Saturday, July 30, 2016

The Real Thing - Faith No More

What a perfect way to have a summer feeling than an album that is quintessentially summer music to me. What is this, this is the third LP by Faith No More. Their first two LPs, '85s We Care A Lot and '87s Introduce Yourself feature the vocal talents of Chuck Mossley. He was a sang in a monotone voice, which might be off putting but I believe it worked for their sound and image. A lot of that founds its way on this, the first album to feature Mike Patton on lead vocals. In fact all the music was written prior and recorded, they just asked Mike to write lyrics and sing for the album. 
  1. From Out of Nowhere: Opening we get a solid opener. And to be honest this is a great opener, in context of the other albums they have song but they don't really pump you up. Right off the bat there is something building up to somewhere. Not tension, but the music is very very engaging. The play also happens to be much more fun and have more personality in my opinion. This has song great vocals and the keys are something else here. The arrangement is great and that bridge ...... Yes! Great solid opening. And even though it's a straightforward song, there are little elements that change slightly enough to not be a loop. {8/10}
  2. Epic: Possibly the best know song by the group, this tune is a classic. What a baseline, what a riff, what a rap. While I think it's silly, I still love this thing so fucking much. I also love the tone on those guitars, Jim does an awesome job. I also like this being sequenced second because I personally think if fits better that way. The song is quite good at building tension, and the licks are pay off. I could almost see this being played on strings and working well. The ending fade out is so fucking awesome and that piano. Well lets just say that's part of the reason the piano is my favorite instruments. Every time I hear it it takes me back to High School Summer Sophomore Year. Trust me I like this, not for nostalgia, but for the fact I just love these songs. 
  3. Falling to Pieces: The third track to be a single from the album, and at track three I gotta say it's great. It's weird how this song, along with my lesser favorites have grown on me. The bass line is very memorable, with some great guitar work and just gives an atmosphere. Like it can't hear this song and picture anything other than the music video. It's a fun music video, but the song itself is quite fun. I really love the keyboards on this thing too. I love the guitar solo towards the end, the buried in. And I like the multi tracked vocals on here, silly but add to the song. 
  4. Suprise! You're Dead!: This song has a much rougher, rawer feeling to it. It has that Metal that makes this a Funk Metal record. I could see this going toe to toe with another Metal band at the time. Maybe not as heavy as a Slayer, and I know there are heavier bands back then than Slayer, but yeah. I still think this song packs a punch and, maybe the backing vocals take away from that lunch a bit. If this was produced, or executed, a bit differently I could see this being a Slayer song. I really dig it and like the telling from Mikey
  5. Zombie Eaters: This opens with arpeggiated acoustic guitar, and is a nice follow up to the last tracks punch. I also like the hi hats that punctuate his vocals. The arrangement here is great and it builds tension. Even if you've never heard the song before there is a tension you feel. I love the Spanish feeling guitar licks and once it happens you just feel that hit. The bass is thundering and I'd love to hear this thing live. I really like the sections and the builds and changes that happen in this song. While it's pretty straightforward, I still like the little details here and there. It's not just a straight loop. The only real complaint is I don't think it HAS to be 6 minutes long. They could have maybe cut a minute out or 30 seconds maybe. Although I don't know, they do kind of justify the length a bit by the changes, but I feel a bit unsure. I like it but it is a bit long. I guess I really have to be in the mood to hear the entire song (outside of a front to back listen). I really like the ending though. 
  6. The Real Thing: Alright, six tracks in and we finally get the title cut. Opening with a drum beat, that has a snare hit (I believe)... Damn! There's also this like wind sound or something, or water sound effect. I don't know but I like it. There is a tension of waiting for the song to explode. Now while the explosions are more overt and obviously going to happen in this song than the last, that doesn't make it bad or worse. I don't think this is as well arranged, but there is a bit more of a punch maybe. This also sits at 8 minutes and is a song I feel like I have to be in the mood to sit through all of it. I like the vocals on this thing. I do dig the part where the song quotes down, nice dynamics. But again, I feel like it could end at 5 minutes but there's still 3 minutes left. Like honestly there isn't much that happens in those last two minutes of the song. I mean yeah sound effects, but that doesn't mean it's worth. They could have just as easily edited it to be shorter. 
  7. Underwater Love: Now where the last track runs out of steam a bit, this track absolves it of its sins for me. Honestly; as goofy a song as this is, and as goofy the lyrics are too.... I kinda love this song.  This is just a fun song that I feel like is a bit of a return to the fun of the first few songs. Not that the others aren't fun, but this is a fun song. I can't believe it wasn't a single. I really like the vocals and I love the underwater feeling to the vocals. I don't know, I feel like I'm underwater when I listen to this song. I could be crazy, but that keyboard intro definitely helps set that tone. Solid tune, which happens to be an all time favorite of mine. Also love the drums in the outro, good job Puffy
  8. The Morning After: This song is a song I go a bit back and forth with. Like okay, this feels like a song written for their last album or maybe their first. Like honestly, this would fit quite snug on Introduce Yourself or We Care A Lot. I like the punch/crunch to the guitar and the pop of the bass. Actually it isn't that much if a stretch to imagine Chuck's monotone voice singing over this. I like the harmony guitars in that one, I'll cal, aside. The funny thing is this was "demoed" and released on a 7" or something for a magazine back in 1988 with Chuck on vocals as New Improved Song. Now even before I heard that I could hear his voice over this, but look at the two side by side and you'll get what I'm talking about when I say this is a step up from the last two records. The ending is great also. 
  9. Woodpecker From Mars: Closing we have a reworking of Pills For Breakfast but better quality and more intresting. Now I could just be saying that because its an instrumental, but this compared to their last instrumental is far superior. Actually this feels a bit more like an eastern sounding thing. Also even though they aren't the same thing exactly, they both function and are set up similarly. This is just more of a fleshed out version of the idea better fit to the sound of the album. I hope that makes sense. Also this packs a lunch and is a far more satisfying closer. I really dig this tune, though it is a bit long. You could also see it as an extension of the last track a bit too, but that might be a stretch. 
Overall I have to give this album a 8/10. These are solid tunes, memorable choruses and fun to listen to while driving in the summer heat. While their next LP would be their best, this still belongs the best of the 80's list. This is fun and harmless music and maybe you'll end up finding a favorite song somewhere. This improves on what the previous two records where trying to do and is just, its kinda awesome and just so much larger and confident. The CD bonus tracks, Edge of the World is great, but it wasn't on the original vinyl so I didn't include it in the review. 

Thursday, July 28, 2016

Foreigner - Cat Stevens

Okay, so recently I've been on a Cat Stevens kick. I honestly don't know why, I'm not a fan outside of tracks here and there and the whole spiritual seeking aspect of some of his music. Now I don't plan on listening to anything Yusef before his pop music return, outside of A is for Allah (I'm not Muslim, and I  honestly wouldn't get anything out if it other than a curious listen). So when it came to picking a review I knew I had to do the album with one of the best A side long tracks ever. This album, number seven, was released on July 25th, 1973 and recorded the prior March. So I guess he was really moved by "black music" and because he was an outside attempting to make this music he called it Foreigner (but also because he was in tax exile). This album is also notable for having a number of musicians I am suprised to see on a record by this guy, Phil Upchurch, Bernard Purdie and Patti Austin.
  1. Foreigner Suite: Sitting at 18:17 I've as of this review sat through this over 50 times, play counter in, and I'm still not tired of it. This is one of those tracks I don't see going anywhere and will probably stand the test if time, for me. He also pulls out all the stops on this thing, using an electric piano, fender rhodes, and an acoustic guitar. This song starts out pretty strong, and pulls you in. There's an epic feeling to the piano and vocals lead. This also has drums and bass but is followed by the first instrumental section which completely changes the tone from epic ballad to upbeat and happy. When he comes back on the song continues to be upbeat and happy and is pretty great. I am pretty sure a Rhodes is played here. I love the keyboard sounds on the track and I love how the song builds. While the vocals aren't amazing I think they fit really well, and damn this thing has so many transitions and little turns and sections 10/10. I love the little turns and the sort of swirling part. I kinda feel like its being played on a carousel. I love the sort of James Bond instrumental with the funky guitar and fucking solid drums and tight as fuck. I also love the woodwinds and horns. This section could pass as a Bond theme, honestly. I love the four on the floor and the wahs of the keys. After the instrumental section it comes to reality with a soulful section. There are some phenomenal backing vocals from Patti Austin, Barbara Massey and Tasha Thomas in the choir part. I love it so fucking much. The idea that love is a liberating force is something I can whole heart-ed-ly get behind. This is probably my second favorite part for the fact of how large and marching and epic it is. The song gets spacey and reverb before coming back with a sort march of sorts, or at least I feel I could march to it. I love this part too, and I love the drum fills I assume are played by Gerry Conway (his only performance on the record). The man must fight for freedom is possibly more epic than the last epic part, and I love the strings here. Back to that instrumental before a fade out with a great string arrangement. Really I honestly can't believe anyone could make something this great. The song goes to a bit of a call back to the beginning, except this time the piano (electric?) And vocals really feels very emotional. It sort of builds the dies down, then builds up. There is a momentum to this part and it gets me excited for what's next. This part is amazing and, I know I'm sucking his dick, it I honestly love this. Guess what it changes again, but this time is a refrain (recall) of the introduction. I love that, the intro feels so much more powerful after going through that journey and experiencing all that we just did. There is a gospel feeling to this part, and this song is just so liberating. I feel like how did America not adapt this as a national anthem or pervert it as the women being America. This feels like it could fit that bill, but yeah. Like I just wanna salute Yusef during that part of the song. With 4 minutes left I really wanna listen to this thing again :D seriously. The "will you" part kills me because it transitions into the famous "Viva La Vida" section. This works so much better here, to be honest, but this is my favorite part of the song and it has this gallop to the drums. Its like you got here, you made it. There is a bit of a refrain before going full on into the finale. It continues this way till the end with him yelling out things here and there and then becomes an instrumental to the fade. This song is gorgeous, and 10/10. I love it so, and lyrically I eat it up like honey. It's so fucking good. All the little nuances and touches that happens than make it not a straight loop for 18 minutes, kudos Mr. Stevens. Sadly, this wouldn't be continued for the rest of the album. 
  2. The Hurt: Following the moster that is Foreigner Suite, we get this. I hear the soul influence here, but I don't dig it as much as the other track. I do like the atmosphere set by the electric piano on this track, but there is like a disconnect. Where the last track pulls you in I think this would have to be more along the lines of say, Win by David Bowie, in order for it to pull me in. Like I said this isn't that bad of a track, and the drums are pretty great on here, but there's just a disconnect for me.
  3. How Many Times: I guess this is the Herbie Flowers track that he has to play on for the record. This isn't that bad of a track, but again the steam was kind of spent on the title track. This also, which I found out to be true, seems like a rewrite of sorts of The First Cut is the Deepest. I prefer the New Masters track over this, but it isn't too bad. The worst part is it isn't that memorable.
  4. Later: The drums in the beginning remind me of a Paul Simon track, I can't quite think of. They also reminds me of, the more obvious, Shaft or funk sounds this was inspired by. I like the The girls, come back for a third time. And this is probably the most interesting track outside of title track. There is a sort of, he kind of nailed the urgency of the blacksplotation theme. I don't dig the transition as much, but it doesn't ruin the track for me. Now I don't think he nailed the magic of the blacksplotation theme, but he certainly did a great job of sonically copying it. Well it's more of a homage than a copy or stealing it. It is worth checking out. I do enjoy the string section though, it doesn't have the same impact as on the first track. I know I shouldn't compare, but it's still the same album.
  5. 100 I Dream: this track features on guitar synthesizer and clavinet, plus the good old acoustic guitar from Cat. There is a bit of a country twang to this, and it has a bit of soul to it. There is something that I can't quite put my finger on for this track, but I do like it. I think this is a solid tune, but like I said this took a few listens to click exactly with me. Like this is the closest it comes to begin great. I really think the combination of this sound and the "black music" come together pretty well here.
Overall I have to give this album a 7/10. I like what he's going for here, it's just that it doesn't work that well outside of the title track for me. There are moments, but a lot of the rest of the record is just okay. There is a possibility of a review for Mona Bone Jakon, Tea for the Tillerman, Teaser and the Firecat, Catch Bull at Four and maybe Izitso. I am looking at the first one listed as the most likely candidate. If you wanna check this out, go ahead. For sure check out the first track though.

Friday, July 15, 2016

Low - David Bowie

Yes, the time has come for me to review his "master work". The album considered by many as one of the best albums ever. Now when I say this, I'm referring to the 11th studio album by David Bowie. Now I personally love the hell out of this album, cover :D. This is supposed to be based off a promo poster for the movie he was in "The Man Who Fell To Earth". There's pretty much where The Thin White Duke is from (the film). This album is the first in the Berlin Trilogy, all of which were made with Brian Eno. I've actually enjoyed this thing from the first time I listened to it, but it wasn't until he passed that I really could say there was a connection with me and that record. Maybe I know what it was like to be at a low, there was other stuff besides just his passing going on. I mean life gets you there from time to time, but you learn and grow. One thing for sure I can disclose right now is, I can't say how many times I listened to the first half (or the entire thing as a whole) in the car while I drove to and from school. It's like a lot. So without further a due, does this live up to the hype? Is it a bunch of hipster bullshit that is buying in to a subpar record? Is Eno responsible for its level of brilliance? Am I qualified to review albums? This and many more will all be revealed to you below. So please feel free to say I'm full of shit, as I delve into this master piece of ambient/avant-pop/.
  1. Speed of Life: This opens the album and sort of takes you to another place entirely. Like really, even though Bowie has since said (paraphrased) "Station to Station is just a rock version of what we were trying to do on Low", it still sounds pretty different. I guess I can see that comparison, but this is so different at the same time. The textures here are gorgeous, so are on the others, but this really just makes me want to dance. There are rarely instrumental intros that get me pumped and basically an immediate feel to sit through it, once it clicks. It just works so well as this albums opener I don't really know what to say. I love the dance feeling to the track and I love those icy synths that send shivers down my spine. The player are really doing something here that and I really just wanna re-listen to it once it's over. It also have a feeling of driving, like a broken up car is speeding down a highway or something. At least in my mind.
  2. Breaking Glass: Where the last track was sort of bittersweet, there was a joy but it was mind of damaged, this is more of the damaged man trying to find joy. But he is sort of disillusioned by his fears and anxiety. Now I'm not saying that what it's about, that's what I'm saying it sounds like. This is also more "jagged" and abrupt and loud. I mean this isn't Merzbow territory or Boredoms but this definitely is less poppy than say some of his other stuff. Though I still love it.
  3. What In The World: What do you expect when you get Iggy to contribute harmonies on this. I've heard this song at least 20 times and I still can't figure out that like Mario sound in the beginning. This track is another fast track, but I really like Pop's echoed backing vocals. I also really like the harpsichord sounding synth on the track. The textures on this thing, and whole album are great but still. I also really like the chaotic feeling and almost disoriented feeling you get towards the ending of the track. I think it's pretty damn good.
  4. Sound And Vision: This is my favorite track off this album. This is also the track that I think is key to understanding this album as a whole. It's quite literal, it's not cryptic, it's like about as straight forward as you could possibly lyrically without taking the time to explain it in the song. This is both upbeat, but the way it's sung makes it haunting. It's happy, but it's also kind of down. It also has some great synths, very poppy feeling and that sigh in the beginning is so fucking great. Also I couldn't not mention that lead guitar playing the melody, fucking great shit. Mary Visconti, or Hopkins, comes in and is the female backing vocalist on this track. I really like her little thing she does and then Bowie comes and there's this vocal, then distorted vocal, I don't know if that's just on the CD or if it's also on the vinyl. Fucking phenomenal. Plus that saxophone, damn.
  5. Always Crashing in the Same Car: A favorite of mine, its so smooth and chill. Very laid back and fun. The more I listen the more I love this thing. There is the obvious literal interpretation of him  crashing the same car continuously. This song also has meaning to me, because while it's about literally crashing a car over and over, I still cry when I go.... wow I'm doing the same shit over and over again. There is also a mellow feeling to the track that is almost deceiving. Well not almost, it is deceiving. There is also a top notch solo on this track that thank God for Carlos.
  6. Be My Wife: This was to Angela, his wife, the two of which were going through problems. I guess he left America then went to France, or Switzerland, and one live in one place and the other... I don't exactly remember but there was just shit going down I guess. This song was looked at as his final plea to keep his marriage alive. Sadly they were divorced by 1980. But as for the song it's much more of a rock song and is pretty straight forward, hahah. No it's not to crazy or complex, though I do loves me some four on the floor. There is great playing from everyone once again and it's a great tune.
  7. A New Career In A New Town: This is a great tune to close side 1 and is just fun. There really is a feeling that its like going through somewhere for the first time and feeling that feeling of a new beginning. I love the distant synth and that drum beat keeping time. It's so fucking good, and it's just like once it starts and that harmonica comes in.... I can imagine exactly what the title suggests. A hopeful song, but also shy and unsure of itself. The playing here again, thought much better than the last track, is still amazing.
  8. Warszawa: Opening side two we get something entirely new for him. Nothing on any of his prior albums remotely resembled this. Eno is supposedly responsible for the chords to the track, but damn if this isn't barren. I mean I could see if Chernobyl happened in the 70's this song being written about and for that. Don't get me wrong this is amazing and can send chills down your spine, but its also gorgeous at the same time. There is a haunting beauty to the chord progression, the sounds, the textures and the everything basically. This could be the most realized song of the style on this album. Like the albums masterpiece, which isn't something new. It's crazy to think the only things used were a minimoog, piano and Chamberlain played by Eno, and of course David's vocals. I guess the lyrics were based on the recording of Helokanie by "Polish folk choir" Śląsk. I still love the fuck out of this and also this kick the shit out of anything John Carpenter could even try to do. That being said, this was written by Eno with the vocal stuff from Bowie. Also the 8 minutes don't drag on at all, honestly, they are well earned.
  9. Art Decade: I like the little electronic flares that pop up in the beginning. This feels almost like its underwater and really has some amazing textures. There are these like sleigh bell things and then these little flashes that sounds like something darting by. The title is a play on the words "Art Decayed" and I assume "Art Deco". I could be wrong, but I doubt its "Decade" as in 10 years. I don't have a ton to say about this track but I really is hypnotic and relaxing. Not as much on edge as the last.
  10. Weeping Wall: This is basically a variation on the song Scarborough Fair, which that kind of does bother me a bit but I guess it makes sense. I mean I love this instrumental none the less, but that does deduct some points there. I personally love percussion, especially pitched percussion. I wonder if Reich inspired this track, if not for the lead synth I'd say this is very minimalist. It is very repetitious, but I still love it. I also love what I'm assuming is treated guitars. This is also very hypnotic, and I'm kinda waiting to ear the song progressively disintegrate as Come Up to Show Them Does.
  11. Subterraneans: Closing we get the whole band back together. I really like the bass in the beginning and this very much feels like a Residents track. This is very quiet and I almost feel like was supposed to have strings. There is a ending feeling of this and that saxophone kinda of reminds me of 80's music, but not like in a bad way. It feels very sad and this feels just distant. I would like to see the track get nice and confident and grow, but this is more realistic. You don't just get out of it right away, even once you've accepted it. It takes time to heal and this is the ending. I also smile when I hear echoes of futures songs and ideas on later records by him in this.
Overall I have to give this album a 10/10. Okay, do I think this is the masterpiece everyone else seems to claim it is.... I mean if you mean in terms of nothing wrong, then yes. I mean the more I listen to this the less I find error. I have to actively seek out negative aspects in the songs. There really is nothing wrong with this album. Sadly I have to say I agree with this being one of the best albums ever. I think part of what the appeal of the record lives in the fact he was at the lowest point in his life. While that might be lower than I'll ever sink, everything is relative, you can probably relate using your lowest point. A drug addiction for someone may be rock bottom, where as depression may be for another or divorce even cheating. All those and many more it just varies from person to person. The fragmented and broken lyrics and music on side A are very transparently relate-able. A broken man trying to write and basically get his life together. There is a comfort knowing that you yourself, regardless of the dilemma, are not alone. When I listened to this record I sort of got a sense of comradely (hopefully that's spelled right) in Bowie. As much as the world sucks and is really pointless (outside of music) there is a sense of peace that once it clicks you feel. I can kind of understand why people hold this in such high regard. I don't think it's the best record ever, as with his other material during his prime it is amazing none the less, but it's not far from it. I also want to say, along with that comfort, there is a sense of hope in these songs. This really is great. 

Monday, July 11, 2016

In The Wee Small Hours - Frank Sinatra

 A lot has changed in the five short years since I started this blog. A lot in terms of everything. Hell a lot has change in the last fucking year, but I feel like this is the prefect time to review this. Me and my girlfriend recently broke up, and while it wasn't that long of a relationship I felt something I'd never felt before. And yes, I was up a lot of last night thinking about her, so naturally this is the album I should use to cope. I don't think any album could be more perfect to fit, or review, my real life situation and mindset. So this is the ninth studio album by one Frank Sinatra. It was produced by Voyle Gilmore and arranged and conducted by Nelson Riddle. The album itself was released in April 1955, and was recorded February 8th to March 4th the same year (with the exception of 1 track from March 1st, 1954). This whole concept fascinates me, is that the themes include lost love, loneliness, night-life, and what not. When I think of night I think of going out, getting fresh air, and thinking. In fact there were many a night, I would go out and just breathe the air after everyone is asleep. This album cover, and themes on the lp, almost fit my imagination to a T of the feeling of it. I already reviewed The Voice Of from 1946, his debut, and now as mentioned earlier with a more mature view on life why not pick arguably his most mature album. I should note I also did his Christmas album a few months ago.
  1. In the Wee Small Hours of the Morning: By far the best song ever written for Frank. Hell it is one of the best songs ever written period; and damn, what a tone setter. This song reminds me of the closer to The White Album. That track is called Good Night. It's track 30 and has Ringo as it's singer. And for the record Frank kills this song, in the compliment way. I mean this is probably the theme song for anyone who ponders and stays up late to just think and observe... Alone. 
  2. Mood Indigo: This is a Duke cover originally on his Masterpieces album from 1954. Not my favorite but consistently good overall. This song is has a nice jazzy feeling to it, which should kinda of be given since it's a Ellington tune. But it's funny, maybe because of where I am, but I really like this song significantly more than I did.
  3. Glad to Be Unhappy: This is a Rodger-Hartz piece. This is very pretty, and I really like the little touches here and there of guitar and piano and maybe xylophone or chimes. They work together very well and oddly enough this track makes me smile. Maybe it's because
  4. I Get Along Without You Very Well: I really like the strings on this track, and the lyrics on this. I am not as in love with maybe the performance of the vocals, but I still like this song. I wish maybe someone with a bit of a larger range should have sang this, but I still get the point of the song and feel what it's to feel.
  5. Deep In A Dream: This also is another track that I can picture someone just walking down a street in an old movies talking about the lost of someone. I like the swells and it isn't as grand as I'd like, but I still like this thing. The instrumentation really feels. I bring forward a bit of a tear.
  6. I See Your Face Before Me: This song, while having someone what predictable rhyme scheme, it doesn't bother me. The arrangement is pretty solid and it's lyrics also have a nice touch to them I guess.
  7. Can't We Be Friends?: This song stings. I really like the introduction before the song starts, and then when It actually starts I like the delicate feeling Nelson Riddle did here. I actually wanted to listen to over version of this song because I saw potential in the track for being amazing. Kay Swift and Paul James did a really good job, but the songs best part is it's lyrics.
  8. When Your Lover Has Gone: At this point the feeling sort of feels like it's been felt, that's not bad though. I like the swells and almost wish this could end the album. It's a satisfying song none the less and really fits about right after the last track. The fucking swells goddamn Nelson.
  9. What Is This Thing Called Love?: The intro to this track reminds me of Carless Whispers. The only thing is that this is much better. The woodwinds on this track are very audible and make this track extremely unique here. While all the songs are good this track is great. I also love how later on the strings play the, for lack of better word, "motif" or the "theme" of the song. If I could be half the lyricist that Porter was, I'd be pretty happy.
  10. Last Night When We Were Young: This song is pretty sonically similar to the rest of the record and I can't really say stands out to much. I love the orchestra hit towards the ending of the song.
  11. I'll Be Around: I can't really pick the music out as being anything too different, other than maybe not having strings and having a prominent drums beat. I feel like this might be better without lyrics.
  12. Ill Wind: I like the introduction to this and it kinds picks up the pace of the last two songs. I mean they weren't bad but they weren't mind blowing.This feels far engaging than the last few tracks.
  13. It Never Entered My Mind: This, and the following tracks, feature a reappearance of Rodger-Hartz. The song it's self is fine, it just yeah starts to tread similar water as other songs.
  14. Dancing on the Ceiling: This isn't Lionel's song. I really like the guitar in this track A guy named George Van Eps plays a 7-Strings Guitar here and damn it's beautiful. This is also more emotive of Frank than some others. Though again, maybe cut song tracks.
  15. I'll Never Be the Same: I like the flutes on this track and like the feeling, but wish they would have saved this for ending you know. Change the pace then return to form. After a break up you never are the same again. Honestly though, this would have been a fitting final benediction.
  16. This Love of Mine: Frank is credited as the lyricist on this track. And there is something about this that made me cry, so I guess this is a fine ending. But I still wish this and the last were switched. Because then it's like he came full circle over the night rather than still wondering.
Overall I have to give this classic a 7.8/10. The lyrics on this are great, and I can't describe how poignant a listen this is at night time, when you're in the mood to think about all you're choices or you have just pondered your relationships in life. I mean there the first few listens I really couldn't pick out any tracks that were mind blowers, with the exception of maybe number one. This album has turned into one of my favorite records ever, thought there is parts that could have been cut. The only problem is that it is kinda long. I could also nit pick and say that it's made up of tracks already written, and only one features writing from Frank. But the thing is, if I did that I'd be missing the point of the album and the point is to me at least to ponder and helps me ponder. And it's the perfect album, for where I am right now. Next up Low.