsicore: This sounds like sand falling slowing being recorded with chimes and guitar mixed in and drums. Thought some of the drums/percussion sounds like rocks falling and hitting stuff. It's also just keys and drums.
21. Fire and Ice (Club Scene): This title makes me laugh, because it reminds me of the Fire and Ice Ball. But, seriously, this is a track I could feel myself jamming over. I can best describe it as a funky groove meets Deep Purple organ, with cyber computer effects and saxophone mixed in. The rhythm section is solid throughout and everything else is just added over sounds from what sounds like sirens, whistle blows... this really is a great track. This is also the only track to feature everyone.
22. Crosstalk: The guitar in the beginning reminds me of Crack Hitler, and the drums are frantic. The beginning sounds like when I pitch shift and speed stuff up really fast. Then it goes into something more like and earlier track with popping bass and popping guitar. Thought parts sound backwards.
23. Copraphagist Rituals: This is my favorite of the Eye tracks, it features Baron and Horvitz too and everyone in on the same wave length this time. eYe does his thing while they accompany him with some faster drums and piano. I dig this track.
24. Labyrinth: Significantly longer then the rest of the track, here at 5:47. The second longest is Submission at 4:21 followed by The Brood at 2:48. The beginning remind me of Jimi Hendrix and Voodoo Child. This is a very laid back track, very ambient. There are also guitar moments that remind me of the laid back part right before the almost Batman Theme like section of Spillane. You could almost look at this as that section, just the full take rather than an edit. I don't think this needs to be as long as it is, maybe if it changed up a bit more, but it is what it is. The track ends on a very, what sounds like, thunder storm coming in.

Overall I have to give this album a 7.8/10. While anything by Naked City is terrific from the genre melting pot that is Radio to the Grindcore (or I guess Jazzcore) Torture Garden to even the ambient Absinthe... This is the first one I listened to front to back. I'd suggest if you want to broaden your horizons, and you are not looking to something super off putting, check out the John Zorn album Naked City, which is considered the groups first album.... Though I think Torture Garden came first.... I don't know it's confusing. But at 57 minutes this is a great album to check out and to get new fresh ideas for expanding your musical vocabulary. It also doesn't take forever to get over with. While based in Free Improvisation, there is enough variety to keep me interested here.... like wholly interested. I cant really pick any favorites, I usually sit through the entire album. Also after re-listening to this album, I will probably regret this.... I really want to watch this film.

Halloween - John Carpenter

This is the soundtrack/score to the 1978 classic slasher film Halloween. Funny enough, this sound track was released two years after the sequel's, Halloween II, from 1981. I saw this film a few years ago in High School, and I thought it was pretty great. I mean I think I need to re-watch it, but still. But since my friend Justin has released a new mini-album, coming the 31st, I decided to review the album that inspired it. I already heard it, I think it's pretty good, but let's here where this style supposedly (from my understanding) originated from. I could be wrong, but I'm pretty sure Horror Synth  started here

1. Main Theme: This is the famous theme to the film of the same name. When I listen to the recording though, without the images, I picked up on something right away. Something that actually pissed me off. There is a little loop that's about a second long, and it sounds like it's skipping maybe. I mean, don't get me wrong, I like this the whole feeling of the song is great. I just wish I could cut the bug zapper sound out. I can't really think of anything else to call it other than it's high and sometimes is buried but it still plays in my head. Even the drums aren't half bad, or the sample that is the drums. But I do like how the song gets larger and I imagine if it was orchestrated it'd sound fantastic with a similar arrangement.
2. Laurie's Theme: I think this isn't that bad of a track. I'm not 100% if there is or isn't a violin or a string instrument here, but regardless I think this is a decent track. Maybe not as good of a stand alone as the prior track, but I mean it give a mood.
3. Shape Escapes: A reprise of Main Titles. just about 1 minute and a half shorter. Also with the addition of a lazer sound effects. Basically that serves as the variation on the theme. But if I'm being serious I prefer this length for this track over the Main Titles over 3 mintues.
4. Meyer's House: I might be crazy, but this sounds like a more together version of Laurie's Theme. I had to revisit this to make sure it wasn't. Then there is this like chimes thing, not real chimes but it kinda simulated chimes. Before going back into the first part and the eventually into the theme. At this fucking point............... The theme has played on three of the four tracks. And it's very minute differences. The biggest difference in the theme is the thing that pissed me off was even louder than before, thought it doesn't bother me in this case... oddly enough.
5. Michael Kills Judith: Finally, this is unique to this track. It's very minimal, starting with just one tone at a time being held. I can't think of the exact phrase for what's happening, but I'm not to concerned with it at the moment. I do think the piano adds to it. It then stops and it just that one synth. I also love the dissonance here. I couldn't picture really any scene before but this piece really reminds me of that girl dying. So that's a plus, but I do genuinely think this is the best track so far on the album. Thought maybe the last time it plays the main part I could do with out. Like after about 2:46ish. I don't think it's all that necessary. I mean it does close the song more harmonically maybe, but there was a lot of dissonance so I don't see why they'd want to end it with consonance.
6. Loomis and Shape's Car: The titular theme, but this time with an new synth.... maybe. I could be remember wrong. Yea.
7. "The Haunted House": When this track started I had to stop the review. I got up and went to the bathroom. Now this isn't a terrible track, it's just I've basically already heard this before. And I still have about 14 minutes left of this album. Also the stupid fucking ending thing then silence then start thing again on every track.....!!!!!!!!!!!!!!!
8. The Shape Lurks: I'm gonna take a shot in the dark...... A another track that contains nothing really but the theme. Hey I was wrong, there is a dissonance that I really think creeps me out. I'm glad this is here. It's not very pretty and not only is it ugly (which here is a good thing) it ends and doesn't start up again.
9. Laurie Knows: ..... Refer to track 2, if you want to hear this. Guess what plays after this song stops................ I don't think I'll ever figure it out.
10. Better Check the Kids: This title makes me laugh, I imagine someone doing a stereotypical African American attitude you see in movies. I mean I just laughed, and I'm glad that I was excited. But the second it started.... that joy was slowly killed off. Don't get me wrong it's not that I hate this style, it's I can't stand there is so many tracks that literally have the exact same, or almost exact same, audio as each other.
11. The Shape Stalks: This is different, kinda. But in reality, I think this is more annoying and at this point I can't tolerate the minimalism-esque repetition. I like minimalism, but this album hasn't really done anything to let me enjoy it's repetition.

Overall I have to give this album a 4/10. I want to score films, that's what I'd like to do when I'm grown up. But the thing is for a sound track to be memorable right.......  Well not really. I believe it need to evoke whatever emotion or feel the movie/scene calls for. Now yes a genre helps you convey the style of the film The Good, The Bad and The Ugly has more of a spacious lonely wandering feeling. Not that it isn't epic, I'm just saying in reality it's mostly more vast and spacious, which the West probably was. Indiana Jones has an adventurous feeling that makes you want to be a part of his journey. Irreversible has a more uncomfortable feeling and uneasiness that adds to what's already a difficult (for some) film to watch. While this has an atmosphere, is iconic and is eerie..... I can't sit through an entire 33 minutes of what is basically Theme, other theme, theme + sound, new piece, theme again + newer sound. While in the movie it works, as a stand alone piece it doesn't even come close to something that I really enjoy. I mean those films listed above all have tracks that are different enough and have stand out enough moments to where Yes I enjoy listening and want to watch the film...... this makes me feel I better wait till I forget about the soundtrack because I might be focusing on the music more then the film.

In Sorte Diaboli - Dimmu Borgir

This is the first album, I'm reviewing, by Melodic Black Metal band Dimmu Borgir. I was kind of afraid to listen to them at first when I originally heard of them. The reason was because I was like 14 and they worshiped Satan. Well with the help of Burzum and good old Frankie Z I can overlook that. I'm secure enough with my religion to where I do not feel that these guys will shake my faith. This is their 8th full length studio album, and from what I've read, their first concept album. The concept being a priest's assistant who begins to doubt his faith and eventually discovers he has nothing to do with Christianity. Also it takes place in Medieval Europe. Since picking this review I've heard the much better Enthrone Darkness Triumphant and Spiritual Black Dimensions, but I figured finish this for Halloween month..... get it over with you know.

1. The Serpentine Offering: I think this beginning reminds me, personally, of Symphony X but more symphonic. Like they used a real orchestra I'm betting in the intro. The beginning of the track is promising and I don't really think there is anything to complain about yet. I like the section after this that sounds kinda punky. I mean not punk, but I could see what they were doing being done in a punk track. I also dig, of course, Hellhammer's "programmed" drums. Also nice clean vocals.
2. The Chosen Legacy: I think the best part of this song, honestly, is the drums. I mean in the last track they were just kinda fast, but here there is different rhythms going on. It's really sick to hear. I'd buy a copy of this with just isolated drums/percussion. I mean seriously, there are Terry Bozzio type drums on speed.
3. The Conspiracy Unfolds: I think this might be the song that I heard the first time I heard any songs by they. I do really like the choir here, and I really think they did a nice job with that when it comes in. I also like the riffs that remind me of As I Lay Dying, just heavier. This actually, at parts, reminds me of As I Lay Dying on maybe An Ocean Between Us or Awakened. I mean this is heavier at parts, but still. It's got a lot of similar parts to that of a track by them.
4. The Sacrilegious Scorn: I love the cheesy, sorta, sounding synths in this track. The best part here is the clean vocals on the track. I like they way the accent of I.C.X. Vortex sings with. Now I bet that's his natural accent but I still like it. I also dig that piano part, though I wish it lasted a bit longer than like 5 seconds. I also like the harmony guitars here, that last only a few seconds.
5. The Fallen Arises: This is basically an interlude, that is made up of the stereotypical symphonic metal stuff. Orchestra, voice and you know I am not complaining. I actually dig this, I just wish it was more grand. Like a full blown orchestral composition rather than just an interlude.
6. The Sinister Awakening: This starts out promising, but I don't know.... I kinda loose interest in the track. I mean there isn't a whole lot new happening here. 
7. The Fundamental Alienation: This again starts with an orchestral opening, and goes into the track. I mean I like the story, I get it. But I don't think this is that great variety wise. By this point the whole stick of the style on this has grown old a bit.
8. The Invaluable Darkness: Maybe if they even threw in a guitar solo that'd make this cooler you know. I am glad they added the clean vocals again in this track. That seems to make things better, for me. I mean I like Shagrath don't get me wrong, but it's nice to not have the same thing throughout. One thing that's nice about Aerosmith in the 70s. Joe Perry would sing lead on occasion and it's not the same voice for everything.
9. The Foreshadowing Furnace: Closing the album we start with some dissonant strings and guitar. Those strings got me excited for what was to come. And I mean, I have to admit..... I was kinda bummed. There was so many parts where a solo, of any type, would make the song more powerful. I mean something as simple as the sinister riff in Pray for Plagues or anything. The guitar isn't Satanic enough. This is the ending, and according to what I read the assistant became the Antichrist. This sounds be Evil as fuck.... yet it is barley any eviler (not sure if that's a real word, or if the grammar is used properly) than any of the prior tracks. I feel like Bring Me The Horizon's debut is sonically closer to Satan than this ending. I mean maybe it's not their style to be as evil as possible, but still..... I was kinda disappointed.

Overall I have to give this a 5/10. I think that, out of the few albums by theses guys I've heard this is probably one of them where it more repeats its self. I mean at least past records still bring something interesting, this is just more interesting in the "the drums are different, that's a plus." It's not even close to a plus..... if that's a plus to you, then you need to listen to more music and broaden your horizons because you're kinda closed minded. But seriously there are bursts of things I think would sound neat on some tracks, then they end it before I can even really enjoy it. It's almost like a reverse Naked City, let's take the most interesting parts and have them last the shortest, and have the less interesting parts play under neath the bursts of interesting parts. I think theses guys should listen to Torture Garden, Radio or even Disco Volante. Maybe they'd get more ideas. But at the end of the day, I'd play this specific record if I just need something to listen to in order to fill dead air. I mean that isn't bad, that's what I do with just about every comedy(stand up) record I've heard. I mean I like the sound, just as a whole I don't think it's as good as it can be. Thought I often run in to this problem with the Symphonic Black or any Symphonic Metal. Also hopefully tomorrow as very special review will be complete. Cross my fingers.

If you have any advice on better records that are more interesting and exciting in the style can you give me a post and tell me the record, I'll check it out. I mean in theory Symphonic Metal is awesome, but I can't really say I've heard anything that's lived up to what think it can be. Thought I'm one person, but still... Open to suggestions

At Home With Screamin' Jay Hawkins

It may have taken forever, but I finally got a 1950's review done :). Up until today I had one for every decade from the 1940's to 2010's, with the exception of the 1950's. I hoped In The Wee Small Hours would be the first, but that will be up soon enough, and I also want to do one for every year starting in at least 1950 maybe 1945 (album's as we know today weren't really released until about the 50's). I don't get why I always ramble, but anyway. Continuing the Halloween theme of my reviews we continue with this the debut album by Screamin' Jay Hawkins and features the original recording of I Put A Spell On You. The thing is there are albums that are titled I Put A Spell On You but those were reissues of the album. This is the original. I'm super glad they finally added to to Spotify after forever and love that they finally did. Also something I want to note, for those who don't know, he was a boxer.

1. Orange-Coloured Sky: This is a cover of the 1950 Nat King Cole track. And this is a pretty great track. I mean it's exciting, up beat and infectious. I mean I kinda wanna get up and dance to this track. Great presence, get vocals with energy. And damn he on this track alone earns the title Screamin' Jay. I listened to the original and this is if Nat chain smoked and did a bunch of upper, and so did the band. Another quick note, when I first heard this I imagined it playing in the movie Elf. 
2. Hong Kong: Only one of a few tracks that are originals. It is also musically similar to the progression of I Put A Spell On You. Except this features, what I assume, is him attempting to fake Chinese. Well at parts of the song, but it's so not even close. I mean I can barley kinda think of that as being even faux-Chinese. Most of it sounds like gibberish. I kinda think this may take another listen or two, but I isn't nearly as good as IPASOY.
3. Temptation: This is a cover of the 1937 Bing Crosby track from the film Going Hollywood. Love the eastern feeling. And his voice adds to it, and makes it more musical. Like I doubt he hits the notes Bing hit, but I feel like this is how a normal person in his vocal range would sing it. I seriously can't find anything wrong with this track. I also love the bass in this track, it really reminds me of something I could hear John Zorn doing in one of his more conventional Book of Angels composition. Actually this could be one of those. I also love the set up this give, it's kinda of a prelude (eastern part) for what is to come in the next review.
4. I Love Paris: This is a Cole Porter track, my favorite of his being Let's Do It. I dig the classic feeling of the track, but I also like the accordion in the beginning. Or at least the accordion-esque instrument. This has a guitar that I could imagine Django playing, but not in his solos. Like in the vamps parts maybe. It's got a swing to it. Also he does the faux Chinese, which I now know isn't because he does it in the Paris song. Again, surprisingly, another solid track.
5. I Put A Spell On You: One of my favorite songs, and the best version of the song. The only other rendition I fancy is the Nina Simone version. But regardless, how the fuck could you not love this track. It's so creepy, and just.... not that this makes sense, but when I hear this original recordings horn and everything verses, I just think of the word Macabre (thought the correct term may be cabaret). Also a fucking great saxophone solo, thought maybe a tad to short. But I mean it's so laid back, it isn't horrifying. I feel like if this was played straight, and made today you'd be shitting your pants. I can't believe I have so little to say about this, but it's also so well known I doubt everything hasn't been said about it.
6. Swing Low, Sweet Chariot: A traditional song that is pretty great. I really haven't heard a bad verison of this song I can think of. And taking me completely by surprise, he decided (or the arranger or producer) to go the full out Gospel A Capella route. Though there is an pipe organ in the background. I kinda feel like crying when I listen to this. The only bad part is there are some parts where it's completely silent in between Jay's vocals and the choirs. Or at least you have to really listen (headphones) to hear that it's all together, vs parts just cutting out. And by the way I did cry, well just a bit. This also reminded me of a gospel album I listened to not to long ago. From 1967 The Edwin Hawkin Singers track it's Pray For Peace.
7. Yellow Coat: An original song by Hawkins and Irving Nahan. This is straight up Rhythm and Blues. Like this sounds like it could have been in the Blues Brothers. And I imagine The MG's playing the backing music. Or at least the basis of the MG's. The major difference between the two is, I'll return to this track. Where as for the BBs I don't think I'll listen to them play more than the initial time. 
8. Ol' Man River: This is a cover of the Hammerstein & Kern track from 1927's Showboat. This goes down the sole, piano vocal route. Well mostly, there are bursts of other instrumentation, which are as uppity as Orange-Coloured Sky. Also once the song ends, it goes for a jazz reprise. Like a big band vocal jazz rendition that I could imagine Cab Calloway maybe doing. Althought Cab would sing higher.
9. If You Are But a Dream: This is a track that dates back to 1913 and was originally used as a part of the revival of The Honeymoon Express. Anther track that I kinda am not feeling as much as the earlier track. I think the thing that keeps this track from not working for me is the whole 50's rhythm and blues, doo-wop, I-vi-VI-V style progression. Now I may be wrong in the exact progression [used in the song], but I was talking more about the feeling I get.
10. Give Me My Boots and Saddle: This track is from the 1937 film Boots & Saddles and is originally sung by Gene Autry. And the second this song starts I figured it was a Gene Autry track. It's very country, cowboy, western vibe. Though the guitar is borderline surf feeling, esp during the chorus. I also like that guitar solo. And another solid sax solo. The surf aspect makes me like this, more so than if it wasn't here. 
11. Deep Purple: This is a cover of the standard by Peter DeRose. This is a cover of the song where the British hard rock pioneers of the same name, got their band name. Before that they were named Roundabout. I kinda feel like this would be a good closer to the album. It's got a very sleepy feeling, and the same kinda of nite time feeling that I think of When You Wish Upon A Star. It also has a music box (?) or a harp twinkling. I can't say I love it, but it's still pretty solid.
12. You Made Me Love You: This has a very drive in feeling. The kind I think would be better fit as maybe not the closer. It also has the doo-wop piano. So technically be default I can't hate this song. I can not like it, but I can't hate it. While I don't like this, or think it's anything special first time though I have this feeling. The feeling is I'll be listening to this multiple times after this.

Overall I have to give this album a 8/10. Taking me by surprise, this is fucking great. Easily one of the best albums I've heard from the 50's. The album seems to kinda slow down in it's quality after what I am figuring is the first side. But regardless of it's downsides, check this bitch out it worth the listen. I could see this possibly being, at some point a 7 or 7.5 but I also can see it growing on me too. So only time will tell. Something I've learned over the years is if an artist is good, and you love a song on an album, usually there's another (at the very least) good song on that album. And while I have proof that isn't necessarily true, read some of my reviews, I still believe it. This album is a perfect example if that. Another strong point is the LP doesn't really repeat itself, outside of Hong Kong. All the tracks are different enough to get thumbs up, and it certainly is in no way a boring album. 

Famous Monster - Misfits

Thought I don't celebrate Halloween, outside of eating candy, I still love horror flicks. I would never dress up for he holiday, last time I did was in 5th grade, and I don't do parties (well depends on who's hosting). But in honor of my favorite horror themed band why not do this review? Since today marks the 16th anniversary of this album, why not pick this? I usually save the Misfits for October anyway, so there's that reason. Now this is, easily, one of the best albums by the group. While this was made during the period Michale Graves was the singer (1995-2000), and this was the second singer to be on a record. This isn't the first album to feature him, including LiveEvil II, it's his 3rd. The first album to feature him is good, American Psycho, but not nearly as good as this (if memory serves. I think they were going for more of a Danzig feeling on that record, this is the record where they come into their own.) And it's way better than anything Jerry Only as the singer put out (though Devils Rain ain't half bad, it's pretty good). I remember the first time I heard this album, hell I remember downloading it. It was while we were still filming Travel Bound, sophomore hear of High School. Riding in a car, waiting to get picked up. I remebwr telling certain people they are awesome, then that person didnt have any interest until I believe the following winter, when he got a Misfits shirt and was all the sudden a bigger fan than me. PS I'm just giving you a hard time, we've all been there. Hell I can still sing most of these songs..... but as you know rambling on and on and on isn't getting me anywhere. So let's review this [in my mind] "classic" punk album. I also plan, by the way, to review a few albums I like this month.... you know instead of reviewing a bunch of 2015 albums that were okay.

1. Kong at the Gates: This is the opening, and it's really just an intro. Nothing much happens, there is very percussion based, but it's supposed to give that feeling.
2. The Forbidden Zone: I doubt this inspired by Richard Elfman's classic 1980 cult classic (and one of my favorite ever) film of the same name. Mostly because their cut off is like.... I'd say probably 1968 maybe, for movies and stuff. But his just comes speeds right off the bat, and is a solid track. Like a lot of track there isn't a whole lot to say.
3. Lost In Space: This track is faster than the last track, and I really dig it. It shouldn't by all counts, there is very little difference between the track, but I still dig it. Also nice drum work Dr. Chud.
4. Dust to Dust: This riff reminds me of a song, like Hole or something like that. I could be remembering wrong, but like a girl punk song that would be in a Guitar Hero/Rock Band game. I also love the choruses on this albums.
5. Crawling Eye: The only real difference is the massive amount of feed back at the end of this song, and how it's heavier before that part.
6. Witch Hunt: When I saw this title, The Office title "Gay Witch Hunt" came to mind. This song is not about that though, I can't imagine they do a song about a TV Show episode that came out some 8 years after this albums release. I really don't have much to say about this track, I really can't think of anything to say.
7. Scream!: Sadly this was the only track to get a music video. George Romero did it. I liked it when I saw it.For whatever reason I don't really care for this song, I don't know why, it never really clicked with me. It's funny because it sounds different than the other tracks, like different enough to not just be a variation on the same track.
8. Saturday Night: This is a classic that is a call back to the 50's doo-wop. But they not only did a good job of recapturing it, they also don't use any words that are violent. I mean it's more punky, and uses overdrive and like a rock rendition. But seriously, this could be a cover of a 50's track of the style. It even has the "douche bag" lyrics, as once said by Frank Zappa (look it up). But this is so good, I can't tell you haw often I just play this song once or twice in a row. It's easily, in terms of my favorite Misfit tracks, up there in the league of We Are 138, I Turned into A Martian and even Last Caress. It also might not be the best solo, but I think it works. This is is one of those songs, like the original Science Fiction/Double Feature that you can't really hate. For me at least.
9. Pumpkin Head: This is another song that is different enough and is fast paced. This is a nice solid punk song, that I feel is going for more of a Danzig feeling. Except unlike on some tracks on American Psycho, he's singing like himself.
10. Scarecrow Man: While this may be a weak ass title, but it's probably got the toughest riff here. It is also another song that sounds different enough.The music here is very bluesy, with a solid solo. It's kind of a nice change of pace. I imagine, if AC/DC was more punk they'd play a song like this. I like this track.
11. Die Monster Die: While titled very similarly to the classic Die My Darling (the double die in the lyrics) it's still pretty sick. I mean the harmony vocals sound better than the harmonies on the early albums with Glenn. This is a pretty basic song, in the campy feeling that I got from the earlier tracks. Not much to say other than that.
12. Living Hell: Great track, great chorus. Also a song that would fit snugly on a Tony Hawk Pro Skater soundtrack. This is, like most of the songs, very straight forward and to the point.
13. Descending Angel: This is a track that was later covered by Jerry Only's lead Misfits. And you know, the beginning, I'm just not feeling it. The chorus isn't half bad, harmonies, but it's nothing different here.
14. Them: This is based on the horror flick that's about Van Morrison's band before he went solo :). Not really, but I thought it was funny. This song isn't that bad, it seems there are two styles on this. The fun, campy sound and the more heavy dark sound. This is the fun campy. Also love the chorus, it vaguely reminds me of Cheepnis.
15. Fiend Club: I may be going crazy, but I have heard this riff outside of this track. But this is a nice change of pace. Seriously, I don't think a single track here sound like this. This would probably, hypothetically, be a great ender if it was more punchy. Like if they threw in a little Be Agressive.
16. Hunting Humans: This is a song I'm not very familiar with, never really listened to it. I really like the lyrics in the chorus, it makes me laugh. I love the double meaning you can take away from it.
17. Helena: This is probably one of the most complex songs by the band. It's certainly the best written on the album. It starts out with a riff that is probably the most memorable on the record, and continues this section for the verses. That part is fairly easy to listen to, not all that heavy. After this the track goes into double time and seems more chaotic. This section also contains the heaviest section on the entire album. The contrast of the two parts *kisses finger like chef (you know that thing they do)* perfect. You know, I think part of the reason I liked Dirty Rotten Bastards may be because its kinda similar to this track. Except this is far superior.
18. Kong Unleashed: This closes the album and is similar to the opener. This almost didn't have to be here. Like I think it should have been mixed in better to be the ending of the Helena. I know it segues into the track, but the right way to do a track like into this is something like Coming Home into Planets. I think if it was more like that, the feed back from the guitar, then it'd be a much better ending. You could leave in the Kong voice, just have it be part of the last track. 

Overall I have to give this album a 7.7/10. But in terms of writing it's probably less than that, but I love this thing. This is very similar style wise, lots of song sound similar. Usually that bothers me, but there's something about this that lets me just let go. Maybe it has to do with how its still kinda campy, though they embrace the camp more with Mike than before. I mean seriously, when your band is basically a tribute band to old campy b-horror flicks, its bound to happen. It's also a whole lot more fun listening to this than it is say Wolfs Blood. This is just, and I should hang myself for this, a group of guys having fun.... and I'm okay with it. Now I bet lots of people may feel this is a lesser album because it doesn't have Glenn. Something I believe is, unless you don't like the way the singer's vocals, there is always something redeeming about any line up change. From Squeeze to 5150 to Rock In A Hard Place, even (thought it kills to say this) Come Taste the Band. The only exception to that rule is when the bands been around too long *cough* if you were a band in the around or before the 80's *cough*. At that point, unless you have a fresh new take, don't get back together or even still be together. The thing that's so great about this is is sounds different than Danzig. It's sounds nicer, more appealing. Also I plan to do a