tag:blogger.com,1999:blog-24545186703238560772024-02-19T19:37:02.607-06:00Reviews from albumsDanhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.comBlogger313125tag:blogger.com,1999:blog-2454518670323856077.post-48509018462034249852022-02-04T12:00:00.001-06:002022-02-04T12:00:35.546-06:00RYMI post new reviews of sorts on my RYM pageDanhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.com0tag:blogger.com,1999:blog-2454518670323856077.post-38725137711018591342019-05-02T18:20:00.003-05:002019-05-02T18:20:41.756-05:00Jan-March 2019 Post<div>
For the sake of explination, if I do enjoy an album but don't think it's really better than a 6, I'll add it to these posts. That or if I think it's worth checking out. Also the selections in Yellow are a favorite record of mine<br />
<br /></div>
<b>10</b><br />
<div>
<ul>
<li> <i><span style="color: yellow;">Elvis TV-Special</span></i></li>
</ul>
<div>
<b>8</b></div>
</div>
<div>
<ul>
<li> <i>Jolene </i>- Dolly Parton</li>
<li><i>Afrodisiac</i> - Fela Ransome-Kuti & the Africa '70</li>
<li><i>I.T.T.</i> - FEla Anikulapo Kuti and the Afrika 70</li>
<li><i>In London </i>- B.B. King</li>
<li><i>A Street Called Straight</i> - Roy Buchanan</li>
<li><i>Cliff Hanger</i> - Jimmy Cliff</li>
<li><i>Guitarra de Venezuela</i> - Alirio Diaz</li>
<li><i>Dig A Little Deeper</i> - Latimore</li>
<li><i>Elvis (The Fool Album)</i></li>
<li><i>Saved</i> - LaVern Baker</li>
<li><i>Live at the Star-Club, Hamburg</i> - Jerry Lee Lewis</li>
<li><i>Sahara </i>- McCoy Tyner</li>
<li><i>Love Letters from Elvis</i> - Elvis Presley</li>
<li><i>Undead</i> - Ten Years After</li>
<li><i>Tristeza on Guitar</i> - Baden Powell</li>
<li><i>Teresa Brewer in London with Oily Rags</i></li>
<li><i>Elvis is Back!</i></li>
<li><i>Song for America</i> - Kansas</li>
<li><i>The Temptations in Japan</i></li>
<li><i>Idlewild South</i> - The Allman Brothers Band</li>
<li><i>Jackson Browne</i></li>
<li><i>Eagles</i></li>
<li><i>French Kiss </i>- Bob Welch</li>
<li><i><span style="color: yellow;">Al Green Gets Next to You</span></i></li>
<li><i>Latimore</i></li>
<li><i>Rattlesnake </i>- Ohio Players</li>
<li><i>Live in London </i>- Flight of the Conchords</li>
<li><i>You Don't Mess Around with Jim </i>- Jim Croce</li>
<li><i>Out of Step</i> - Minor Threat</li>
<li><i>Larry Carlton</i></li>
<li><i>El Hombre </i>- Pat Martino</li>
<li><i>Solid Rock </i>- The Temptations</li>
<li><i>Anne, Man!</i> - Ann Richards</li>
<li><i>Harlem Street Singer</i> - Blind Gary Davis</li>
<li><i>You're the Man </i>- Marvin Gaye</li>
<li><i>The Allman Brothers Band</i></li>
</ul>
<div>
<b>7</b></div>
</div>
<div>
<ul>
<li> <i>Willy and the Poor Boys </i>- Creedence Clearwater Revival</li>
<li> <i>Power-Fuerza</i> - Ghetto Brothers</li>
<li><i>Yellow Fever</i> - Fela Aníkú°ápó Kuti & Afrika 70</li>
<li><i>120 Years of Deutsche Grammophon: The Tokyo Gala Concert</i> - Saito Kinen Orchestra/Matheuz/Ozawa/Mutter</li>
<li><i>Tattoo You </i>- The Rolling Stones</li>
<li><i>The Doobie Brothers</i></li>
<li><i>Some Girls</i> - The Rolling Stones</li>
<li><i>Blues Caravan</i> - Buddy Rich and His Sextet</li>
<li><i>God Save Us/Do the Oz</i> - Bill Elliott and the Elastic Oz Band</li>
<li><i>Brown and Roach Incorporated</i> - Brown and Roach</li>
<li><i>Gunfighter Ballads and Trail Songs</i> - Marty Robbins</li>
<li><i>Some Girls: Live in Texas 1978</i> - The Rolling Stones</li>
<li><i>Treat Him Right</i> - Barbra Mandrell</li>
<li><i>Johnny Cash at San Quentin</i></li>
<li><i>The Bells Are Tolling</i> - The Fairfield Four</li>
<li><i>Firefly</i> - Uriah Jeep</li>
<li><i>The Fairy's Kiss </i> - Igor Stravinsky (1956)</li>
<li><i>Live in Japan </i>- Chicago</li>
<li><i>Canned Heat</i></li>
<li><i>Another Life</i> - Kano</li>
<li><i>Aretha Now</i></li>
<li><i>Indianola Mississippi Seeds</i> - B.B. King</li>
<li><i>Last Exit </i>- Traffic</li>
<li><i>On Air </i>- The Rolling Stones</li>
<li><i>Time and a Word </i>- Yes</li>
<li><i>Slaughter on 10th Avenue</i> - Mick Ronson</li>
<li><i>This Means We Mean It </i>- REO Speedwagon</li>
<li><i>L.A. Woman </i>- The Doors</li>
<li><i>Chopin / Schumann </i>- Aleksandra Hortensja Dabek</li>
<li><i>The Allman Brothers Band at Fillmore East</i></li>
<li><i>Don't Cry Now </i>- Linda Ronstadt</li>
<li><i>Too Hot </i>- Kool & The Gang</li>
<li><i>Czarface Meets Ghostface</i></li>
<li><i>Ace </i>- Bob Weir</li>
<li><i>Hello Happines</i> - Chaka Khan</li>
<li><i>Dog Days of Tomorrow</i> - Czarface</li>
<li><i>Down to Earth </i>- Rainbow</li>
<li><i>Entertainment!</i> - Gang of Four</li>
<li><i>Diamond Life</i> - Sade</li>
<li><i>My Sweet Summer Suite </i>- Love Unlimited Orchestra</li>
<li><i>Diamond Touch</i> - George McCrae</li>
<li><i>The Other One</i> - Bob Welch</li>
<li><i>Fair Warning </i>- Van Halen</li>
<li><i>Blues from the Gutter</i> - Champion Jack Dupree</li>
<li><i>The Brussels Affair (Live 1973) </i>- The Rolling Stones</li>
<li><i>Black Velvet</i> - Charles Bradley</li>
<li><i>Heavy Jelly</i></li>
<li><i>Fighting</i> - Thin Lizzy</li>
<li><i>Into the Music </i>- Van Morrison</li>
<li><i>Silver Apples</i></li>
<li><i>Eargasm</i> - Johnnie Taylor</li>
<li><i>Back for a Taste of Your Love</i> - Syl Johnson</li>
<li><i>Five Live Yardbirds</i></li>
<li><i>On the Line</i> - Jenny Lewis</li>
<li><i>Mal-1</i> - Mal Walrdron Quintet</li>
<li><i>Slow Dancer</i> - Boz Scaggs</li>
<li><i>Connnie Smith Sings Great Sacred Songs</i></li>
<li><i>Andy Nogger </i>-Kraan</li>
<li><i>Funkadelic</i></li>
<li><i>Zietgeist </i>- Denny Zeitlin</li>
</ul>
<div>
<b>6</b></div>
<div>
<ul>
<li><i>L.A. Reggae</i> - Johnny Rivers</li>
<li><i>Fever </i>- Little Willie John</li>
<li><i>Shout! </i>- The Isley Brothers</li>
<li><i>Nature Planned It </i>- Four Tops</li>
<li><i>17-11-70</i> - Elton John</li>
<li><i>Livetime </i>- Daryl Hall & John Oates</li>
<li><i>Check Your Head</i> - Beastie Boys</li>
<li><i>Trouble Man</i> - Marvin Gaye</li>
</ul>
<div>
<br /></div>
</div>
<div>
<b>Revisit</b></div>
</div>
<div>
<ul>
<li> <i>Reincarnation of a Love Bird</i> - Charles Mingus (1988)</li>
<li> <i>Future Games </i>- Fleetwood Mac</li>
</ul>
<div>
<br /></div>
</div>
Danhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.com1tag:blogger.com,1999:blog-2454518670323856077.post-22636152247896018472019-01-30T15:40:00.000-06:002019-01-30T15:40:01.552-06:00October-December 2018 PostThis is the last round up for 2018, I probably won't have the next one out until April (but I might do a review in that time, Idk for sure. In the <i>Bowie </i>boxset I would probably have to give that Serious Moonlight album a 7-7.5<br />
<div>
<br /></div>
<div>
<div>
<b>8</b></div>
</div>
<div>
<ul>
<li><i>Jazz Collaborations Vol. 1</i> - Charles Mingus & Thad Jones</li>
<li><i>Aoxomoxoa</i> - Grateful Dead</li>
<li><i>Scheherazade and Other Stories</i> - Renaissance</li>
<li><i>Peter Green's Fleetwood Mac</i></li>
<li><i>Eat a Peach</i> - The Allman Brothers Band</li>
<li><i>Makin' Music </i>- Roy Clark & Gatemouth Brown</li>
<li><i>Blood, Chet and Tears</i> - Chet Baker</li>
<li><i>The Dealer</i> - Chico Hamilton introducing Larry Coryell</li>
<li><i>Oxnard</i> - Anderson .Paak</li>
<li><i>Sound of Christmas</i> - The Ramsey Lewis Trio</li>
<li><i>Exile on Main St.</i> - The Rolling Stones</li>
<li><i>Dixie Chicken</i> - Little Feat</li>
<li><i>Proof Positive</i> - J.J. Johnson</li>
<li><i>Unplugged</i> - Eric Clapton</li>
<li><i>Burnin' </i>- The Wailers</li>
<li><i>I Feel Love Comin' On</i> - Felice Taylor</li>
<li><i>Workingman's Dead</i> - Grateful Dead</li>
<li><i>Rape of the Bastard Nazarene</i> - Akercocke</li>
<li><i>Stone Gon' </i>- Barry White</li>
<li><i>Wolf </i>- Bill Wolfer</li>
<li><i>Alright Again!</i> - Clarence Gatemouth Brown</li>
</ul>
<div>
<br /></div>
<div>
<b>7</b></div>
</div>
<div>
<ul>
<li><i>Force It </i>- UFO</li>
<li><i>Home Again</i> - New Edition</li>
<li><i>Daryl Hall & John Oates</i></li>
<li><i>Pride </i>- Robert Palmer</li>
<li><i>Get It </i> - Dave Edmunds</li>
<li><i>It's the Great Pumpkin, Charlie Brown</i> - Vince Guaraldi</li>
<li><i>Tonight</i> - Savage</li>
<li><i>A Night on the Town</i> - Rod Stewart</li>
<li><i>Together Through Life</i> - Bob Dylan</li>
<li><i>Da Drought 3</i> - Lil Wayne</li>
<li>Mønk - Thelonious Monk</li>
<li><i>The Moldau; From Bohemia's Fields and Groves</i> - New York Philharmonic/Szell - </li>
<li><i>Second Helping </i>- Lynyrd Skynyrd</li>
<li><i>Bayou Country</i> - Creedence Clearwater Revival</li>
<li><i>Wasteland </i>- Uncle Acid & The Dead Beats</li>
<li><i>R.E.O./T.W.O. </i>- REO Speedwagon</li>
<li><i>The Alternate Tango in the Night </i>- Fleetwood Mac</li>
<li><i>Texas Flood</i> - Stevie Ray Vaughan and Double Trouble</li>
<li><i>Thrice X</i> - Big K.R.I.T.</li>
<li><i>Rossini: Stabat Mater</i> - Chor des Bayerischen Rundfunks/Arman</li>
<li><i>King, Does the King's Things</i> - Albert King</li>
<li><i>H2O</i> - Daryl Hall & John Oates</li>
<li><i>Dark Days Ahead </i>- Iron Reagan</li>
<li><i>MassEducation </i>- St. Vincent</li>
<li><i>Music Inspired by Illumination & Dr. Seuss' The Grinch</i> - Tyler, The Creator</li>
<li><i>One Bad M.F. Live!!</i> - Marty Friedman</li>
<li><i>Train Kept a Rollin/Knockin Blues</i> - Tiny Bradshaw</li>
<li><i>Fire on the Mountain</i> - The Charlie Daniels Band</li>
<li><i>Brothers and Sisters</i> - The Allman Brothers Band</li>
<li><i>Triumphant Hearts </i>- Jason Becker</li>
<li><i>Western Wall: The Tucson Sessions</i> - Linda Ronstadt & Emmylou Harris</li>
<li><i>FM! </i>- Vince Staples</li>
<li><i>A Christmas Album </i>- Barbra Striesand</li>
<li><i>Sunshine Superman </i>- Donovan</li>
<li><i>The Prophet Speaks</i> - Van Morrison</li>
<li><i>Liszt: Via Crucis</i> - Netherlands Chamber Choir/Leeuw</li>
<li><i>Isolation </i>- Kali Uchis</li>
<li><i>The Illinois Concert </i>- Eric Dolphy</li>
<li><i>Unchained Melodies</i> - Roy Orbison with the Royal Philharmonic Orchestra</li>
<li><i>Dreamboat Annie</i> - Heart</li>
<li><i>Little Feat</i></li>
<li><i>Shotgun Willie </i>- Willie Nelson</li>
</ul>
<div>
<br /></div>
<div>
<b>6</b></div>
<div>
<ul>
<li><i>Night Moves</i> - Bob Seger & The Silver Bullet Band</li>
<li><i>Loving the Alien [1983-1988]</i> - David Bowie</li>
<li><i>Agent Provocateur</i> - Foreigner</li>
<li><br /></li>
</ul>
<div>
<br /></div>
</div>
<div>
<b>Revisit</b></div>
</div>
<div>
<ul>
<li><i>Pride </i>- Robert Palmer</li>
<li><i>Mirage </i>- Fleetwood Mac</li>
<li><i>The Illinois Concert </i>- Eric Dolphy</li>
<li><i>Dreamboat Annie</i> - Heart</li>
</ul>
</div>
Danhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.com0tag:blogger.com,1999:blog-2454518670323856077.post-79346766069440137702019-01-16T15:18:00.000-06:002019-01-25T16:00:51.732-06:00July-September 2018 PostI'm going to try and finish this up, for 2018, and post 1 every two weeks or so.<br />
<div>
<ul>
</ul>
<div>
<b>8</b></div>
</div>
<div>
<ul>
<li> <i>Further Definitions </i>- Benny Carter and his Orchestra</li>
<li><i>Speak No Evil </i>- Wayne Shorter</li>
<li><i>The Poll Winners</i> - Barney Kessel with Shelly Manne and Ray Brown</li>
<li><i>Tokyo Tapes </i>- Scorpions</li>
<li><i>La traviata </i>- Bayerisches Staatsorchester/Klieber</li>
<li><i>Moment of Glory</i> <i>- Scorpions & Berliner Philharmoniker</i></li>
<li><i>Acoustica</i> - Scorpions</li>
<li><i>Sailin' Shoes </i>- Little Feat</li>
<li><i>I'm A Resident!</i> - The Residents</li>
<li><i>Struggling Man </i>- Jimmy Cliff</li>
</ul>
<div>
<b>7</b></div>
</div>
<div>
<ul>
<li> <i>Liszt: Athanor </i>- Beatrice Berrut</li>
<li> <i>Streams of Thought, Vol. 1 </i>- Black Thought</li>
<li><i>Afro-Cuban Jazz Moods</i> - Dizzy Gillespie & Machito</li>
<li><i>Dark Endless</i> - Marduk</li>
<li><i>The Outer View </i>- George Russell</li>
<li><i>Brahms: Choral Works</i> - Monteverdi Choir/Gardiner</li>
<li><i>Frampton</i></li>
<li><i>Don't Break the Oath </i>- Mercyful Fate</li>
<li><i>Frampton Comes Alive!</i></li>
<li><i>Satori</i> - Flower Travellin' Band</li>
<li><i>Poppy. Remixes</i></li>
<li><i>Backwards </i>- Coil</li>
<li><i>Herzeleid </i>- Rammstein</li>
<li><i>Art Blakey's Jazz Messengers with Thelonious Monk</i></li>
<li><i>Elegant Gypsy & More</i> - Al Di Meola</li>
<li><i>What That Is!</i> - Screamin' Jay Hawkins</li>
<li><i>Changes One </i>- Charles Mingus</li>
<li><i>Undercurrents</i> - Bill Evans & Jim Hall</li>
<li><i>Resurrection</i> - Michael Schenker Fest</li>
<li><i>Snakebite</i> - David Coverdale's Whitesnake</li>
<li><i>TA13OO</i> - Denzel Curry</li>
<li><i>10+ 8</i> - The Andrzej Kurylewicz Quintet</li>
<li><i>Swimming</i> - <i>Mac Miller</i></li>
<li><i>The Paul Butterfield Blues Band</i></li>
<li><i>Then Play On</i> - Fleetwood Mac</li>
<li><i>Manifesto</i> - The Souljazz Orchestra</li>
<li><i>Sometimes I'm Blue </i>- Kim Parker</li>
<li><i>Double Fun</i> - Robert Palmer</li>
<li><i>Live in London </i> - Randy Newman</li>
<li><i>Miles Smiles</i> - Miles Davis</li>
<li><i>Secrets </i>- Robert Palmer</li>
<li><i>Nuovo Cinema Paradiso</i> - Ennio Morricone</li>
<li><i>Clues </i>- Robert Palmer</li>
<li><i>Piano & A Microphone 1983 </i>- Prince</li>
<li><i>Der Freischutz</i> - Staatskapelle Dresden/Kleiber</li>
</ul>
<div>
<b>6</b></div>
<div>
<ul>
<li><i>I'm In You</i> - Peter Frampton</li>
<li><i>Cry Tough</i> - <i>Nils Lofgren</i></li>
</ul>
<div>
<br /></div>
</div>
<div>
<b>Revisit</b></div>
</div>
<div>
<ul>
<li><i>The Outer View </i>- George Russell</li>
<li><i>Thelonious Monk with John Coltrane</i></li>
<li><i>Undercurrents</i> - Bill Evans & Jim Hall</li>
<li><i>Double Fun</i> - Robert Palmer</li>
</ul>
<div>
</div>
</div>
Danhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.com0tag:blogger.com,1999:blog-2454518670323856077.post-13743674599850219362019-01-02T15:35:00.003-06:002019-01-25T16:00:58.512-06:00April-June 2018 Post This time I decided to add albums I plan to revisit, that doesn't mean I don't like them but I'm unsure how I felt or the way I felt about it isn't a final feeling. I need more listens or time to say what I think for sure.<br />
<br />
<b>8</b><br />
<div>
<ul>
<li><i>Blues for Allah</i> - Grateful Dead<b> </b></li>
<li><i>Stand By</i> - Heldon</li>
<li><i>The Final Tour: The Bootleg Series, Vol. 6</i> - Miles Davis & John Coltrane</li>
<li><i>Beethoven: "Choral" Symphony</i> - Bayreuth Festival Orchestra & Chorus / Furtwängler (1955)</li>
<li><i>The Exciting Debut of Andre Watts Playing Liszt</i></li>
<li><i>9 Symphonien </i> - Berliner Philharmoniker/Karajan (1963)</li>
<li><i>From Memphis to Vegas/From Vegas to Memphis</i> - Elvis</li>
<li><i>The Harder They Come</i> soundtrack</li>
<li><i>Standing Room Only</i> - Frank Sinatra</li>
<li><i>Chocolate Factory </i>- R. Kelly</li>
<li><i>Ives: Symphony No. 2</i> - New York Philharmonic/Bernstein</li>
<li><i>The Jaki Byard Experience</i></li>
<li><i>Terasoma </i>- Avantist</li>
<li><i>Anthem of the Sun</i> - Grateful Dead</li>
<li><br /></li>
</ul>
<div>
<b>7</b></div>
</div>
<div>
<ul>
<li><i>Gloria</i> - I Barocchisti / Coro della Radiotelevisione svizzera/Diego Fasolis</li>
<li><i>Flute Fever</i> - The Jeremy Steig Quartet</li>
<li><i>Abandoned Lunchonette</i> - Daryll Hall & John Oates</li>
<li><i>Brunch: Scottish Fantasy/Vieuxtemps: Violin Concerto No 5</i> - Jascha Heiftz</li>
<li><i>Nova </i>- Steve Reid featuring The Ledendary Master Brotherhood</li>
<li><i>Nils Lofgren</i></li>
<li><i>Petrouchka</i> - Deutsche Symphoni-Orchester Berlin/Fricsay</li>
<li><i>Earth Wind and Fire</i></li>
<li><i>Stravinsky Conducts The Fairy's Kiss</i></li>
<li><i>Jazz Studio Orchestra of Polish Radio</i></li>
<li><i>5 bambole per la luna d'agosto </i>- Piero Umiliani</li>
<li><i>Tristan und Isolde</i> - Vienna Philharmonic/Solti</li>
<li><i>Street Survivors </i>- Lynyrd Skynyrd</li>
<li><i>Live in Chicago</i> - King Crimson</li>
<li><i>Verdi: Requiem/Quattro pezzi Sacri </i>- Orchestre Révolutionnaire et Romantique/Gardiner</li>
<li><i>Peter and the Wolf </i>- David Bowie</li>
<li><i>Schumann: Complete Symphonies </i>- Orchestre Révolutionnaire et Romantique/Gardiner</li>
<li><i>Firebird Suite (New Augmented Version)</i> - New York Philharmonic/Stravinsky</li>
<li><i>Welcome to the Blackout</i> - David Bowie</li>
<li><i>Stravinsky: Oedipus Rex </i>- Deutsche Symphonie Orchester/Fricsay</li>
<li><i>'Nuff Said!</i> - Nina Simone</li>
<li><i>Primal Heart </i>- Kimbra</li>
<li><i>La Boheme </i> - RCA Victor Symphony Orchestra/Beecham</li>
<li><i>Live: You Get What You Pay For </i>- REO Speedwagon</li>
<li><i>Face to Face </i>- The Kinks</li>
<li><i>You're Driving Me Crazy</i> - Van Morrison and Joey DeFrancesco</li>
<li><i>Messa a quattro voci et Salmi of 1650: Volume II</i> - The Sixteen/Christophers</li>
<li>Blank Face LP - Schoolboy Q</li>
<li>Book of Dreams - Steve Miller Band</li>
<li>Destination Out! - Jackie McLean</li>
<li>Liszt - Lucille Chung</li>
<li>The Midnight Hour - Ali Shaheed Muhammad & Adrian Younge</li>
<li>Kids See Ghosts</li>
<li>In the Shadow of the Sword - Non</li>
<li>Done by the Forces of Nature - The Jungle Brothers</li>
<li><i>Stravinsky Conducts Cantata, Mass 1948 & In Memoriam Dylan Thomas</i></li>
<li><i>Brahms: Symphony No. 3 </i>- Houston Symphony Orchestra/Stokowski</li>
<li><i>Coronation Mass</i> - St. John's Sinfonia/Nethsingha</li>
<li><i>NASIR </i>- Nas</li>
<li><i>Dune </i>- Toto</li>
<li><i>Mingus Lives</i> - Mal Waldron</li>
<li><i>Both Directions at the Once</i> - John Coltrane</li>
<li><i>Gluck: Orpheus und Eurydike </i>- RIAS Symphony Orchestra/Fricsay</li>
</ul>
<div>
<b>Revisit</b></div>
</div>
<div>
<ul>
<li><i>Symbiosis</i> - Bill Evans</li>
<li><i>George McCrae</i></li>
</ul>
</div>
<div>
<b><br /></b></div>
Danhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.com0tag:blogger.com,1999:blog-2454518670323856077.post-57872600308295045812018-10-04T17:01:00.000-05:002019-01-25T16:01:07.554-06:00January-March 2018 PostSo since I haven't posted anything in quite some times I figured I'd just post a list of all the albums I've been playing on repeat or really enjoyed in the past months or so, sorted by the current scores I've given them at the time of posting this. I'll do this, hopefully, every six months or every three. Depending on how many albums are listed.<br />
<br />
<b>9</b><br />
<ul>
<li><i>Dvorak: Sinfonie Nr. 5 E-moll Op.95</i> - Fricsay/RIAS Symphonie Orchester</li>
<li><i>The Roxy Performances </i>- Zappa/Mothers</li>
</ul>
<b>8</b><br />
<ul>
<li><i>Symphony in Three Movements</i> - Stravinsky/New York Philharmonic</li>
<li><i>The Lounge Lizards</i></li>
<li><i>Presenting Sylvia Sass: Opera's Sensational New Star</i></li>
<li><i>Eric Dolphy & Booker Little Memorial Album: Recorded Live at the Five Spot</i></li>
<li><i>Recent Stravinsky Conducted by the Composer</i></li>
<li><i>It's Monk's Time</i></li>
<li><i>Discovery</i> - Daft Punk</li>
<li><i>Baltimore</i> - Nina Simone</li>
<li><i>Changes </i>- Charles Bradley</li>
<li><i>Bobby Vinton with the Village Stompers Live at the Copa</i></li>
<li><i>Lester Young with the Oscar Peterson Trio #1</i></li>
<li><i>Love Scene</i> - Elmer Bernstein</li>
<li><i>Die Moldau/Les preludes</i> - Fricsay (1960)</li>
<li><i>Römischer Karneval; Sylphen-Ballet </i>- Fricsay (1959)</li>
<li><i>Beethoven: Symphony No.7 in A Major, Op.92 </i>- Karajan/Philharmonia Orchestra</li>
<li><i>Adagio</i> - Karajan/Berliner Philharmoniker</li>
<li><i>Concerto in F; Cuban Overture; I've Got Rhythm Variations</i> - Fielder/Boston Pops Orchestra</li>
<li><i>True Stories </i>- Talking Heads</li>
<li><i>Rigoletto</i> - Serafin/Callas/Orchestra del Teatro all Scala</li>
<li><i>Das Rheingold </i>- Karajan/Berliner Philharmoniker</li>
<li><i>Sarabande</i> - Jon Lord</li>
<li><i>Le sacre du printemps </i>- Bernstein/New York Philharmonic</li>
<li><i>Don Carlo Gesualdo - Prince of the Madrigalists </i>- Craft/Columbia Symphony Orchestra</li>
<li><i>George Gershwin plays Rhapsody in Blue</i> - Michael Tilson Thomas/New York Philharmonic</li>
<li><i>One People One World</i> - Femi Kuti</li>
<li><i>Ouverture 1812; Marche Slave; Romeo und Julia</i> - Karajan/Berliner Philharmoniker</li>
<li><i>Fantasia on a Theme by Thomas Tallis</i> - Marriner/Academy of St. Martin in the Fields</li>
<li><i>Concierto</i> - Jim Hall</li>
<li><i>How About Uke?</i> - Lyle Ritz</li>
<li><i>Grande messe en ut mineur, K.427</i> - Fricsay/Orchestre radio-symphonique de Berlin</li>
<li><i>Sonatas for Violin and Harpsichord</i> - Schneider/Kirkpatrick</li>
<li><i>Symphony No. 9; Egmont Overture</i> - Fricsay/Berliner Philharmoniker</li>
<li><i>Alexander Nevsky; Cantata No. 47</i> - Ormandy/Philadelphia Orchestra</li>
<li><i>Chet Baker Sings</i></li>
</ul>
<div>
<b>7</b></div>
<div>
<ul>
<li><i>Requiem</i> - Gyorgy Ligeti</li>
<li><i>Conversations</i> - Eric Dolphy</li>
<li><i>Mingus in Europe Volume 1</i></li>
<li><i>Screamin' the Blues</i> - Oliver Nelson Sextet</li>
<li><i>Triple Threat </i>- Roland Kirk</li>
<li><i>Four Corners of the World</i> - Esquivel</li>
<li><i>Le sacre du pritemps </i>- Karajan/Berliner Philharmoniker (1977)</li>
<li><i>Magic Christian Music</i> - Badfinger</li>
<li><i>The Nerves</i></li>
<li><i>Kurtis Blow</i></li>
<li><i>Stravinsky Conducts Stravinsky: Le Rossignol (The Nightingale)</i></li>
<li><i>Perambulator </i>- Fela Kuti & Egypt 80</li>
<li><i>Out Front </i>- Booker Little</li>
<li><i>Tchaikovsky: Symphony No. 6 Pathetique </i>- Currentzis/MusicAeterna</li>
<li><i>A Brand New Me: Aretha Franklin with the Royal Philharmonic Orchestra</i></li>
<li><i>Mozart: Concerto No.23 in A Major, K.488</i> - Giesking/Karajan/Philharmonia Orchestra</li>
<li><i>Persephone</i> - Stravinsky/New York Philharmonic/Westminster Choir</li>
<li><i>Penguin </i>- Fleetwood Mac</li>
<li><i>Boulez Conducts Stravinsky: Petrushka</i></li>
<li><i>The Biggest Things Since Colossus </i>- Otis Spann</li>
<li><i>Kreisleriana / Piano Sonata No. 2</i> - Hélène Grimaud</li>
<li><i>Communiqué</i> - Dire Straits</li>
<li><i>Boscoe</i></li>
<li><i>Casiopea</i></li>
<li><i>Dvorak, Smetana</i> - Zuzanne Szambelan</li>
<li><i>Les Liaisons Dangereuses 1960</i> - Thelonious Monk</li>
<li><i>Rhapsody in Blue</i> - Fielder/Boston Pops Orchestra</li>
<li><i>Sonata No. 3, 10; Fantasia and Fugue in C</i> - Glenn Gould</li>
<li><i>Die Walkure Act III</i> - Karajan/Bayreuther Festival Orchestra and Chorus</li>
<li>Pelleas und Melisande - Karajan/Berliner Philharmoniker</li>
<li><i>Piano Sonata No. 3; 6 Klavierstucke, Op. 118</i> - Hélène Grimaud</li>
<li><i>Introduction et Allegro pour Harpe; Danses Sacrée et Profane</i> - van Beinum/Societe de musique de chambre d'Amsterdam</li>
<li><i>Beethoven: Streichquartette op. 127; 135; 130 (Finale)</i> - LaSalle Quartet</li>
<li><i>Haydn: English Canzonettas</i> - Bilson/Csengery</li>
<li><i>Little Dark Age</i> - MGMT</li>
<li><i>Chrysta Bell</i></li>
<li><i>Live at the Isle of Wight Festival 1970</i> - The Doors</li>
<li><i>The Butterfly Ball and the Grasshopper's Feast</i> - Roger Glover and Guests</li>
<li><i>Das Lied von der Erde</i> - Jochum/Concertgebouworkest</li>
<li><i>Chant funebre; Le sacre du printemps</i> - <i>Chailly/Lucerne Festival Orchestra</i></li>
<li><i>Guess Who</i> - B.B. King</li>
<li><i>Sleeping Beauty and Swan Lake</i> - Karajan/Philharmonia Orchestra</li>
<li><i>Schumann: Concerto en la mineur: op.54</i> - Karajan/Philharmonia Orchestra/Lipatti</li>
<li><i>Boulez Conducts Webern II</i></li>
<li><i>Cul-de-sac</i> - Krzysztof Komeda</li>
<li><i>Sand Woman</i> - Henri Texier</li>
<li><i>Duran Duran [Wedding Album]</i></li>
<li><i>Bootleg Ep </i>- The Blue Oyster Cult</li>
<li><i>Captain Beyond</i></li>
<li><i>Beethoven: Symphonie Nr.5</i> - Kleiber/Wiener Philharmoniker</li>
<li><i>Piano Sonatas, Op. 31 complete</i> - Glenn Gould</li>
<li><i>Eggs for Breakfast</i> - Bobuck</li>
<li><i>Black Panther the Album</i> - Various</li>
<li><i>Born Yesterday</i> - Margaret Glaspy</li>
<li><i>Suite from Petrouchka</i> - Stravinsky/New York Philharmonic</li>
<li><i>Yesshows</i></li>
<li><i>The Mozart Piano Sontatas Vol.3 </i>- Glenn Gould</li>
<li><i>Beethoven: Bagatelles Op. 33 & Op. 126</i> - Glenn Gould</li>
<li><i>Gotterdammerung: Brunnhilde's Immolation Scene; Wesendonck Songs</i> - Bernstein/New York Philharmonic</li>
<li><i>"Linz" Symphony</i> - Koussevitzky/Boston Symphony Orchestra</li>
<li><i>Historie du soldat</i> - Markevitch</li>
<li><i>Never to Be Forgotten</i> - Eddie Cochran</li>
<li><i>Der ring des Nibelungen (excerpts)</i> - Solti/Wiener Philharmoniker</li>
<li><i>Blue Bird</i> - Charles Mingus</li>
<li><i>Tchaikovsky: Piano Concerto No. 1</i> - Lenard/CSR Symphony</li>
<li><i>Daytrotter Sessions</i> - Chairlift (2012)</li>
<li><i>Bad Reputation</i> - The Ritchie Family</li>
<li><i>Could Nine</i> - George Harrison</li>
<li><i>Symphonies Wq 173-175, 197, 180</i> - Remy/Les Amis de Philippe</li>
<li><i>"Devil's Trill" Sonata; Sonata in B flat</i> - David Oistrakh</li>
<li><i>Scheherazade</i> - Beecham/Royal Philharmonic Orchestra</li>
<li><i>Czarface Meets Metal Face</i></li>
<li><i>The Sidewinder </i>- Lee Morgan</li>
</ul>
</div>
Danhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.com0tag:blogger.com,1999:blog-2454518670323856077.post-89411325086567843102017-04-16T02:32:00.000-05:002017-04-16T02:35:47.460-05:00Done with Mirrors - Aerosmith<div class="separator" style="clear: both; text-align: center;">
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Today I decided to review an album that I... I don't know, why the fuck not do this. It's not painful to listen to and I quite enjoy some tunes on it, even if they aren't top notch. This is the eighth studio album released the Bad Boys from Boston themselves, <i>Aerosmith</i>. Yes, it is not one of my favorites. I still like it, regardless. This is both the first album after <i>Joe Perry </i>and <i>Brad Whitford</i> rejoined the band, leaving in 1979 and 1982 respectively, and first to be released on Geffen. While they were away <i>Joe </i>formed <i>Joe Perry Project</i> and released 3 albums from 1980-1982. <i>Brad</i> also started a band with <i>Derek St. Holmes</i>, singer for <i>Ted Nugent</i>, called <i>Whitford/St. Holmes</i>. I don't know if it was a group or just a collaborative album. I do know it was released in 1982, and its follow up in 2016. That being said, it has been some 5 or 6 years (1979), since these guys all played on the same album together. So I kind of look at this as a test to see if the magic was still there.<br>
<div>
<ol>
<li><u><b>Let The Music Do The Talking</b></u>: This is a reworking of a songs that was the title track of the 1980 debut album of <i>Joe Perry</i>'s solo project the <i>Joe Perry Project</i>. It has some different lyrics, a fact I have only ever read and not noticed. What's more noticeable is the faster tempo, kind of. That and the much more <i>Aerosmith</i> feelinjg to the song, which isn't solely because Steven is singing it. There is a this sort of the classic era vibe, mixed with shapes of the Geffen era to come. Well even though technically started with this album.... I mean more the good stuff from the 13 year period (85-98). This is a solid hard rock number, that while not the greatest tune, it isn't half bad. It does remind me of <i>Draw the Line</i>, which is actually quoted in the solo, but not nearly as good. Well maybe not as memorable as the classics would be a better way to put it. It's fun and a great way to show they're back and start the album off. </li>
<li><u>My Fist Your Face</u>: That's for sure! This song is not too bad. It's memorable in that I know the chorus and the hook to the song. I mean maybe I listened to it more then I thought back in 8th grade, but I recognize this. The song itself though doesn't hold up. I mean I was never heads over heals, but it could easily be forgotten if I hadn't heard it and it want ingrained in me. I guess the worst part is it's kind of generic. It also kind of reminds me of Pump. </li>
<li><u>Shame on You</u>: This is another tune, while I know it by heart and can recall what happens I can't say I love it. I enjoy it, but outside of occasion refreshers I can't say I like it. I like the riff there is some punch to it. </li>
<li><u>The Reason a Dog</u>: "Has so many friends, is he was his tail instead if his tongue". Ouch, the song itself isn't anything special. Very bare with some arpeggios and sounds like a rehearsal or them playing it the first time before its done. <i>Joey</i> was right about this sound like it wasn't finished. </li>
<li><u>Shela</u>: I like the drums on this and the guitar tone and riff, quite tasty. I like the replication of a siren with the lead in the intro. This song feels like, outside of mixing, it was done. This song isn't too bad and has a lot of nice parts. But the vocals aren't really anything that mind blowing, to me at least. </li>
<li><u><b>Gypsy Boots</b></u>: The guitar in the beginning puts me off a bit, but I like the song itself. Its kind of fun and has a nice vocal harmony that harkens back to <i>Toys</i> title track or <i>Bright Light Fright</i>. Actually this sounds like an 80s redux of <i>Toys in the Attic</i>. But the head is so bland and kills the songs momentum. Doesn't murder, but halts the song. Also great solo honestly, but this "head". Are you fucking me? The solo reminds me a little of <i>Last Child</i>. </li>
<li><u>She's on Fire</u>: There is some nice acoustic electric guitar in this tune in the beginning. This remind me of a later song but I can't think of it at the moment. This is another passible song. Nothing really mind blowing but you'll remember the chorus. The rest is kind of filler to be honest. Also there are timing and synchronization errors. And there isn't any thing wrong with my Cd because there aren't any scratches. I like the bass that thunders in the track. Nice solo, but the rest of the song takes away from my enjoyment of it. </li>
<li><u>The Hop</u>: I really dig the drums and the dance feeling to this. Its another fun song that just needed a bit more care. Like I feel like this would be a song that was recorded during the <i>Get Back</i> sessions. Which this kind of could be compared to kind of. </li>
<li><u>Darkness</u>: This is a bonus track that is exclusively on the CD version of the album. At first I didn't like this song, but then when I heard this in it's entirety, a few times, it hit me. This is one sick fucking song. I really like the band stand vibe. We also get an 80s piano ballad to end the album. Its a very welcome change of pace. I like the <i>Duke Ellington </i>vibe I'm getting from <i>Steven</i>'s phrasing at parts. Reminicent of <i>Take the A Train</i>. I also live the tempo change and how the song actually feels urgent and flows. This could also be compared in feeling to <i>Round and Round</i>. This is a bit of a chaos to it but its welcome. Even if the lyrics are kind if cliche. The solo works but not mind blowing. </li>
</ol>
<div>
Overall I have to give this a 6/10. First off, this is most definitely not one of their best albums. But one thing I love about these songs are that I still, after not hearing one of the songs for at least probably like a good year some even more, I know the choruses to almost every song and know the melody. There is also this weird sort of atmosphere to the songs. Not off putting but it feels almost like there's air. Maybe it was done digitally. I mean I enjoy this over all more than my overall experience with some of the later albums, now at least. Look at it as a transition from the band they were, to the band they would become. Not to say <i>Pump </i>or <i>Permanent Vacation </i>are bad albums, but post 89 isn't very positive in my opinion. Also I want to say I think this was important for the mere fact it was raw, like they used to make, and I guess they realized they couldn't do it anymore. </div>
</div>
Danhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.com0tag:blogger.com,1999:blog-2454518670323856077.post-63377953481565324682017-03-14T16:26:00.002-05:002018-04-26T21:46:56.769-05:00Ride the Lightning - Metallica<div class="separator" style="clear: both; text-align: center;">
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So I have been listening to so much Jazz lately I lost track of reviews. So I decided to pick this album because I know it quite well, and while I doubt I will have any new insight, I still wanna do it. Okay now back to the review, or into rather. A growing trend in media seems to be revamping old ideas for today's sound. Like classical music, but it's rock and is supposed to "kicks ass". Or let's revisit out 80's albums and make a new album, but with new production. Which in all fairness, sometimes you need to go back to move forward (and some people have pulled it off). Rejuvenate that love or passion you once had, and then take the drive and continue forward. So they follow the album up with a fresh sort of breathe of air. It might have been off putting at first, but there are glimpses of something nice and interesting for a thrash band to do in decade 3. Then for whatever reason they take 5 years to follow that up, but the final product just seems to take ideas from elsewhere and their 90's albums. <i><a href="http://danburnettealbumreviews.blogspot.com/2016/11/hardwired-to-self-destruct-metallica.html"><span style="color: #cfe2f3;">Hardwired</span></a></i> is not a good album, it's not terrible and I do not see it being impossible for someone to enjoy the album. I have lightened up on it, but that's because I also haven't listened to it and only remember being disappointed. The only thing is that it can never amount to their 80's out put or even their 90's. Why? Well what happens when you run out of ideas? <span style="text-align: -webkit-auto;">You either go back and look at old ideas and renew them, or you push ahead and try new things and do things you never thought possible. Fuck if they put out an EDM album, it'd probably suck, but at least they weren't back tracking. </span><span style="text-align: -webkit-auto;">So in honor of that disappointment I felt I needed to review my favorite album by the group. This is the second album by </span><i style="text-align: -webkit-auto;">Metallica. </i><span style="text-align: -webkit-auto;">This is also my favorite album by them. This album kicks ass. Now this album is also somewhat historical. Yes, </span><i style="text-align: -webkit-auto;"><a href="http://danburnettealbumreviews.blogspot.com/search/label/Dave%20Mustaine"><span style="color: #9fc5e8;">Dave Mustaine</span></a> </i><span style="text-align: -webkit-auto;">co-wrote four of the songs on </span><i style="text-align: -webkit-auto;"><a href="http://danburnettealbumreviews.blogspot.com/2012/03/kill-all-metallica.html"><span style="color: #cfe2f3;">Kill 'Em All</span></a></i><span style="text-align: -webkit-auto;">, including the first four bars of each solo. But here this is where the writing is better than on the prior album, and also you got some of the best songs </span><i style="text-align: -webkit-auto;">Metallica</i><span style="text-align: -webkit-auto;"> ever made.</span></div>
<ol>
<li><span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);"><u><b>Fight Fire With Fire</b></u>: Opening is a great, really kicking off the start of a more focused album. I imagine it surprised some fans of the band to hear acoustic guitars opening up the record. I mean I could imagine me going what the fuck, if I want already exposed to their later stuff. Okay the drums do bother me a little bit, but the song is still freaking great and has a fucking awesome hook. The song is angry and has this energy to it that makes me wanna headbang, in usually opposed to that because I feel dumb. But this is an exception. The solo is not that memorable, well parts are, but it isn't as memorable. That is until the dual leads that are harmonized I wanna say a third or fifth apart. I could double check but I wanna be fast. I think that is the best part of the solo to be honest. And there is a great punch that comes with this song and shows that even though the opened different it still fucking rocks. </span></li>
<li><span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);"><u><b style="background-color: #444444;">Ride the Lightning</b></u><span style="background-color: rgba(255, 255, 255, 0);">: I think that this is kind of cool. People thought this was about the horror of Capital Punishment. But </span><i style="background-color: rgba(255, 255, 255, 0);">James</i><span style="background-color: rgba(255, 255, 255, 0);"> later said he supports it, and this song is about a man who faces it for a crime he didn't commit. That gives the song a story, and an interesting one. This song also paints a picture with its words and the music even has this sort of lightning bolt feeling. The fast guitar chords, the cymbal hits and even the sort of clouding up the mix a bit. and the sort of thunderous clouds that I could almost see this being (if it was an instrumental) a tone poem about a thunder storm. The guitar solo is so fucking sharp and it could be ear piercing but sounds so fucking good and is very memorable. I also love how the song has a bit of a change with the solo and then it starts up with a dual guitar thing. So freaking good. Also I think <i>Lars </i>drumming actually fits this songs tone and theme quite well. Also how can you not love that opening riff.</span></span></li>
<li><span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);"><u><b style="background-color: #444444;">For Whom the Bell Tolls</b></u><span style="background-color: rgba(255, 255, 255, 0);">: Again another nice touch having those bells in the beginning. The bass is the lead on this in the intro and the guitars power chords sounds like thunder clouds. The track really is constructed extremely well and the guitar makes you feel l your going to trudge into battle. I figure the walking pace of the drums helps that quite a bit, but again musically another stellar song. Even the lyrics and the delivery feel like its people chanting about to go to battle. Revisiting this album I wonder if Cliff was the real brains or at least creative force of the band. Well either him or <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Dave%20Mustaine"><span style="color: #9fc5e8;">Dave</span></a></i>. This again is a very memorable solo and song in general. I love the ending and they basically do the break down of <i>Raining Blood</i> two years before it came out. </span></span></li>
<li><span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);"><u><b style="background-color: #444444;">Fade to Black</b></u><span style="background-color: rgba(255, 255, 255, 0);">: A very nice change of pace, very sad and depressing. The song is about suicide and musically and lyrically I feel its handled quite well. Lyrically its not a master piece, but it isn't as shallow or corny as it could be. There is a real grit to the tune. I mean look at some of th later post-<i>Black Album</i> lyrics... Odd they'd go down that road and wouldn't progressively become better lyricists. Unless.... No, they couldn't have phoned them in on newer albums. I also want to point out on the CD this works perfectly from the last track. Also as if the soldier wants to die bow that the battle is over, for some reason or another. Like a pseudo-proto<i>One</i>. This really is a gorgeous song and really evokes sadness, misery and just finality. The second half of the song, is a great change and I mean it isn't that shocking of a change but it is like a "beat change". The first half is the sorrow, and the second half is the follow though. This really is a great moody tune, as I've said now I don't know how many times, but I really have yet to grow tired of this or any tune on this album honestly. And that solo, the only thing I wish is it was turned up a tad, but other than that I mean it works.</span></span></li>
<li><span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);"><u style="background-color: #444444;"><b>Trapped Under Ice</b></u><span style="background-color: rgba(255, 255, 255, 0);">: Based on a demo from </span><i style="background-color: rgba(255, 255, 255, 0);">Kirk</i><span style="background-color: rgba(255, 255, 255, 0);">'s days with </span><i style="background-color: rgba(255, 255, 255, 0);">Exodus</i><span style="background-color: rgba(255, 255, 255, 0);"> this song <i>Impaler</i>. Note: this demo was later released, rerecorded, on </span><i style="background-color: rgba(255, 255, 255, 0);">Exodus</i><span style="background-color: rgba(255, 255, 255, 0);">' 2004 album <i>Tempo of the Damned</i></span><span style="background-color: rgba(255, 255, 255, 0);">. I honestly don't think this would sound out of place on <i>Kill Em All</i>. It's very fast and probably the best example of speed metal here. I mean not to say the songs aren't fast, but this is like a shot of adrenaline, and a much appreciated one. This song is really solid and has some great moments, but the fact that it is a bit faster than the others is a nice contrast to the slowest/"lightest" song on the album, the previous cut. Plus it kind of is a return to the charm of the last album.</span></span></li>
<li><span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);"><u>Escape</u>: This is the only tune I can never remember. Honestly I just can't ever remember it, hence me not having this a "bold" track. I mean I can remember all the others why can't I remember this. And to be honest, other than it could easily be transformed into a sludge metal/groove metal tune, there isn't much here for me. I mean yeah when I hear the chorus I remember it, but it doesn't stick with me. Sadly this is the weakest cut here. But I'd prefer one weaker cut to more or less an entire albums worth. There is some nice moments, but this feels like I don't jive with it. Honestly I'm having trouble retaining anything other than the chorus, but even that I doubt I'll remember.</span></li>
<li><span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);"><u><b style="background-color: #444444;">Creeping Death</b></u><span style="background-color: rgba(255, 255, 255, 0);">: Another killer fucking tune, and possibly the best of the album. Well with the exception of maybe the closer. Written about the plagues of Egypt and <i>Kirk</i> co-writing the lyrics, this really is a heavy hitter. This is a song that I think even now, on newer live albums/releases, it'd be hard for even this band to fuck up. This also returns to the sort of thunderous thrashing that was earlier on the album. Great solo harmonies and this really is a great cut. I also like the change that makes it more chaotic, and yes you've basically hear this earlier on the album, it's nothing new, but it works very well here. The chant makes it seem all the more evil. Which is odd, I was always taught the Egyptians were the bad guys in that scenario. I guess it comes down to perspective, of which if you think sort of a subversion of Christianity, like what God doing is "evil" or whatever, check out <i>Wormwood</i> by <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/The%20Residents"><span style="color: #9fc5e8;">The Residents</span></a></i>. They got some odd stories that actually are in the bible. <i>Judas Saves</i> is my favorite in terms of thinking. Regardless great tune as a penultimate track.</span></span></li>
<li><span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);"><u><b style="background-color: #444444;">Call of Ktulu</b></u><span style="background-color: rgba(255, 255, 255, 0);">: This track was originally titled </span><i style="background-color: rgba(255, 255, 255, 0);">When Hell Freezes Over</i><span style="background-color: rgba(255, 255, 255, 0);"> and was co-written by </span><i style="background-color: rgba(255, 255, 255, 0);">Mustaine</i><span style="background-color: rgba(255, 255, 255, 0);">. </span><i style="background-color: rgba(255, 255, 255, 0);">Mustaine</i><span style="background-color: rgba(255, 255, 255, 0);"> later released </span><i style="background-color: rgba(255, 255, 255, 0);">When</i><span style="background-color: rgba(255, 255, 255, 0);">, a reworking I believe if I remember correctly, in 2001 with </span><i style="background-color: rgba(255, 255, 255, 0);">Megadeth</i><span style="background-color: rgba(255, 255, 255, 0);">. This is another track I can't imagine them fucking up, like really it's handed to you on a platter almost just don't fuck with it. The electric guitar arpeggios are reminiscent of what would come on the future albums and, to a lesser extent, <i>Fade to Black</i>. The really great thing about this is this track builds in a fucking phenomenal manner that is just a bit baffling to me. This so fucking kicks the shit out of <i>Pulling Teeth</i>, <i>Orion</i> and definitely <i>Suicide & Redemption</i>. This is really just a great tune that while you can argue nothing much happens, it keeps your focus for all 8 minutes. That truly is a large achievement, especially for this type of song. There isn't really anything new happening here that hasn't happened on other tracks throughout the album. It's almost like a sort of overture, but at the ending, and instead of featuring the themes it just takes that elements instead of exact notes. Killer ending.</span></span></li>
</ol>
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<span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">Overall I have to give this a 9/10. Don't get me wrong, thematically the lyrics on these <i>Metallica</i> albums are awesome and inspiration to write better lyrics/stories. But I don't think they are the best thing ever. Now I think this is the best album by the group easily, but its not perfect. Its so fucking close, but not quite there. It's heavy, memorable, and definitely worth a listen. Also as a side note, l</span><span style="background-color: rgba(255, 255, 255, 0);">et's hope that in 2031 they release the follow up to </span><i>Lulu</i><span style="background-color: rgba(255, 255, 255, 0);"> and not a </span><i>St. Anger II</i><span style="background-color: rgba(255, 255, 255, 0);"> in 2023. But according to past behavior (1988/2008, 1996/2016, 2003/2023?).</span></div>
Danhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.com0tag:blogger.com,1999:blog-2454518670323856077.post-82576013052131778322017-03-06T18:38:00.000-06:002017-03-06T18:38:03.582-06:00Can't Stop the Music - Village People<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-_3BljPA3Q9s/VfvaCT0Me3I/AAAAAAAAbw0/oidR3wabk1I/s1600/Can%2527t%2BStop%2BThe%2BMusic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://3.bp.blogspot.com/-_3BljPA3Q9s/VfvaCT0Me3I/AAAAAAAAbw0/oidR3wabk1I/s400/Can%2527t%2BStop%2BThe%2BMusic.jpg" width="400" /></a></div>
It's March, and I have been doing this now for 3 months, so let's keep up the steam and keep on going with this classic. When you find out the history of this record, its very funny that this is what its titled. This is the sixth studio release, if you include the <i>Sleazy</i> half of <i>Live and Sleazy</i>. This is a soundtrack to the movie of the same name, titled after the production company Can't Stop Productions. This movie is, how can I put it, ridiculous. This is also the first record not to feature original lead singer <i>Victor Willis</i>. Though he did write the words to <i>Milkshake</i>, <i>Magic Night</i> and obviously the previously released <i>YMCA</i>.<br />
<ol>
<li><u><b>Can't Stop The Music</b></u>: The first track, which also happens to be the title track and the last in the movie (big finale). The biggest problem is this song is too long in the movie, and while is catchy, it goes a little too long. As catchy as <i>In-A-Gadda-Da-Vida</i> is the middle percussion solo goes a little too long, nothing really happens. This is much of the same..... In the film at least. It wasn't until I heard the full version on its own that I really "got it". Then I realized, this song is actually not half bad. It's kind of good, which is odd, but it's good. Like I can't listen to the album 3 minute edit, I need all 7 minutes of it baby. Really it's much like hearing an edited version of <i>Love to Love You</i>, <i><a href="http://danburnettealbumreviews.blogspot.com/2013/08/supernature-cerrone.html"><span style="color: #6fa8dc;">Supernature</span></a></i> or any extended cut that you really need all 10+ minutes of. The song is very tastefully arranged, has some great vocals and is one of the best disco songs I have heard. It's very fun, even though I can sing<i> <a href="http://danburnettealbumreviews.blogspot.com/2015/09/go-west-village-people.html"><span style="color: #6fa8dc;">In the Navy</span></a></i> in the beginning, and you can dance to it. Wasn't that the purpose of disco? Besides appealing to Gay men. The bass on the song also tops what most rock bands could ever dream of playing. It's just I wish there was more variation. Not to say there isn't, but if I'm not in the mood the longer instrumental part can be a bit grating. It was for the review, but literally ever over time I listen and dance in the car it goes by so fucking fast. Maybe it's because I have to sit and listen and can't move you know. Fighting the natural order of the song. But at the end of the day I feel like an injustice was done, it's like an edited version of a song [on the album]. This isn't <i>Let's Go Crazy</i>, we need the whole thing. Plus it doesn't kill the momentum of the song having the whole thing either.</li>
<li><u>Samantha</u> by <u>David London</u>: With an introduction that reminds me of <i>My Sharona</i>, and a glam rock inspired by a <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Rocky%20Horror%20Show">Rocky Horror</a></i>, this song isn't anything to rave about. Well maybe more along the lines of a chorus off the more popular <i>Styx</i> songs. It makes me smile a bit because of that, but they did it better than <i>David London</i>. This song is pretty easy to take, but as easy as it is to hear it is to forget. Like I forgot about it in between listens.</li>
<li><u>Give Me A Break</u> by <u>The Ritchie Family</u>: This tune isn't half bad, but there is something that keeps me from loving or wanting to revisit this track. I couldn't wrap my finger around it until listen number 3 that I understood. That's when I realized it wasn't that great of a song. I mean there are better songs on the album, why does this group have to be on the album. Really it's a pretty boring song. I mean I feel like it's kind of trying to evoke other songs that I think are better. Some songs include <i>Bad Girls</i>, <i>My Prerogative</i> (I know that's from 1989) and throw in kind of generic disco sounds. The bass also reminds me at one point of <i>Good Times</i>. For whatever reason.</li>
<li><u><b>Liberation</b></u>: As much as I feel this should be looked at as campy and just clearly a pro-gay song, I can't help but want to chant along. It's also pretty hilarious when in context of the film, but when not its kind of a fun song. I mean it's very very very heavy handed, but I don't care. I mean this isn't <i><a href="http://danburnettealbumreviews.blogspot.com/2016/08/macho-man-village-people.html"><span style="color: #6fa8dc;">I Am What I Am</span></a></i>. Also there is some nice guitar in this song that I didn't think I'd hear in a disco tune. Tasty. I also like the dual guitars in the song. This is like a sort of good bad. Like I roll my eyes when I hear this, but I feel like there is a possibility it could be kind of good. Not like the title track, but like, it's not the worst thing I've ever heard and it's far better than the last two songs. And also has more potential.</li>
<li><u><b>Magic Night</b></u>: This is such a happy song, this is one of two songs I bet will be stuck in your head. It's funny how simple the words are, but how infectious this song truly is. It's the kind of infectious that you only get from innocence, or ignorance (on part of the performer). Who cares, it's great and makes me want to dance and got some nice four on the floor. Thought, I don't think the drums sound that good... but that could just be the MP3. I could hear someone saying it sounds sped up, and when you pay deep attention it kind of feels a bit sped up, but when you just hear it without that it doesn't. But then again I could be a bit buzzed and that's why it feels a bit sped up, at the end of the day it's fun, dance-to-able and memorable. Nice disco tune, and nice guitar licks.</li>
<li><u>The Sound of the City</u><b> </b>by <u>David London</u>: If anything this reminds me, vocally, of <i>Elton John</i>. Seriously, this sounds like his vocals on <i>Philadelphia Freedom</i>. In fact if this was a little more orchestrated and lavish sounding I'd bet this could be Philly soul instead of disco/dance pop. The introductions to the songs seem top be rather weak. The thing that sucks is that I remember liking this tune so much more in the context of the film instead of by it's own self. I also can't get behind the orchestra hits. It's like over use, <i>Horrace </i>what the fuck were you thinking. This is a disco tune, not a Bond theme. Also the tune is far too long. But really, this has too much orchestration, it doesn't really make sense to me.</li>
<li><u><b style="background-color: #444444;">Milkshake</b></u>: Like most of the songs in this movie, they are so stupid. This is the stupidest, but it's also by far the catchiest. It's got that same happiness in <i>Go West</i>, but its so stupid. If you take the corniness of the 90s kids commercials extreme, and up the anty to making milk glamorous. Also get this, not just glamorous, the exact line in the movie for what they were going for "we're going to make milk more glamorous then champagne". This plays during the commercial that attempts to do that. This also happens to be the length of at least 3 commercials, maybe 4. I don't think I can exaggerate how dumb this is. But its also one of my favorite songs on the album, and is a favorite of all time. The intro to this is so musical, the beat and vocals work great and the strings are just ON. I can't find anything wrong with this song. On its own its great, the text of the movie elevate the like-ability of it. The only down side is I wish they took the " one more time" and repeated the song again on the album. PS they don't do it once more. </li>
<li><u>Y.M.C.A.</u>: The only real difference between this and the <i><a href="http://danburnettealbumreviews.blogspot.com/2015/10/crusin-village-people.html"><span style="color: #cfe2f3;">Crusin'</span></a></i> version from 1978 is <i>Ray </i>sings this, if I'm correct. I am saying that because the vocals sound a little different. <i>Ray</i> does sing in a similar style as <i>Victor</i>, but I don't know. I really can't say anything else other than, in the film it was PG and you see a few schlongs (not counting), and its during this number. Also the girl's (1) topless too, at a part, so I guess it's even....... Kinda. Oh I also prefer the original. When I revisited it I heard more guitar in the track, but that's really the only other main difference. Also I think i hear a clavichord in this version. The charm of the original isn't really present on this version. Maybe because <i>Ray </i>sounds more like a homy polone than the butch that <i>Victor </i>was. <i>Ray </i>also isn't as emotional and soulful. Like this feels less energetic.</li>
<li><u><b>I Love You to Death</b></u>: This tracks sung by the Construction Worker. Now I wasn't sure if this should be highlighted or not. This is easily the most rocking song by the group I heard. It kinda of makes me think <i>Rocky Horror</i> meets the <i>Flight of the Conchords</i>' tracks <i>Love Is Your Weapon of Choice</i> and <i>Demon Woman</i>. If that sounds interesting check it out. But in the movie it sounded a little off. I couldn't figure if the vocals were off tempo, pitch or choppy or if the instrumental was one of those. It took me multiple listens to get what the hell was "off" about this track. Also, did anyone else who saw the movie think this was one of the gayest things they have ever seen. The scene, with the imaginary music video of sorts. The sort of breakdown could so be in the <i>Rocky Horror </i>musical. Really it would work quite well there. </li>
<li><u>Sophistication</u> by <u>The Ritchie Family</u>: This is probably the worst track in the entire movie. It's so bland, uninteresting, stereotypical disco female vocal group. It's like a bad <i>Donna Summer</i>'s track of the time. Even though some tracks are repetitive and some are cheesy as hell, this is the least interesting and easily forgettable track here. I mean I began to tune out about 30 seconds into the singing and, the only interesting part was the woman's breasts. Seriously. </li>
</ol>
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Overall I have to give this album a 6/10. This could quite possibly be the most consistently good album released by these guys. And with that in consideration..... That kinda makes this their best record. Now when you make pop music you want a catchy song, good hook, and for it to stick with you. There is enough variety, where there isn't on past records, and futures ones also. If you watch the movie I dare you to get <i>Milkshake</i>, <i>Liberation</i> or <i>Magic Night </i>out of you head. It can only be done with extensive time away from it, or therapy. And still they play in your head and don't leave when you utter the titular phrases. But seriously, this record isn't half bad. And even without the other artists considered, each song by the group isn't extremely similar. They all have their distance sound and idea. There isn't nearly as much overlap musically as on <i>Crusin'</i>, <i><a href="http://danburnettealbumreviews.blogspot.com/2015/09/go-west-village-people.html"><span style="color: #cfe2f3;">Go West</span></a></i>, <i><a href="http://danburnettealbumreviews.blogspot.com/2016/02/village-people.html"><span style="color: #cfe2f3;">Village People</span></a></i> and so forth. Please do me a favor and check this out if you want to just have fun. </div>
Danhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.com0tag:blogger.com,1999:blog-2454518670323856077.post-10314699011264687012017-02-26T16:24:00.000-06:002017-02-26T16:24:59.652-06:00Making Movies - Dire Straits<div class="separator" style="clear: both; text-align: center;">
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Let's see how long I can keep this up for, who know's maybe not for long but I'm glad it's been consistent weekly reviews now for almost three months. I started in December, and I think I might actually do this from now on in general. Unless I have reason to other wise, but for this year I'll continue this for as long as I can. This was waiting till January to finish, but I guess I'll do it now since I've been busy. The third album by the <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Dire%20Straits"><span style="color: #9fc5e8;">Dire Straits</span></a></i>, released in just as many years. This follows the 1979 album, often looked at as a remake of the debut, <i>Communiqué. </i>This album was released on October 17th, 1980 with production being handled by <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Mark%20Knopfler"><span style="color: #9fc5e8;">Mark</span></a></i> and <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Jimmy%20Iovine"><span style="color: #9fc5e8;">Jimmy Iovine</span></a></i>. I guess after hearing the song <i>Because the Night</i> that made <i>Mark</i> want to get <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Jimmy%20Iovine"><span style="color: #9fc5e8;">Jimmy</span></a></i> to produce this album. <i>Jimmy </i>also engineered for <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Bruce%20Springsteen"><span style="color: #9fc5e8;">Bruce Springsteen</span></a></i> on <i>Born to Run </i>and <i><a href="http://danburnettealbumreviews.blogspot.com/2015/05/darkness-on-edge-of-town-bruce.html"><span style="color: #cfe2f3;">Darkness on the Edge of Town</span></a></i> and also was a recording engineer on <i>The River</i>. He also worked with <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Meat%20Loaf"><span style="color: #9fc5e8;">Meatloaf</span></a> </i>as a remix engineer for <i><a href="http://danburnettealbumreviews.blogspot.com/2016/01/bat-out-of-hell-meat-loaf.html"><span style="color: #cfe2f3;">Bat Out of Hell</span></a></i>. There is other albums he has worked on, though they are less important for this review, but I digress. Speaking of notable things, <i>Roy Bittan </i>of <i>The E Street Band</i> plays piano on the record. I assume it's because the <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Jimmy%20Iovine"><span style="color: #9fc5e8;">Iovine</span></a></i> thing but who knows. This title somewhat interests me, Making Movies. It makes me think it's a concept album, or each song is a sort of mini movie within a song. They'd tell a story and take you there with vivid imagery and moving music. You later find out its a lyric, but that doesn't take away from my love of that title. Some of the songs do have a cinematic feeling, so it isn't all that off I guess.<br />
<div>
<ol>
<li><u><b style="background-color: #444444;">Tunnel of Love</b></u>: Opening the album with <i>Roy</i> quoting <i>The Carousel Waltz</i> from the <i>Hartz</i>/<i>Rodgers</i> play of the same name, minus "waltz". I can honestly say this is one of the greatest tracks I've ever heard. It was from second one of hearing to second whatever I'm on after a few dozen listens. I really dig it, plus I'll add what an opener. That quote also helps add a lot of atmosphere to the opening, and followed by piano arpeggios reminiscent of <i>Jungleland</i>. I mean, it makes sense, look who's fucking playing it. I also love that organ sound and the piano and organ at the same time that lead into the guitar coming in. So good! I love the guitar on this and the song has this urgency that grabs your attention, you know like a good opener does. I also love the details like the acoustic guitar and the keys/organ in the background. This song is quite fleshed out and it shows. I don't really know exactly how to describe this song other than it's very epic you feel it. I love this and am a bit disappointed I can't find more words to describe this. The quiter part of the song works great and I love how the song builds back up. I think it'd be best if you just heard yourself.</li>
<li><u><b>Romeo and Juliet</b></u>: This opens with a similar melody to that in <i>Jungleland</i>. Though, that works and it isn't a negative thing. The track also features the use of a resonator guitar, the type showed on the <i>Brothers in Arms</i> album cover, which plays the intro to the song. I think it's a fine song, has some great parts,but that intro is great. I really like the way it sounds and there is a nice little swing to the track. I also love how the song goes up and down and doesn't really seem that forces. Everything, dynamics wise, is very natural. I like those touches of acoustic guitar you can hear strumming away at quieter parts. I also love those guitar chords and I really like the piano on the track too. This is a really good track, and I can't believe I didn't like it anymore at one point. Maybe I just needed time away in order to know what I was missing. I also like the solo and how it feels a bit distant and I think it works considering this seems to be about dying love. Or love that has already died. I think it kind of just ends, but I think it's still a great tune.</li>
<li><u>Skateaway</u>: This is another epic. An epic that a person would think, well why have them all in a row. That's what I think, and the worst part for me is this is my least favorite of the epics. It's got a great music video and great lyrics. They really paint a picture of a girl rollerskating down the busy streets of NYC. Without a care in the world, its as if its describing a scene from a movie. But I don't think this song works quite as well as the last two tracks. I dig the song, the drums a great and the guitar is great and the pre-chorus works. It's just the song seems to be like the lesser of these epics. I don't really have much to say about it, it seems like it's kind of following a formula. Maybe that's why it doesn't work for me really.</li>
<li><u>Expresso Love</u>: This is where the album starts to slide down. Am I the only one who hears this, "Because the Night belongs to lovers"? I mean it changes with the chorus and pre-chorus, but like the verses with that piano remind me of <i>Because the Night</i>. I mean it's not a terrible song, it kind of works as an in between of <i>Romeo and Juliet </i>and <i>Skateaway</i> but again it feels like it's following a formula. Like it's there, but the click isn't exactly. So close, but no cigar. I do like the organ and think this works a lot better than some later <i>Bruce </i>material, but still.</li>
<li><u>Hand in Hand</u>: "heart to heart, everywhere. That you never start". This introduction reminds me of <i><a href="http://danburnettealbumreviews.blogspot.com/2016/01/bat-out-of-hell-meat-loaf.html"><span style="color: #6fa8dc;">Two Out of Three Ain't Bad</span></a></i>. The song isn't that a bad, but again it's quite forgettable. Like I can't imagine I'll be returning to this or have an urge to hear this unless I completely forget or am just revisiting that album. The song isn't a terrible song, it's just kind of bland. The chorus is fine, but again nothing ground breaking or memorable.</li>
<li><u>Solid Rock</u>: This is a pretty good track, and as the title implies its a solid rocker. I can't say much more that that if I'm being honest. I mean it's pretty straight forward, no little twists or turns or grand story being told. Just a rocker, and I mean... what else can you actually say.</li>
<li><u>Les Boys</u>: A bizarre track that I read somewhere was a cabaret track. While I see that, I think they got that from the lyric. This is a track that kinda reminds me of <i><a href="http://danburnettealbumreviews.blogspot.com/2013/07/transformer-lou-reed.html"><span style="color: #6fa8dc;">Make Up</span></a></i> or <i><a href="http://danburnettealbumreviews.blogspot.com/2013/07/transformer-lou-reed.html"><span style="color: #6fa8dc;">Walk on the Wild Side</span></a></i>. This tongue and cheek style track is something that sounds similar to the tongue-and-cheekness of <i><a href="http://danburnettealbumreviews.blogspot.com/2013/07/transformer-lou-reed.html"><span style="color: #6fa8dc;">New York Telephone Conversation</span></a></i> or <i><a href="http://danburnettealbumreviews.blogspot.com/2013/07/transformer-lou-reed.html"><span style="color: #6fa8dc;">Goodnight Ladies</span></a></i>. This track is pretty clear about what's its about. And I don't really think it's about anything. I mean he mentions the "Les Boys" and liking whips and that they are in fact gay. I mean I think the biggest flaw here is the fact that the song sounds like it starts then when it ends it starts over with almost a loop. It plays the song basically twice. I've heard songs where that isn't a bother, <i>Oh Well Parts 1 & 2</i> on the album, but this just kinda takes away from it. There at least it was a section rather than a whole entire song. I guess this feels like an outtake maybe just left on. </li>
</ol>
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Overall I have to give this album a 7/10. The biggest problem is why have <i>Romeo </i>follow <i>Tunnel</i> . The album runs out of steam by the ending. Why not put <i>Romeo</i> in the second side at least. I like that the <i>Les Boys</i> has a closing vibe, though it could literally be cut in half and done just as good a job as if it wasn't. I digress, this album is pretty solid and is a step up from the last album. </div>
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Danhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.com1tag:blogger.com,1999:blog-2454518670323856077.post-23327127972960155142017-02-18T00:03:00.000-06:002017-02-18T00:03:15.236-06:00Little Dots - Frank Zappa<div class="separator" style="clear: both; text-align: center;">
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So <i>Gail Zappa</i> died, and handed the vault over to <i>Ahmet</i> and <i>Diva</i>. Since her passing in October 2015, we have gotten a total of 9 releases in the course of 12 months. Now I'm not going into the, she's evil and wanted to fuck over<i> <a href="http://danburnettealbumreviews.blogspot.com/search/label/Frank%20Zappa"><span style="color: #9fc5e8;">Frank</span></a></i>. Why? Because it's pointless, there's no need for that. What I will go into is the fact we finally have gotten lots of albums out. One of which, <i>Meat Light</i>, I was hoping to see the light of day. This is official release number 108, and is sort of a sequel to <i>Imaginary Diseases</i>. All of these tracks were taken from the petite Wazoo tour, so Fall 1972. I'm kinda curious to see what comes if this, and I vaguely remember hearing about this before <i>Gail</i> passed. Like months maybe, or maybe it was around when she passed.... Who cares. I also want to say if all goes well this year I'll have like 10 <i>Zappa</i> reviews out, and the ten are almost completely done.<br />
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<ol>
<li><u>Cosmik Debris</u>: Years ago I heard a bootleg taken from around this time (Fall 1972) and it had <i><a href="http://danburnettealbumreviews.blogspot.com/2012/03/apostrophe-frank-zappa.html"><span style="color: #6fa8dc;">Cosmik Debris</span></a></i> on it. Now one of my favorite things about <i>Frank</i> is before and after a song is released, there often are different versions or arrangements of it. Since I had heard the version from around this time I kinda figured what it might sound like. The biggest difference is this sounds much bigger, and big band oriented and there isn't those little motifs to accompany the lyrics. It's not bad, but it's kinda stripped back a bit and not as fun. The performance is pretty solid though. The solo also works fine, but it's not the best solo I've heard for this song. But I like the tone, but that's probably because of the audio quality. It's fine.</li>
<li><u>Little Dots (Part 1)</u>: Sitting at just under 11 minutes this is actually very neat. There is a weird sort of avant-garde jazz/free jazz feeling to the beginning and even the bass solo feels like it could be in the style. There feels like its more rocky than jazz but I still like what I'm hearing. Also the playing could be free improvisation but I also feel like the notes aren't crazy enough or all over the place enough to be that. There is some sort of logic to the notes. And the drums have a consistent rhythm. I love the steel drum, played by <i>Jim Gordon</i>, that comes in, nice touch if I'm being honest. It goes back to the bass and the bass feels like its playing something from maybe <i><a href="http://danburnettealbumreviews.blogspot.com/2012/03/apostrophe-frank-zappa.html"><span style="color: #6fa8dc;">Apostrophe</span></a></i> (maybe an early idea for the title track). Its a nice calmer feeling than the previous two. The way it sounds also remind me of the way that song sounds. A calm guitar solo comes in and its quite. Maybe its just the quality but everything sort of seems quieter. There is some okay playing and the guitar also remind me of the track before alluded to <a href="http://danburnettealbumreviews.blogspot.com/2012/03/apostrophe-frank-zappa.html"><span style="color: #cfe2f3;">(')</span></a>. Though I also wanna say <i>Zombie Woof</i>'s solo comes too. I like the song and like that it was released. Yeah the solo goes a bit long but for the most part it ain't too bad for a sort of sketch. It kind of just sounds like jamming or them trying to re create it like. There is some horns that come in at the very ending before the track segues into the next. The horns are a bit odd but I wish that would have happened longer than the solo. </li>
<li><u>Little Dots (Part 2)</u>: This is a straight blues number. Like fucking slide guitar blues rock. This is also over 10 minutes, about 11 1/2. I do like this but I don't get why it was cut into two parts. Why not make it one track unless it was supposed to replicate the way it was to be on vinyl. This track hits pretty hard and I am passed because I'm drawing a blank on what this reminds me of. If it wasn't for the driving force of the band I'm positive I would have lost interest but the playing on guitar is pretty consistent for this long of a solo. The the only other solo on record that is this consistent for this long maybe something off <i>Joe's Garage</i>. I like the horns then getting time to shine and love the wah on the guitar. It sounds so fucking good. Its so wet like it... Maybe I should use that analogy. But the horns are a nice touch to add a new flavor. They also have some nice soloing and sound super damp, like i think its a trumpet solo (kinda sounds, at times, like a wet fart). This track is kind of losing some of its steam at the 8 minute mark, like enough to were I kinda almost don't wanna listen any more. But the tracks almost over so trudge on. There there a riff that comes in and I like it. It isn't the greatest ever but it works as a sort of vehicle to take the track to its ending. Another solo plays over it and its for sure Frank because I know that playing, and it...... It isn't doing much here for me. So the slide was probably Tony playing. But the track almost feels like its slowing down at one part. Like it was manually slowed down. The guitar sounds kind of terrible here its hard to make out with the other instruments and this sounds chaotic a bit but unintentionally so. Its okay I mean is skip the last solo and maybe cut the track down 3 minutes but it isn't too bad. Then of course it comes back to the word sort of <i>Gregory Peckary</i> "busy making them" part. </li>
<li><u><b>Rollo</b></u>: This track includes all three sections of <i>Rollo </i>(<i>Rollo</i>, <i>The Rollo Interior Area</i> and <i>Rollo Goes Out</i>). I don't think I've ever heard all of the track before on a bootleg. I've heard the official releases and the bits played on <i><a href="http://danburnettealbumreviews.blogspot.com/2012/03/apostrophe-frank-zappa.html"><span style="color: #6fa8dc;">Yellow Snow</span></a></i> off <i>On Stage 1</i> and <i><a href="http://danburnettealbumreviews.blogspot.com/2016/11/chicago-zappa.html"><span style="color: #cfe2f3;">Chicago '78</span></a> </i>(which isn't all of it but it's a lot of it). The thing that took my by surprise was, I cant believe I never heard the lyrics to this song. Also a vocal version exists, and for whatever reason the melody made so much more sense. Like I feel like it was supposed to have words sung to it. Not taking away from other versions or usages of it, I was just like yeah I get this. It seems so weird to hear <i>Rollo</i> played as a bluesy number. Like I like, but its weird to wrap my head around this honestly. I didn't think I would be thrown surprises like this from the Vault anymore. Its a fun song and the story is pretty goofy. Is listen to this track and the next track for certain of any two. This also has my favorite version of the interior and I love the solo of this. Its a great vehicle for soloing. The vamp here is fucking great and the solo works very effectively. Like its out there enough to work well with what hes doing on the guitar. Even the sort of vamp change doesn't hurt anything. I love the horns coming in and I can't believe a full version of this hasn't been released sooner. This has a sort of weird thing happen I can't exactly explain before going back to the regular feeling song. It feels very 20th century to me. I really like this though. There's a lot of good shit in the song waiting for you. And this is the first track here that didn't feel a bit long.</li>
<li><u><b>Kansas City Shuffle</b></u>: I can't be the only one, but do I hear some <i>Anything You Wanna Do</i> in this progression. Now yeah, what you fucking stupid its a twelve bar blues progression (or something similar to that) of course it sounds similar. No like I actually hear the backing just with a different band and no vocals. And I can actually sing the song over it, so this is actually a nice little treat for me. This is also the best song on the album, and easily the most accessible. I really like the trumpet and the guitar's strumming pattern works quite well. Also killer solo, really he did a great job here. The band is working quite well together and this would be like single material. Or if this band had a live album come out, this should have been on it.</li>
<li><u><b>'Columbia' S.C.' (Part 1)</b></u>: Here we are, at the last two part song. This first half sits at just under 9 minutes (8:58) and opens with dialogue. <i>Frank </i>implies they make something up, so it might be improvised music. This opens very odd, there is a creeping feeling to it, and it has some nice steel drums that kind of make it even more off. This is what I would consider avant-garde jazz. It also sounds as if it's based off <i>Rock a bye Baby</i>, but perverted in a manner similar to <i>Bebop Tango</i>.... but more. I think this definitely wouldn't appeal to everyone, but I'm eating this up. It's a bit subdued, but I love it. The way the track is building and growing makes it feel like it's worth the wait. There is a section where I feel like it should be a bit louder and chaotic, but it works. I feel like I'm on a merry-go-round and I'm drunk and ready to pass out but not quite there yet. The hinge of blacking out. I also really dig that bass line, and the trumpet here reminds me of <i>Bebop Tango</i>. I almost wonder if this is quoting it or was a predecessor to it.... though it was performed originally around this time. It also, towards the end, reminds me of <i>The Grand Wazoo</i>.</li>
<li><u><b><u>'Columbia' S.C.' (</u>Part 2)</b></u>: The second half sits at 16:41, the transition is quite apparent, but it isn't bad. Like you can tell this is a different section, and it feels very secret agent-y. The way it was edited has nothing to do with me knowing. I really like the guitar and I am a bit surprised he would have done something like this to be honest. Like they could be soloing over a <i>James Bond </i>vamp. I could see someone saying this is long, but unlike the other longer track, this kind of feels like it's paying off. This is actually a really cool track and there is some great shit that happens here, honestly one of the most exciting solos I've heard from <i>Frank</i> like ever. Where the fuck was this on <i>Shut Up N Play Yer Guitar</i>? Like This could have so easily replaced any track on any of those, with the exception of maybe <i>Deathless Horsie</i>, <i>Heavy Duty Judy</i> and <i>Canard du Jour</i>. And listen to those drums...... AGH! This really is worth the 16 minutes. I also like the ending quite a bit, and it's surprising he didn't do more with this band. They have some chemistry at times. I'm sure it would have even furthered if he spent more time, but then again I wouldn't have gotten the albums that follow, so... who knows.</li>
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Overall I have to give this a 8/10. While there were lower points... I gotta say this was the best album released this year by the ZTF. I wish the audio was better, but its not the end of the world, especially considering some if the shit <i>Joe Traver</i>'s had to do to preserve/transfer the tapes. I will always be a <i>Zappa</i> fan, the thing is the more I listen and the more I learn about music the more I love his music. The older I get the more intelligence I gain the more I love and find humor in his lyrics. I also think if you dug <i>ID</i> you'll dig this. Give it a shot.<br />
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While in reality they'll never see this, I just wanted to post what I'd like to hear from the <i>Zappa </i>vaults. (Note: I understand things are in different stages of availability so they might not be able to recover it, but I just wanna say this). A live concert from 1966, 1967. 1969 (with <i>Lowell George</i>). If possible live stuff from the early pre-<i><a href="http://danburnettealbumreviews.blogspot.com/search/label/The%20Mothers%20of%20Invention"><span style="color: #9fc5e8;">Mothers</span></a> </i>days. Another guitar solos album, maybe the whole Pauley Pavillion show, and the whole Auditorium Theater show on Mothers Day 1974. Another Petite Wazoo compilation and show (<i>Bebop</i> <i>Tango</i>). A concert from the 88 band, or at least an album that contains '88 versions of older songs. A concert from 82 and the July 22nd, 1984 show with <i>Johnny Guitar Watson</i>, <i>George Duke</i>, <i>Denny</i>, <i>Bruce</i> and <i>Aynsley </i>and <i>Napi</i>. Maybe a show from the <i>Beefheart </i>tour. I'd also be interested in more <i>Yellow Shark</i> material if possible. And also <i>The Rage and The Fury</i> album. That's all I can think of atm, but yeah stuff I think would be cool to hear.</div>
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Danhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.com0tag:blogger.com,1999:blog-2454518670323856077.post-47798443276548492382017-02-10T00:02:00.000-06:002017-02-12T01:25:29.452-06:005 Souls - Judas Priest<div class="separator" style="clear: both; text-align: center;">
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So I decided to break this review into two separate reviews, I originally planned to just do the deluxe version but I ended up wanting to do them separate since there is an EP of the bonus tracks. I don't really have more to add outside of the <i>RoS</i> album should be out soon and hopefully this once a week thing will work out I have already done an months work in advance. As in this is typed like a month before this is being posted.<br>
<ol>
<li><u>Snakebite</u>: This opens with a classic 80's feeling to it. One of the slower songs along the lines of <i>You've Got Another Thing Comin'</i>, which this isn't actually that different from in set up. That isn't a bad thing, but I just don't completely jive with this. </li>
<li><u>Tears of Blood</u>: "Like tears of your blood, so now that your gone, embrace all that come, and die with a <i>SMiLE</i>". This song also opens like an 80's heavy metal cut, but the intro honestly made me laugh. There was a sort of <i>Def Lepard </i>feeling to it, like I could totally hear this being the rerecorded intro to <i>Bringing on the Heartbreak</i>. Then once the song starts it's faster and there is more agression than in the last track, but it feels like an older wearier <i>Electric Eye</i>. Like what <i>Electric Eye</i> would sound like if it was a person in it's 50's maybe. It's a solid tune if you get past that, but I just think it's okay. There is a solid solo, but honestly I can't retain a single note from it. Like <i>Electric Eye</i>, <i>Living After Midnight</i>, <i>Hell Bent for Leather</i>, <i>You've Got Another Thing Comin'</i>, <i>Painkiller</i>,<i> </i>fuck I'd even include the section that replaces a solo in <i>Breaking the Law</i> there is no denying that you remember these guitar solos.They not only stick with you because they rock, there are some theory things behind it also, but point is it's very good and memorable. This sounds like a knock off of one or all of those.</li>
<li><u>Creatures</u>: This track starts and I feel a bit unsure how to feel. Like I mean I've heard this before but I don't know what to compare it to. There is quite a bit of crunch and the song is a bit off. Then the chorus comes in and I'm like <i>Metal Gods</i>? This is okay, but I'm pretty sure I wont remember a part of it by the end of the review. </li>
<li><u>Bring It On</u>: This song isn't bad, but the lyrics are very cringe. The vocals also make it feel so cheesy that I can take <i>Turbo Lover </i>more serious. And isn't he fucking a motorcycle in that song..... Note I am aware he isn't. This is a better solo and the best thus far. This also is the most memorable that I have heard thus far, though it doesn't hold it's salt to the past solos from the bands heights. This also feels so cheesy, but I digress.</li>
<li><b><u>Never Forget</u></b>: My favorite songs is the "lame" song. Ok I'm joking, but it's the sappy ballad. Now maybe it's because I'm a sucker for a pretty ballad, but this is the best (in my eyes) song I've heard before listening to the whole entire front to back. Literally, some of my favorite songs in history are the ballads by that German group, <i>The Hunters</i>. Kudos if you get the joke. This really reminds me of <i>Wind of Change </i>for some reason, either that or <i>The Best is Yet to Come</i>. Maybe more the <i>Wind of Change </i>that<i> </i>was on that 2011 <i>Comeblack</i> album.<i> </i>But I could literally go on for hours about the tones and what reminds me of what, but I know I wouldn't be interested in some snobby person's review that lasts forever. But let's go back about 93 words, or so. It sucks when people, a lah <i><a href="http://danburnettealbumreviews.blogspot.com/2013/06/the-next-day-deluxe-david-bowie.html"><span style="color: #9fc5e8;">The Next Day</span></a></i>, put some of my favorite tracks as the bonus tracks (or b-sides). Like honestly, screw <i>Just Push Play</i>. But really, this should have been on the album, almost any song could be cut to replace this. I get maybe it's out of place, but it's far better than at least 10 of the cuts from the actual album. {7/10}</li>
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Overall I have to give this track a 5/10. As you can see if you're fan you'll love this. But if you're not hardcore then I would avoid it, because it's nothing new really. This and <i>Redeemer of Souls</i> feel like they were just cut to fulfill a contract, or to go shit we need to make a new album.</div>
Danhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.com0tag:blogger.com,1999:blog-2454518670323856077.post-19471921823720464062017-02-02T00:02:00.000-06:002017-02-11T20:18:02.951-06:00For Alto - Anthony Braxton<div class="separator" style="clear: both; text-align: center;">
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As of late I've been listening to/downloading a lot of albums that are vinyl only/out of print/impossible to find unless your a rich mother fucker. Plus I believe, that if a collector makes more of the album then what than what the artist makes, its justified to not pay the middle man. Id rather pay $200 to the man himself, than a collector. Among these album, one of the artists is this guy. So i decided to finish this up, because fuck why not. This is one of the first records by Chicago avant/free jazz/free improvisation saxophonist and composer <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Anthony%20Braxton"><span style="color: #9fc5e8;">Anthony Braxton</span></a></i>. How can you be so vague, and not have a specific number you ask. Well various sites have various dates ranging from 1968-1971 as the release date. Wikipedia alone has the first three years on different pages. It seems it's more likely 1970, but who knows. I know that it was recorded in February 1969 and is the second one recorded so its likely its the second album. But there is no definite proof you know. I found out about this record through one <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/John%20Zorn"><span style="color: #9fc5e8;">John Zorn</span></a></i>, in a documentary he mentioned this record by name. I had to hear it, it was an influence on him. For years this record was mysterious, I couldn't find any zips/rars and I didn't want to by a vinyl I might not like. Even after I got a copy it took a year to listen to it, this is one of those "will it live up to my expectations" records. The first time I heard a note was Christmas Eve 2015. Now it only took me two fucking years to even listen to anymore or do a review of this. Also I believe that I should mention the passing of <i>John Wetton </i>(bassist/vocalist on such great albums as <i>Larks' Tongues in Aspic</i>, <i><a href="http://danburnettealbumreviews.blogspot.com/2013/05/here-come-warm-jets-brian-eno.html"><span style="color: #cfe2f3;">Here Come the Warm Jets</span></a></i>, <i>Return to Fantasy</i>, <i>Starless and Bible Black</i>, <i>Red</i> among others I still very much so need to listen to.)<br />
<ol>
<li><u>Dedicated to Multi-Instrumentalist Jack Gell</u>: Opening the record we have a 42 second long track, and it starts off well. I mean my hopes were high for this, but this opens quite promising. There are some cool things and it has a cool vibe to it. </li>
<li><u>To Composer John Cage</u>: I like the intensity he gives this playing on the song. There are some things that remind me a bit of <i>Ornette</i>'s playing, and also maybe <i>Brötz</i>. The only problem I see though is that fact this is solo saxophone and there are no overdubs and it's 72 minutes long. So far I have enjoyed and don't find problem in what I'm hearing, but I don't know if that will last the full 72 minutes. I did smile when I heard him breathing. There are some neat playing though on this cut. Plus at 9 minutes, it's a bit long.</li>
<li><u>To Artist Murry dePillars</u>: This is a bit of a nice change of pace. While yeah we get the also saxophone again, we hear him hitting the saxophone valves and it's much softer and relaxing than the last. I think this is more effective in what it's trying to do than the last cut was in trying to be punchy. I like the trills and I like the part where it gets very intense and loud to the point of over taking the track. I also am a bit impressed with how he goes back and forth so easily. I mean It might not be that impressive, but I still think it works quite well. Almost as is it's a clam person talking to a pissed off person or trying to talk him down. </li>
<li><u>To Pianist Cecil Taylor</u>: I have to make a confession..... I am aware of <i>Cecil</i>. There are some solid moments on <i>The World of Cecil</i> <i>Taylor</i>, but I'm not really a fan. Yeah I mean I have only heard tracks here and there outside of that album and <i>Jazz Composer's Orchestra</i> but I find, when given a full front to back listen, those albums to not keep my interest. Plus I can say there exist albums that do what those two did but much better, anything <i>Alexander van Shlippenbach </i>or <i>Fred Van Hove</i> and <i>Brötz</i> and then for the <i>JCO</i> listen to <i>The Black Saint and the Sinner Lady</i>. But I digress, I like the introduction. Feelin' jazzy, but as the track continues I yern for more flavors outside of just saxophone, or one take alto. I mean add some tenor, baritone, bass, soprano, sopranino (I probably spelled that wrong), fuck even a bass clarinet would be a nice change of pace. This is okay, but isn't nothing more than just that.</li>
<li><u>Dedicated to Ann and Peter Allen</u>: This is pretty chill and I could see this being very effective i there was chimes or other things that add to this feeling of blowing in the wind or floating feeling. It is a weak, as in not forceful, cut and could use that. Actually I could almost imagine this being changed into having some gamelan stuff. To be fair it works as is, but it's 13 minutes long and it's atmosphere is a bit lost by the ending. I do like the clicks of the instrument as if it's like a percussive instrument, but why didn't he use that or other tricks like that more often. Like this could have been edited together or shortened to be made a bit better.</li>
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Now on to vinyl 2. Now to be fair I did have to take a break after the first side of the record. The reason being I know I would be far harsher if I didn't and I wouldn't be able to focus as easily.</div>
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<ol>
<li><u>Dedicated to Susan Axelrod</u>: This isn't that distant from the last track, it's just louder and more audible. I mean I like it but it again goes a bit too long. There are some interesting ideas here and there and what not, but I don't know. There is some nice fluttering but again I just kind of want this to end so I can finish the review.</li>
<li><u>To My Friend Kenny McKenny</u>: I like some of the squeaks at the beginning and they kind of make it be like, well there's 30 minutes left, let's just power though.</li>
<li><u>Dedicated to Multi-Instrumentalist Leroy Jenkins</u>: <i>Leroy</i> was a violinist, the most common instrument I've seen his playing for what I'm going to say, who played on a number of records with <i>Braxton</i>'s. There is a part in the beginning that reminds me of a spy song maybe, but like the outline or rough draft. There was actually a part that reminded me of <i>We Are Number One</i>, and I did laugh a bit. After a while this 19 minute long track just kind of overstays its welcome. I mean there again are neat ideas, but it feels more like sketches than anything else.</li>
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Overall I have to give this a 5/10. I enjoyed this, just there is too much and not enough variety. Now I've heard some of <i>Braxton</i>'s other work, and I've heard the different types of jazz. Now of everything I've heard of those categories, this is kind of looked at very highly and I have to disagree. The most important thing about music, unless it's breaking a rule or theoretical music (4:33), is it has to keep you entertained. It's like a movie, if you are bored while you watch its usually not very good. Now a number of things can be subjective, maybe your not into this or that, but overall you can kinda say if something is good or bad. This was just too long, too samey and didn't keep my interest. Maybe if he overdubbed or used different saxes or something, but what we have just isn't anything mind blowing to me. Maybe that's because I've heard this but done much better and much more intense and engaging. I can see how the idea of it is mind blowing to people, and still can be to this day, but I just am not fazed by it I guess. Maybe part if the reason I gravitate towards <i>Bailey</i> is because he's a guitarist and I go, "Fuck How'd he do that" or originally "You can do that?". Saxophone players should listen to this, and then anything by <i>John Zorn</i> Pre-<i>Spillane</i>. Well this and really anything in the field of free and avant jazz with odd sax playing. I guess I can sum up what I said fast, if you want to have a solo instrument record this this it needs variety of to be short. Not a double albums worth. If this was a single record it would have been much more tolerable for me. If you want to hear this type of thing done right listen to <i>Payan</i>.</div>
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Danhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.com0tag:blogger.com,1999:blog-2454518670323856077.post-1896057128462200892017-01-25T00:01:00.000-06:002017-01-25T00:01:02.807-06:00Workin' with the Miles Davis Quintet<div class="separator" style="clear: both; text-align: center;">
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This is a <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Miles%20Davis%20Quintet"><span style="color: #9fc5e8;">Miles Davis Quintet</span></a> </i>album. This features <i>John Coltrane</i> on it. I like Ole' <i>Johnny</i>, I happen to own <i>Ballads</i> on vinyl. I eventually want more (like one of the other top notch Impulse! albums) but that's all I got right now. Something that should be noted also is that this was recorded in 1956 three years before it's December 1959 release. I also like some of <i>Red Garland</i>'s stuff, <i>Paul Chamber</i> has a solid solo album with <i>Coltrane</i> I heard and <i>Philly Joe</i> shows up on various albums I have heard or want to hear. This entire album, with the exception of <i>Half Nelson</i>, was recorded May 11th, 1956. The other track was recorded October 26th of the same year. There are also some other albums that exist that contain this same quintet and sessions. <i>Cookin'</i> (Oct. 26th), <i>Relaxin'</i> (May 11/Oct. 26th mostly) and finally <i>Steamin' </i>(both sessions, mostly May 11th). So, unless you absolutely love these tracks, chances are there will be duds since they spread it over four albums.<br />
<ol>
<li><u><b>It Never Entered My Mind</b></u>: This is a cover of the <i>Rodgers </i>& <i>Hart </i>tune that originates from the <i>Higher and Higher</i> musical. There has been many versions of this song, one of which was on <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Frank%20Sinatra"><span style="color: #9fc5e8;">Frank Sinatra</span></a></i>'s 1955 classic <i><a href="http://danburnettealbumreviews.blogspot.com/2016/07/in-wee-small-hours-frank-sinatra.html"><span style="color: #cfe2f3;">In the Wee Small Hours</span></a></i>. I just reviewed not that long ago. This opens with gorgeous piano arpeggios. Giving it a sort of classical<i>, Fur Elise</i> type feeling or <i>Moonlight Sonata </i>vibe. It's kind of dark a bit. There is a grit to the trumpet that I really like, that I'm sure would sound great on vinyl. By the time the drums have their brushes and the arpeggiations end, I feel as thought I want to light a cigarette. Walk down a cold street and think. This song very much fits the tone of the album cover. I like it a lot. There are also bits of <i>New York State of Mind </i>I hear in <i>Red</i>'s playing. And the ending is quite fun, and has a bit of a happy feeling rather than melancholy. Kind of like while he was walking he saw something and it reminded him of something good and he was happy. Maybe he went to a friends apartment, before going to the head and having a quite phenomenal tune.</li>
<li><u>Four</u>: This is one of only three tunes credited to <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Miles%20Davis"><span style="color: #9fc5e8;">Davis</span></a> </i>that are featured on the record. The reason I say credited is because, up until 1983 no on claimed it was by anyone other than <i>Miles</i>. But I guess some blues singer, <i>Eddie Vinton</i>, said he wrote it and gave it to <i>Miles</i> because he had no use for it. The story was maybe confirmed when someone wrote a book and said, there was no problem with the false credit until now. So whatever, this has a bop feeling to it and is pretty standard in my opinion. There isn't anything here that is bad, but there isn't anything that is mind blowing. At the start it feels not as urgent as some other tracks in the style I like. Everything comes together well, and there is a nice little drum that trades 4 with the other intruments, but this track doesn't do much outside of just being standard. Probably like a 7/10.</li>
<li><u>In Your Own Sweet Way</u>: This is a cover of the <i>Dave Brubeck </i>tune, who sadly couldn't be there to play. That would have been fucking awesome, to be honest. Sadly I don't think <i>Miles</i> and <i>Dave</i> ever played together on the same song. But this track is just okay, it isn't blowing my mind or anything. In fact to make sure I wasn't just spacing out or not that it's just a tune I don't like, I even re listened to three other versions of the tune. The versions from <i>Brubeck Plays Brubeck</i>, <i>The Incredible Jazz Guitar of Wes Montgomery</i> and <i>Bradenburg Gate: Revisited</i>. And surprisingly there exists no version of the four I have heard that I like that much. Yeah <i>Wes</i> is the most pleasant to hear, the 1956 <i>BPB</i> version is very boring because it's solo piano, this version is just okay, nothing special, and the <i>BG:R</i> version is actually really good but I feel like I am unsure as if I'll revisit the easy listening string section, but it probably will warm my heart a bit....... I don't know. But that's my favorite I've heard, it just needed more going on I guess.</li>
<li><u>The Theme (Take 1)</u>: Here is another <i>Miles </i>tune. This is another chill tune, that works and is pretty solid. I can't say I'm loving it, but it is only 2 minutes long. It is weird though, there is nothing thematic or even like theme feeling about it that I'm getting. Given it could just be the name, but I don't feel like this would be a memorable tune, outside of that quote at the ending.</li>
<li><u>Trane's Blues</u>: This may come as a shocker but this track was written by <i>Johnny</i>. Again we get another tune that works well and is quite enjoyable, but I get nothing out of it. Honestly it just feels like a long track that comes and won't end. <i>Johnny </i>is great, but he isn't God and is capable of doing wrong.</li>
<li><u><b>Ahmad's Blues</b></u>: Here's another shocking writer credit, guess who this one was written by..... <i>Ahmad Jamal</i>. <i>Jamal</i> is a piano player, so I do think there are some tasty piano playin' in this introduction and it did perk my ears up after that last track. Honestly this feels much more interesting and I like the bass line and how the drums and piano play in syncopation at parts. This is fun and has a different taste to those other tracks in between the opener and this. Also I like the addition a cello, I looked it up and the instrument is clearly bowed. Plus I don't hear the bass playing while the string solo is happening. Now my ears could be retarded but it also sound vaguely reminiscent of a quite bass clarinet. Like a muddled not as pronounced. I don't know, but I know that the piano trading with the drums works very well on this track where it was just okay on <i>Four</i> and I am feeling the track. It's much more inspired and lively than the other one. <i>Philly Joe</i> is really making me smile with all those drum rolls and the having fun. There is a nice good feeling to this.</li>
<li><u>Half Nelson</u>: This is the third and final, thought the next track is just a different take of the song of the same name, song by <i>Miles</i>. I know its I'm because of the wrestling move, but I always picture <i>Willie Nelson</i> when I hear this name :'D. Seriously. Maybe it was the shot that I needed but this drum introduction really gave me hope. Then the urgency of the the track reminds me of a straight <i>Ornette Coleman</i> and other good tracks that are in this fast hard bop style such as <i>Giant Steps</i>. This track isn't phenomenal, but is definitely was filling a void much needed on this album. It works quite well thought it's more of a 7 again.</li>
<li><u>The Theme (Take 2)</u>: This is just take two of <i>The Theme</i>, which was by <i>Davis</i>. It kind of comes and goes, I don't really have much that I retained from it.</li>
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Overall I have to give this album a 6/10. Don't get me wrong, I love jazz. While I'm not as nuts about cool jazz or hard bop I do still enjoy albums like <i>Time Out!</i>, <i>Heartplants</i>, <i>Dakar</i>, <i>Jazz by Sun Ra</i>, <i>Pre-Bird</i>, <i>Carnival</i>, <i>The Blues and Abstract Truth</i>, <i>Something Else!</i> and <i>Outward Bound</i>. The stinger is that most of these are like a lot of rock records to me, they have an idea and record songs but don't really spend time pushing themselves. Now I am very aware rock records used to be put out yearly, but if you look at the sessions for any jazz musician and how many hours, songs, and takes were in thoses sessions and how much of the material was released. I'd be exhausting my creativity if I was using it too. But that doesn't mean that this album or that album is equal, some happen to have better performances and songs and solos. This has good moments but I just don't jive with all the noise. I mean I also am not that smitten with a full front to back listen to <i>Kind of Blue</i>, but that's for a different reason than this which I will explain in detail in that review. <i>Miles</i> is great, don't get me wrong, it's just never base your opinion off praise for music.<br />
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Also I'm figuring on doing a review of <i>Atomic Bomb</i> in honor the the passing of <i>WIlliam Onyeabor</i>.</div>
Danhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.com0tag:blogger.com,1999:blog-2454518670323856077.post-33482104391200362102017-01-17T00:00:00.000-06:002017-01-17T00:00:11.605-06:00The Unknown - Dillon<div class="separator" style="clear: both; text-align: center;">
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So over this winter break I heard a shit ton of albums, 93 to be exact. Majority were albums I have been putting off or have not been in the mood for playing. While very few were favorite album material (<i>The Black Saint and the Sinner Lady</i>, <i>In the Nightside Eclipse</i>, <i>Eric Dolphy in Europe Vol. 2</i>, <i>Unknown Pleasure</i>, <i>Outward Bound</i>) some were very bad/bland (<i>Charles Mingus with Orchestra</i>, <i>Live at Brixton</i>, <i>Significant Other</i>, <i>Red Hot from Alex</i>) and most others were just okay (<i>Greg Howe</i>, <i>Reasonable Doubt</i>, <i>Strictly Personal</i>, <i>The Chronic</i>). Since school has started I will have significantly less time to being listen to records, though I do listen to each album and look for things that stick out to revisit. This is one of the albums I heard during the month long binge. This is also the sophomore effort by <i>Dillon</i>. I found out about her a few years ago with her first album. I think she's kind of cute and I kind of sat on this review. By the time I got to listening to the album I was just hoping she isn't another <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Lea%20Michelle"><span style="color: #9fc5e8;">Lea Michelle</span></a></i> or any other cute girl devoid of anything interesting in her music. Well see what my findings were directly below. </div>
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<li><u>The Unknown</u>: This opens with a piano ballad introduction. So far her vocals aren't half band and I like the chords. I don't love them, but I do like what I'm hearing. Then a bass line comes in and this sort of gets a bit trippy with the electronics. I don't hate this song, but this doesn't really do a ton for me you know.</li>
<li><u>A Matter of Time</u>: This opens in a similar fashion of the last song, except the vocals and electronics come in at the same time. This is very piano led though also. The beat kind of reminds me of a heartbeat a bit. I mean this is again okay, but it isn't blowing my mind at all.</li>
<li><u>You Cover Me</u>: Three for three, this sounds very similar to the other songs. Like there isn't much substance here. I do like the patch that is used at the ending of this song, but it isn't really doing much for me outside of that specific detail.</li>
<li><u>Forward</u>: Is what I wish women would be with me... hahahahahahahahaha. That terrible joke was more entertaining to me than this song happens to be. This also feels a lot like the last songs structure. Listen to the repetition of the chorus.</li>
<li><u>In Silence</u>: This is just getting harder for me to take serious isn't it. Honestly, so far this is just warranting of an EP. Really I am kind of lost for words, I guess subconsciously I was supposed to put this off.</li>
<li><u>4ever</u>: This is more of the same, and again I don't hate it but I'm not getting anything really out of it.</li>
<li><u>Evergreen</u>: So at this point I left the album and came back hours later, only to be as bored and uninterested if not more. Like why not make something more interesting, you can make ambient music and keep in interesting. <i>Eno </i>has done it, I liked <i>The Solitude of Prime Numbers</i>, <i>Ambient 3</i> is solid, <i>Delirium Cordia</i> is phenomenal. There are people who have made spare albums and made them great. Possibly bad example, but <i>The Residents</i> have made multiple. A better example would be <i>Klaus Schulze</i> and company have all done minimal stuff and made it great. Like even if there was more variety this could be better but the songs are such copy paste repetition. Piano, Vocals, Bland electronics. Repeat the chorus multiple times. Verse chorus verse.</li>
<li><u>Into the Deep</u>: Refer to the last track. I think her voice is okay, but it's kind of reminds me of one of the singers on the radio, <i>Alissa Cara</i>?</li>
<li><u>Don't Go</u>: It sounds like a sample is being played backwards, but sadly nothing really happens with this.Add to it, make it go somewhere. I mean, yes if does grow, but please do it different than the rest of the album. There is potential I hear in this song if they added strings. At the one part that would sound great with it. Around the last 2 minutes or so.</li>
<li><u>Lightning Sparked</u>: So I realized what I needed to enjoy this album, either start smoking pot or get drunk.</li>
<li><u>Nowhere</u>: I guess this seems a bit darker, but it's just kind of bland and annoying and has over stayed it's welcome at this point. The ending though is kind of good, I wonder if <i>Laurie Anderson</i> inspired this track.</li>
<li><u>Current Change</u>: I like some of the textures but not enought to say I'm a fan, but I guess I can appreciate it.</li>
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Overall I have to give this album a 4/10. This album was very bland. I like some of the sounds and the ambience, but I feel that you could combine theses into longer songs with different sections. In fact some felt like the same song. Honestly this isn't terrible, and I think this could be fleshed out into something great, but I feel there isn't really anything here. Hell <i>Blonde</i> did something like this but much better. Also <i>Floating into the Night </i>is a freaking solid records in this Ambient Pop style. I know this was a very bland review but sadly I had very little to say and I figured I would clean out the draft folder.</div>
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Danhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.com0tag:blogger.com,1999:blog-2454518670323856077.post-24454376373472584502017-01-09T20:32:00.000-06:002017-01-09T20:33:33.220-06:00"Awaken, My Love!" - Childish Gambino<div class="separator" style="clear: both; text-align: center;">
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I was hoping to do this for the second review of the new year, and I pulled it off. This is the new album by <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Childish%20Gambino"><span style="color: #9fc5e8;">Childish Gambino</span></a></i>. He is a writer/comedian/rapper and I guess now singer known as <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Childish%20Gambino"><span style="color: #9fc5e8;">Donald Glover</span></a></i>. I loved Community while it was on TV and I did see some Derrick Comedy while it was on the Internet. But I do know over the summer I actually saw his stand up special the day I broke up with my ex. I feel really dumb bringing it up but it has to do with this. I thought the stand up special was good but I also didn't expect to even think this was good. It wasn't until after this dropped and I heard <i>Redbone</i> I was like.... Let's peep this out.<br />
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<li><u><b>Me and Your Mama</b></u>: The track opens with a sort of feeling of uncertainty. I was unsure if I would like this as much as I liked <i>Redbone</i> when the song started. There is a sort of waiting for something to happen. Once it does happen its sort of worth the wait, but I still wonder if the wait was shorter would the pay off be the same I guess. There are chimes and kind of a music box playing before this beat comes in and vocals and it's building up the song until the lead vocals come in. The beginning has some interesting textures and cool sounds and I think it sounds pretty damn good. I mean I don't think this is the highlight of the song, but it's still solid. My only complaint is the song takes a whole 2 minutes to start. If this introduction was an intro track I could just skip it, but I love that guitar and the fucking fuzz on it. The choir makes this feel so big and gives it that punch I need it to have. Then that scream, it reminds me so much of the scream in the beginning of <i>(Don't Worry) If There Is a Hell Below, Were All Gonna Go</i>. Which also happens to be one of my favorite songs off all times, so positive points there. I fucking love the keyboards that play towards the ending, the rhodes and the moog and Hammond organ all sound so good. I'm fucking jealous that he got to get his hands on those, really, the lucky bastard.</li>
<li><u><b>Have Some Love</b></u>: This track's choir has a very overy <i>Parliment</i>/<i>Sly & The Family Stone </i>vibe. The group vocal thing is something <i>George Clinton</i> would do all over a later record from the group. I like the way he's kind of rap singing. That organ sound is also great. I don't really know what to call it but I like it. I also like the acoustic guitar that comes in the second chorus, gives it a nice twang. I appreciate how it sort of goes into a different section after the second chrous that could be like a solo but it's got a lot of weird sort of psychedelic sounds going one. There are what sounds like hits on triangles and electronics and then it has this sort of spacy vibe. After that it goes to a group vocal of before going back to the intro and ending the song off. This is a very well put together songs. And the message is great</li>
<li><u>Boogieman</u>: The intro has a sort of <i>Jimi Hendrix</i> feeling and the first vocal part remind me of <i>Parliment </i>again. The thing though is I can kind of picture<i> Don't Call Me Nigger, Whitey</i> when I hear that intro. It's a bit of a stretch, but I can kind of almost say it as it was said in the original song. I don't know, maybe I just has <i>Sly </i>on the mind. I like the sort of weird vocals on this and I trippin' feeling of the song. The best part is the chorus, the rest of the song is just kind of okay. I like the rhythm guitar that comes in during that also, adds a nice texture. It's not as good as the last two, but I do still jive with it.</li>
<li><u><b>Zombies</b></u>: This opens with some effects before giving us the guitar and the funky track. There is a weird perverted sort of <i>Isley Brothers </i>vibe I'm getting from this track. I really dig the harpsichord and the backing vocals the most on the track. I also really like that second where he holds the note and they use auto tune. Nice little details like that, that also happen to work, are what makes an album so much better. I also appreciate that organ part that plays before the song changes and quiets down. That woman on this track, fuck she is something else. I'm really jiving with what she's doing. I mean it's kinda sexy, but it also adds to this song. I also love that now there is a piano and then it gets a Rhodes. This is a very well constructed song that takes a number of listens to even pick everything out.</li>
<li><u>Riot</u>: This track is based on <i>Good to Your Earhole</i> by <i>Funkadelic</i>, and it isn't that bad. To be honest I think that was a good basis to use for the track. This is a very fun track but the deatils I love are because of the direct sample. I love that clavinet though, but it is more of a rocker to shake things up from the last and the next track.</li>
<li><u><b style="background-color: #444444;">Redbone</b></u>: I'ma be honest, I love this track.<br />I know this is an interpolation of <i>I'd Rather Be With You</i> by <i>Bootsy</i>, but I'm be honest.... he fucking out does <i>Bootsy</i>. It is such a good track and kind of transforms it into something different and the vocals work so fucking good. This is a much more memorable and fun and sexy song that the original. In my opinion at least. I would bone to this, I think. I am also aware of the similarities to the one <i>Isaac Hayes </i>song too, but this songs trumps both of them. This kind of takes the best of both worlds and makes them better. I love the details and the little chimes and just how this works so fucking well. I am actually kind of wordless to describe the song, I just love this song much. I like how there isn't a solo at the ending of the song to the outro. I think it might work better that way, though I guess there kind of is.... in the lower guitar that could almost pass as a bass. It could also be a keyboard. I don't know this thing is so layered, it's fucking great.</li>
<li><u><b>California</b></u>: This is honestly a great tune. Its weird and fun and kind of a great diddy to be had. I love weird little things like this, <i><a href="http://danburnettealbumreviews.blogspot.com/2016/11/outlandos-d-police.html"><u><span style="color: #6fa8dc;">Masoko Tango</span></u></a></i>, <i>Wild Honey Pie</i>, <i>EXP</i>, <i><a href="http://danburnettealbumreviews.blogspot.com/2013/07/transformer-lou-reed.html"><span style="color: #6fa8dc;">New York Telephone Conversation</span></a></i>, <i><a href="http://danburnettealbumreviews.blogspot.com/2016/08/revolver-beatles.html"><span style="color: #6fa8dc;">Tomorrow Never Knows</span></a></i>, <i>The Return of the Son of Monster Magnet </i>and I kind of guess the intro to <i>Pena</i>. There are tons more but just weird things that kind of don't exactly fit or seem odd you know. They add some personality you know, rather than being a one trick pony, and can kind of show a sense of humor a bit. And the more I hear this the more I hear how much time was actually spent on this. There are these bottles and these voice pops and it's got a lot more work put into the track then you might initially think. I was so glad when I heard he did stuff with his voice on this to make the percussion, I knew it when I heard it :). I also love that soul jazz organ, and the vocals that soul like woodwinds. And that guitar on the track too. The amount of effort spent on this alone should make people happy.</li>
<li><u>Terrified</u>: This is another solid tune that kind of reminds me of <i>The Weeknd</i>. Like his early stuff, but maybe a bit more clear and not so drowned in reverb or the effects. I like the space on this though, and when the track starts I go this is a solid ass song. I also like those chimes, and the la las. The guitar again has a great tone, and I like all these section changes thought the album. The vocals at the end though kind of make me think of <i>Great Gig in the Sky</i>. And it also make me think of the potential. Like I guess it could be copying, but imagine if the next song was a sort of extended version of that chill ending and it just gets bigger and the vocals fucking orgasm as they do on that track.</li>
<li><u>Baby Boy</u>: If you know me, it's hard to hate a clavinet. It sounds so fucking good, and the rhythm section works very well and I love <i>Gambino</i>'s vocals here. The lead to the chorus has some nice textures added and then it goes into a soulful group vocal vibe in the chorus. The only complaint is during the verses it could almost be a copy and past of the last one. This is still a solid tune though. The keyboards solo in pretty solid, but I wish it was better. The organ coming in makes the solo much better but it still doesn't really fix it you know.</li>
<li><u><b>The Night Me and Your Mama Met</b></u>: Now I gotta be honest, outside of tracks and the first two records I'm not a <i>Funkadelic </i>fan. In fact they tighter and more together the songs got, the less I like them. But this kind of has a sort of <i>Maggot Brain</i> feeling that isn't so loose, but it's chill and funky and has a well enough wah/phased guitar and solo. I don't know if its better or worse that the solo isn't like a fucking mind blow. The reason being there's no way this guy can compete with <i>Eddie Hazel</i> so if he tried he might fall flat. But then again if he tried it might just be a "rip off". But I guess since he didn't go nuts it keeps the chill vibe rather than the emotional breakout vibe. I still dig this, don't get me wrong, just a nugget that popped in my head while listening. I love the choir in this and it adds a nice tough. I can very easily see myself making love, or see in a movie people making love, to this song. </li>
<li><u>Stand Tall</u>: This is honestly a very strong way to end the album. I love the track and think its a touching message. It makes me hope I can pull something like this, something touching, off if I ever have a son.I really like the Rhodes and the guitar in the beginning and he does a solid job of singing. I also love the sort of use of <i>Strawberry Letter 23</i> for the refrain and I love how it seems very sincere. It's not like <i>Picasso Baby</i>, if memory serves correctly on the title. I also think this is a solid ending to the album, because it ends on a soft note where the album opens with a fucking bang. The woodwinds, and clarinet/flute sound great and I like the autotune he uses. I'm not sure how I feel about the synth patch that plays over the backing vocals, I like it but I'm not sure it's necessary. Though it does transition into the next section of the song, but it's comes up kind of abrupt. I do think that last section of the song where he's just singing and it feels like a party, I feel like could use a clean lead guitar soloing and going crazy you know. But the ending of the song is fine the way it is.</li>
</ol>
<div>
Overall I have to give this a 8/10. The more time I spend with this the more i appreciate it and like it. While it can never be a 9 or a 10, it was originally a high 7. This is one of the contemporary albums in pop music where I would totally want to jam along with, or play a session on. Given I need to be better, but you know what I mean. I recently listened to that <i>Bruno Mars </i>album, and I was like.... "it's okay and kind of fun. But I have heard things that sound like this and can get more out of those albums than this". While this emulates those older styles of music quite a bit, I think it's more in line with <i><a href="http://danburnettealbumreviews.blogspot.com/2013/07/random-access-memory-daft-punk.html"><span style="color: #cfe2f3;">RAM</span></a></i> than it is with say just a rehash. Like the more I revisit these songs the more I find that I like and find this is a pretty damn good record. Probably one of my favorites of the year, if I'm being completely honest. Needless to say I'll eventually pick up a Cd and maybe vinyl of this album.</div>
Danhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.com0tag:blogger.com,1999:blog-2454518670323856077.post-35821882409136627352017-01-05T01:20:00.000-06:002017-01-05T16:04:01.059-06:00Sail Away - Randy Newman<div class="separator" style="clear: both; text-align: center;">
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So I am using this month to finish up some albums that can be finished either fast, or are in various stages of completion and are..... Basically I'm cleaning out my draft folder on the site. That doesn't mean I'm shitting out reviews, I am just doing ones I know I don't need to spend as much time on or i have spent the time and just need to type it out. The album I picked first is this. This is the only, besides possibly <i>Trouble in Paradise</i>, <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Randy%20Newman"><span style="color: #9fc5e8;">Randy Newman</span></a> </i>record I'll ever review. The reason being I like the title track and <i>Political Science</i>. That's really the only reason, I guess that and to give this maybe another chance, considering how much I love <i>PS</i>. And honestly, that the only reason to do this review. Oh yeah this is album number 4th studio album.<br />
<ol>
<li><u><b style="background-color: #444444;">Sail Away</b></u>: For this record, I feel this to be a great tone setter and terrific open to the record. It's got that wit, and the cynic inside me loves the tone. So basically this song's story is a slave trader talks to the slaves, on the boat, about how great America will be and all the great things that lie ahead. The one thing he decided to leave out, is the fact they won't get any of those opportunities because they are slaves. Kinda dark, he doesn't have an aside or anything, he just withholds that part. It makes you think a bit, I wonder if they actually did that to make the slaves less irritable or more willing to submit. I don't know, and you probably don't either (we weren't there). But still, if a song can make you think, and not about something stupid, Damn! Man I wish I came up with that. The strings on this thing are great and it just feels American, it feels like it could fit in as a Nationalist type song, though it's not really. I don't know, I just know I love it. Also <i>Ray Charles </i>actually did a solid more gospel inspired cover of this tune, which I'm not sure if I prefer to this version, off his 1975 record <i>Renaissance</i>. If I do a review of that I'll go into more detail about the song, on the <i>Ray</i> side of things. </li>
<li><u>Lonely at the Top</u>: Hahaha, this was written for <i>Sinatra</i>. I do quite like the creeping feeling of this song. There is also a cabaret feeling to the song, if I'm not mistaken. I think this works, unlike that one song... *cough* <i><a href="http://danburnettealbumreviews.blogspot.com/2016/11/braver-than-we-are-meat-loaf.html"><span style="color: #9fc5e8;">Who Needs the Young</span></a> </i>*cough*. I wish I had more to say, but I do quite like this track and think it works for what it is. Plus this is some what smarter than some of the other songs <i>Sinatra </i>would sing. And it doesn't seem that pityful. I mean I like <i>No One Cares</i> and other tracks like that, but look at that cover.</li>
<li><u><b>He Gives Us All His Love</b></u>: Originally written for a movie, and I don't think the joke works unless you have the back story. Unlike <i>God's Song</i> or <i>Sail Away</i> this is not as clear what its about. In the movie they were saying this and it was kind of point out the foolishness of believing. I don't really know how to explain it without you looking it up or making it sound like I don't believe in God. I do, but I love this song. It has a very strong standard feeling and I think it should be. While the lyrics are simple its kind of supposed to be. </li>
<li><u>Last Night I Had a Dream</u>: There is a slide guitar, played by <i>Ry Cooder</i>, present. This is a solid song, but his vocals remind me of what I think he's funny to laugh at. But this is an odd enough rocker that I think if someone else did it it'd be fucking phenomenal. Maybe someone with a larger range of vocals. Really everything else works here. I love the guitar ton, the building feeling and the anticipation I feel in my blood when the song builds to the chorus. This is also a rocker.</li>
<li><u>Simon Smith and the Amazing Dancing Bear</u>: This song is about a guy who, by use of dancing bear. There's more to the story, but I feel like this has a sort of fun feeling to the song. The piano playing is very impressive and I like the changes in rhythm. While its not as grand as I could picture it, or rearrange it in my head, it is solid. I'm not completely sold on the track, but I do enjoy it. I really think the worst part of the song is the vocals, there's a part at the end that hurts my ears. Also I guess its a bit of a let down that there aren't other instruments like horns or woodwinds and strings. That would certainly add to the track. </li>
<li><u><b>Old Man</b></u>: I assume this is about an old man or his old man. I think ths song is a pretty sad song, and I has to have some personal meaning to it. There is something in the inflection if his voice where it sounds like a child singing to his father who is on his death bed. Honestly I could see this being a <i>Sinatra</i>, the string arrangement is beautiful enough to be on <i>In the Wee Small Hours</i> or another of his best records/ballads. There is something's very touching about this and the sole piano and vocals for one verse then the next having strings makes it more effective. I read somewhere he said after his father passed, years later, he revisited this song and pictured his father. Its funny because I hvemmave written songs where they either came true or they were more insightful of my ownself than I could have imagined. </li>
<li><u><b style="background-color: #444444;">Political Science</b></u>: Quick, straightforward and to the point, possibly <i>Newman</i>'s best song. Really, another hit to Americas ego. This is how good <i>Rednecks</i> should be, but it isn't. This song makes me laugh more and more with each listen. There is a sort of Toy Story feeling tie this track, but I like this a lot. I cove the brushes and the horns that are in the background. A favorite part of mine is the Australia part. This really is a phenomenal track and the ending gets big and just works so fucking well. Great, funny, and on point.</li>
<li><u><b>Burn On</b></u>: and on and on and on and on and on. This is a very piano oriented in the beginning and it has this weird cabaret feeling to it. Then the other instruments come in and I really like the um pa feeling I'm getting form the arrangement. The string/woodwind/brass arrangement on this is spectacular. Honestly I can't find flaw in it. It really is a fucking great track and I think his vocals even work well for this track. This is a pretty silly feeling song but I am pretty sure there is a son what deeper meaning. Maybe it was a topical song about Cleveland like <i>Baltimore</i>. </li>
<li><u><b>Memo to My Son</b></u>: I am surprised that I would love this thing, but I do. There is a sort of country vibe to this track. I can't exactly point my finger on what to call it but I do quite like it. It has a sort of honky tank piano and a rocking back and forth feeling. Like I could see this being in a movie from the 70s, maybe in a sort of flashback sequence. Or it could be the theme to a TV show about a single dad who has a son. It has a sort of sentimental feeling too it. I don't have a really reason why but I just can. There is also for whatever reason, Eagles pop in my head.</li>
<li><u>Dayton, Ohio - 1903</u>: You know, this title pisses me off. It's not a bad song, it's actually quite sad, but it's also a sort of predecessor to <i>Baltimore</i>. This is a very mellow song and it kind of reminds me of <i>Short People</i> if it was depressed. I don think its that great, but it aint half bad. I could see it being in a movie or something when its someone pondering something maybe. He isn't the greatest player but he is far better than I. </li>
<li><u>You Can Leave Your Hat On</u>: I never liked this title, that's not saying the sing it self is bad. Just my feelings of the title. There is a sleezy feeling to this song, but I kind of like that. I like guitar in this and the sort of bar band feeling with the piano. Like a sort of piano blues feeling to it. Though I woukdnt say its exactly like<i> Eddie Boyd</i> or someone like that. Its nice and it is not half bad. I like guitar on the track or whatever is playing that sort of motif in the verses. The bass? I don't know for certain but the only real complaint is it goes a bit long for what actually happens in the song and looking at the length of the other tracks. </li>
<li><b><u>God's Song (That's Why I Love Mankind</u>)</b>: Funny idea, but I guess I feel like this is pretty dark. Its kind of like God does these horrific things to us, but we still love him. I understand that its probably pointing out people are foolish but I think its worth pondering. I also think the music is perfect for this and its a great opposition to the opening. The opening was much more cheerful and hopeful, in feeling not message. This is just a dreary and kind of straight forward song. Like it is kind of fucked to imagine like God just doing stuff to fuck with us because he doesn't actually care. I mean I myself don't think people should find value in themselves to the point if them being above someone else, but there is a part of me that makes me feel like yeah. I don't really think God owes us anything. That's a bit of a way off front the song. But the music is phenominal and his singing works very well. A great track that grows with each listen. </li>
</ol>
<div>
Overall I have to give this album a 8/10. I don't care for <i>Randy</i>, his albums are structured in a similar way and his music is very samey. There are some songs here that are okay, but most are average or boring elsewhere in his discography. But the upon meditation, and the cynicisizing (?) of my heart I kind of grew to love this. It's far from the greatest thing ever, but I laugh at it and contemplate what it talks about. It's funny, it's satire, it good. The only negative is these aren't really the definitive versions of some of these songs for me. But the template here is great, and the songs are all solid and have high potential to be re-imagined. I know most of these have been redone or covered in the last 40-50 odd years, but still. This album is great and its got solid song writing, but there are other versions of the songs far more realized. I hope that nukes sense, but ill say this. If I can make something as good as this ill be happy you know. So, yeah, as we all know, <i>Randy Newman</i>'s the best. Also as a side note, I think I might do a <i>De La Soul</i> review. I mean I was disappointed by <i>The Chronic</i> and <i>Reasonable Doubt</i>, so maybe their debut will fill that void. But hopefully up next was a surprise favorite of mine from last year. I was not expecting to dig it as much as I did and continue to. </div>
Danhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.com0tag:blogger.com,1999:blog-2454518670323856077.post-62863722581183995232016-12-29T19:25:00.000-06:002016-12-30T16:00:49.860-06:00Christmas with Tammy<div class="separator" style="clear: both; text-align: center;">
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What better a way than to close out the year with my main girl <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Tammy%20Wynette"><span style="color: #9fc5e8;">Tammy</span></a></i>. While Ill never be one of her husbands, sad I know, I can still admire her and her music. So I wanted to say that while I am not expecting much out of this album, I still think it is a fitting ending you know.<br />
<ol>
<li><u>Silent Night, Holy Night</u>: This is an ok version of the song, it isn't anything new but I like it. It give you that warm feeling that you are supposed to get from the song. It makes me want to look at a fire and makes me think of christmas. Plus I like that organ. The harmonies and the echo sounds quite good.</li>
<li><u><b>O Little Town of Bethlehem</b></u>: This feels like a <i>Tammy </i>version of the song. It's got the twangs that I've grown to become accustomed to on albums like <i>Stand By Your Man</i>. The strings here are phenomenal, and this is possibly the best version of the song I have yet to review. I think her voice works, I like it, the organ comes band and kind of peaks it's head out at different points. The swells are fucking great. Really, there is a punch to it, and the transitions are also very well. Honestly I'm surprised it's this good.</li>
<li><u>It Came Upon the Midnight Clear</u>: A song I love done in a manner that I is similar to that last track but not as effective. I much prefer the last track done in the country manner than this one, or the Nashville Sound rather. That's not saying it's bad I'm just pointing out it isn't anything terrifically mind blowing or </li>
<li><u>Joy to the World</u>: This is a christmas classic, and it's done in a manner that I think is fitting of the song. This works for what it is, and I think the <i>Jordanaires</i> are for more effective here than on <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Elvis%20Presley"><span style="color: #9fc5e8;">Elvis</span></a></i>' album.</li>
<li><u>Away in a Manger</u>: This is a first for the blog. I have yet to review this track, which is kind of weird. I have heard this song so many times at church its weird I am not hearing it more on record. The album is more or less what you'd expect at this point from the sound and style. It's solid enough, maybe like a 6.</li>
<li><u>Gentle Shepherd</u>: I don't recall a song with this title. But it closes side one of the vinyl pressing of the original record. It's not that bad of a song, and it's pretty inoffensive. It's not overtly bad or anything annoying. But I'm pretty sure I'll forget it once the albums over. It's again not that bad.</li>
<li><u>Blue Christmas</u>: I'll have a pleasant experience with this track. Like it's honestly inoffensive.</li>
<li><u><b>(Merry Christmas) We Must Be Having One</b></u>: I don't think I have heard this song before. And honestly I don't mind this song, I got to say it's a nice change of pace. I mean it's a new song that works, for me at least. And the harmonies work also quite well.</li>
<li><u><b>White Christmas</b></u>: This is another Nashville Sound rendition of a classic christmas tune. I like the strings on this and the arrangement is pretty solid. It's not mind blowing, as I've said before, but I like it. I could see myself coming back to this version.</li>
<li><u>One Happy Christmas</u>: Eh, I don't know if I'm digging this tune. It's okay I guess, but I don't want to get 100 percent on board or give it a complete pass.</li>
<li><u>Lonely Christmas Call</u>: This isn't a bad song, but it's kind of a sad song. Sadly at this point I've run out of things to say other than I like the vocals and the way she says the words. I like the backing instrumentation, but it isn't the best you know.</li>
<li><u>Let's Put Christ Back Into Christmas</u>: I wonder what would happens if someone made this song today. This song is kind of stupid, if I'm being honest I don't really care for it. I mean this isn't really a last track, outside of the title. The rest of the song is a pretty bland arrangement considering what is on the rest of the album. It's not that it sounds bad, but it's just lets go out luke warm.</li>
</ol>
<div>
Overall I have to give this album a 6/10. This is a <i>Tammy </i>album, what did I expect. Something I wanna say is we lost a lot of talented musicians who, while I may not be fans of every single one of them personally, they played on something that some how helped shape the music that got me to where I am today. So I wanted to take this paragraph to just name them as a way of respect I guess and to condense this I decided to mention only those whom I haven't already mentioned earlier in past reviews. <i>Paul Bley</i>, <i>Pierre Boulez</i>, <i>Jimmy Bain</i>, <i>Dale Griffin</i>, <i>Alan Haven</i>, <i>Al Caiola</i>, <i>Ray Colcord</i>, <i>Maurice White</i>, <i>Keith Emerson</i>, <i>Phife Dawg</i>, <i>Merle Haggard</i>, <i>Jimmie Van Zant</i>, <i>Lonnie Mack</i>, <i>Billy Paul</i>, <i>Isao Tomita</i>, <i>Candye Kane</i>, <i>Gayle McCormick</i>, <i>Nick Menza</i>, <i>Marshall Jones</i>, <i>Henry McCullough</i>, <i>Dimitri Tiomkin</i>, <i>Bernie Worrell</i>, <i>Don Friedman</i>, <i>Scotty Moore</i>, <i>Alan Vega</i>, <i>Bobby Hutcherson</i>, <i>Bob Cranshaw</i>, <i>TJ Tindall</i>, <i>Toots Thielemans</i>, <i>Rudy Van Gelder</i>, <i>Rod Temperton</i>, <i>Leon Russell</i>, <i>Mose Allison</i>, <i>Joe Esposito</i>, <i> Allen Zavod</i>, <i>Pauline Oliveros</i>, <i>Greg Lake</i>, <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/George%20Michael"><span style="color: #9fc5e8;">George Michael</span></a></i>, <i>Alphonso Mouzon</i>, <i>John Thomas</i>, <i>Carrie Fisher</i>, </div>
Danhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.com0tag:blogger.com,1999:blog-2454518670323856077.post-41547852114987954632016-12-22T14:01:00.000-06:002016-12-22T14:02:29.626-06:00World Percussion Christmas - Andrea Centazzo<div class="separator" style="clear: both; text-align: center;">
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So I decided to shake things up and throw a curve ball. The other albums were, and have been, a bit dry. I also don't want to run out of <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/James%20Brown"><span style="color: #9fc5e8;">James Brown</span></a></i> christmas albums just yet. This is a sort if bizarre idea for an album. I mean in reality it isn't that bizarre, I just wish there was more information about it. I guess it would make sense this guy would make this album, after all he is one <i>Elektriktus</i>. So without further ado, <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Andrea%20Centazzo"><span style="color: #9fc5e8;">Andrea Centazzo</span></a></i>.<br />
<ol>
<li><u><b>Jingle Bells</b></u>: This track features, marimba and Togo drums. I fucking love the marimba with a passion but am unaware of the Togo drums. But also, fuck this song. No really fuck it. The only time give heard a version I like is the short quote on <i>Best Band You Never Heard In Your Life</i>. And actually, I can really jive with what I'm hearing. Like honestly, this is the first time I can't really find something to nit pick for a christmas album. I have heard the song, but this is kind of honestly a breathe of fresh air. I really like these Togo drums and the marimba. There sounds like there is other instruments used, but it is very good. It gives me a synclavier vibe, but much more sophisticated. Which it should, it's 20 years after the release of <i>Jazz from Hell</i>.</li>
<li><u>Silent Night</u>: I almost didn't recognize the track with the introduction. I like it. My only thing is I don't like how it repeated the first verse twice before going to the second. Maybe I spaced out for a second, but this is still much more enjoyable. I love the percussion and the different rhythms and it sounds great. It says that Bali sarongs, Indian drums and contemporary mallet keyboards where used in this track. I'm gonna have to buy some of these when I get rich :D. It does go a bit long, but it's forgivable.</li>
<li><u>Feliz Navidad</u>: I don't jive with this tune. I think its kind of a stupid and annoying song, but maybe this version will give it fresh eyes for me. Or fresh whatever the phrase is. This has another great introduction and is probably my favorite version of the track. It says it uses samba drum ensemble and Latin marimbas... I don't care what it uses, this sounds freaking great. It's got a playful feeling to it and the rhythms are so fucking good.</li>
<li><u>White Christmas</u>: There is a nice feeling here, though it doesn't feel all that new. The reason I say is this has kind of begin to run out of ideas. I mean not in a bad way, but it's not something I'm that excited about. Like there isn't anything making anything stand out thus far. This track is okay, and it's well enough, but I don't feel that rush I felt from the other preceding tracks you know. The instruments used are Mali drums, Javanese mallet keyboards, vibes and marimbas.</li>
<li><u><b>Sleigh Ride</b></u>: I actually like this much more than the last track. While you can argue, it sounds all the same, but I really like way the melody is played on those contemporary mallet keyboards. I also like the African drums and what sounds like a midi bass. I really like when the melody speeds up and it reminds me of why I love when you use percussion effectively.</li>
<li><u><b>Holy Night</b></u>: This features the Bell's ensemble. I have no fucking idea what that is, unless it's an ensemble of bells or an ensemble called the Bell's Ensemble. Either way this opens with chimes and rain, reminds me of <i>Black Sabbath</i>. I do like this version quite a bit, it feels like a lullaby. On Spotify this is titled the Rainy Version, but on Discogs it's titled <i>Holy (Rainy) Night</i>. I like it and it's solid.</li>
<li><u><b>Greensleeves</b></u>: I happen to love this tune. There are a number of old traditional/public domain songs that I love. This one is one of my all time favorites, its a gorgeous melody I was excited to see it played on Trinidad steel drums and Caribbean percussion. This is fun and has a bit of a spy feeling to it. Honestly this is the best track here and reminds me a bit of Goldeneye 64.</li>
<li><u>Silver Bells</u>:This Javanese version uses gamelan. I was excited for it, I have an interest in gamelan, and how it works. There is a very peaceful track and I quite enjoy it. Damn, this thing is quite fun. There is a lullaby feeling. I can jive with this.</li>
<li><u>The Little Drummer Boy</u>: The use of a Japanese Taiko drum ensemble and Kabuki instruments really work well for this track. I like the melody instruments and the textures work quite well. Giving it a surprising twist, you'd think it'd be more Arabian sounding or eastern. Though it does has a bit of a Macedonian feeling.... I think if I remember humanities class right. This goes a bit long, but it isn't terrible.</li>
<li><u>Silver Bells (African Version)</u>: Finally to close we get some Senegal drums and rattling kalimbas. Kalimbas are finger pianos, for those who don't know. Now to sound less pretentious, I don't know what senegal drums are by name. I know what they are but I had to double check. The African drum, and actually I enjoy this opening. It's setting up a groove in a similar way that <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Fela%20Kuti"><span style="color: #9fc5e8;">Fela</span></a></i> does. Except it isn't as explosive, loud or not percussive. This feels like it could be a cover almost, kind of. The non melody parts you know. Like just re arrange the lead with a saxophone and add other instruments and your there. It isn't half bad to be honest. I dig it.</li>
</ol>
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Overall I have to give this album a 7.5/10. This was a lot of fun and kind of revitalized my hope for other christmas albums. Plus it will definitely survive past this review of the album, and I will revisit this in the future. Solid effort. I don't have more to say other than listen to this if you don't give a fuck about christmas music or you want an breathe of fresh air, or you like world music, or you are a percussionist.</div>
Danhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.com0tag:blogger.com,1999:blog-2454518670323856077.post-27146813988823190072016-12-15T03:57:00.000-06:002016-12-15T03:57:01.174-06:00Christmas '64 - The Incredible Jimmy Smith<div class="separator" style="clear: both; text-align: center;">
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This is the first and only Christmas album released by <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Jimmy%20Smith"><span style="color: #9fc5e8;">Jimmy Smith</span></a></i>. I kind of decided to review this album because the first time I did this I decided to do a <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Jimmy%20McGriff"><span style="color: #9fc5e8;">Jimmy McGriff</span></a></i> album, oh whom I'd mix up with <i>Jimmy Smith</i>. To be fair they both play the same instrument and genre of music, so not that much of a stretch. I also find it fitting to do this because <i>Rudy van Gelder</i> was the recording engineer on this, and he passed away earlier this year. So while not a proper tribute, it'll hopefully be a fair one to review with his name in the credits. I also want to point out there are some people whom I recognize, like <i>Kenny Burrell</i>, <i>Al Cohn</i>, <i>Art Davis </i>and <i>Billy Hart </i>along with a number of people whom I don't recognize, but have played on records I want to or have heard.<br />
<ol>
<li><u>God Rest Ye Merry Gentlemen</u>: I really dig the rendition of this track. I mean I do enjoy this song. This is a track that seems to be a quintet (organ/guitar/bass/drums) with a horn section (4 trumpets/1 flugel horn/2 trombones/2 bass trombones/4 french horns/1 tuba) and a percussionist and a harpist. The timpani in the beginning sets the song for a large feeling. Almost the same way <i>Thus Spoke </i>does. The track is a bit odd, and I think would take a few listens to get my first time through. But I do like what I'm hearing, it just might seem a bit over blown. Like there is a very big band feeling to this track. The unfortunate thing though, is I knew how I felt about this arrangement by the ending of the album.</li>
<li><u><b>Jingle Bells</b></u>: Ah we meet again for round number four. This time though, it's only a trio. With <i>Quentin Warren </i>on guitar and <i>Billy Hart </i>on drums. This is much different than the last track and feels much less. Not in a bad way, but less going one. I actually prefer this to that last track. I don't think that was arranged as well as this. This feels nice and is quite enjoyable to be honest, but when it switches orchestra it just doesn't work for me. Like I have no interest.</li>
<li><u>We Three Kings of Orient Are</u>: Another Christmas song I dig and don't wanna kill myself during. There are moments I like in this big band sort of arrangement, but I'm not completely sold. I think it works a bit better than the opener. I mean I don't think it's really anything that mind blowing, but it's well enough. I do like the organ though, and the band without the orchestra is by far the highlight, but I don't know, I think the </li>
<li><u>The Christmas Song</u>: Fuck this song, I think it's so stupid it's called this. <i>Chestnuts </i>really, fuck you. I do like how it feels a bit darker, but I mean this arrangement should have a singer. I mean again, nice organ playing, but I don't want to only enjoy the band. Honestly again, the group works so much better than the orchestra. I like the drums a lot, but I think it blows it once the orchestra comes to the forefront.</li>
<li><u>White Christmas</u>: This is a decent version of the song. And I do have to say this is nice, I like how the other instruments are in the background. They are accompanying, not in the forefront.</li>
<li><u><b>Santa Claus is Coming to Town</b></u>: This is a cover of a song later covered by <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Bruce%20Springsteen"><span style="color: #9fc5e8;">Bruce Springsteen</span></a></i>. Useless fact of the day. This is a trio version, and it's nice. Finally a track that doesn't feel overblown. This is actually a solid track that I can jive with, I probably won't revisit it, but I do dig it. The guitar sounds good at the ending and I like the fade. This is what I want the album to be like.</li>
<li><u><b>Silent Night</b></u>: I did like the version on <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Jackie%20Wilson"><span style="color: #9fc5e8;">Jackie</span></a></i>'s album. And this is the orchestra again, it's almost like they got him to guest appear on his own album [<i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Jimmy%20Smith"><span style="color: #9fc5e8;">Jimmy</span></a></i>]. I do like the song though, once the pesty orchestra gets out of the way. Keep it that way, because this is a great version of the song. The ending works too.</li>
<li><u><b>God Rest Ye Merry Gentlemen</b></u>: This is a trio track, and is probably the reason it's on the album twice. Once orchestra, one trio and works as a book ending. After the rest of the album, I was looking forward to this. I am very glad to say, this track works quite well. Though it makes me want to do a re arrangement of the first track. Honestly, this track is great. It's not perfect, but the album would have been far better if it was in this vein for most every track.</li>
</ol>
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Overall I have to give this album a 4/10. This was an okay album, while I've come to expect nothing more than a 4 or 5 out of a christmas album, you never know. The album would be a solid 5 or 6 if they'd have stuck with the trio or orchestral accompaniment, not fore front. It's not the worst thing I've heard, just a lot of moments that ruin songs for me or ruin them in the context of enjoyment and a higher score.</div>
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Danhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.com0tag:blogger.com,1999:blog-2454518670323856077.post-9679449472321140722016-12-08T00:00:00.000-06:002016-12-09T18:29:42.912-06:00Merry Christmas from Jackie Wilson<div class="separator" style="clear: both; text-align: center;">
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Last time I reviewed <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Elvis%20Presley"><span style="color: #9fc5e8;">Elvis</span></a></i>, this time I'm doing the guy who <i>Elvis</i> called the <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Jackie%20Wilson"><span style="color: #9fc5e8;">Black Elvis</span></a></i>. With that being said, this is <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Jackie%20Wilson"><span style="color: #9fc5e8;">Jackie Wilson</span></a></i>'s sole Christmas album from 1963. Now unlike the <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/James%20Brown"><span style="color: #9fc5e8;">James Brown</span></a></i> <a href="http://danburnettealbumreviews.blogspot.com/2015/12/hey-america-james-brown.html"><span style="color: #cfe2f3;">Christmas</span></a> this is all covers, and while I love <i>Jackie</i>, I don't know if this'll hold up. I have heard a song or two from the album here or there, but front to back... That's a whole different story. Let's delve into my second of four, possibly five, Christmas review(s). Note: of the 12 tracks here 5 are in common with the <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Frank%20Sinatra"><span style="color: #9fc5e8;">Sinatra</span></a> <a href="http://danburnettealbumreviews.blogspot.com/2015/12/christmas-songs-by-sinatra.html"><span style="color: #cfe2f3;">Christmas</span></a></i>. The album was conducted by two guys, <i>Dick Jacobs</i> (1-3, 6, 8, 9) and <i>Alan Lorber</i> (4, 5, 7, 10-12)<br>
<ol>
<li><u><b>Silent Night</b></u>: Ah we meet once again.This is a very chill version, that I think honestly works well. There is a white noise in the version I hear, but if that was cut it'd be perfect. The bells really work in this arrangement, and I honestly think this is what helps a bit. Or at least adds to it for me. I love the organ and the chorus sound great. I also like that guitar you hear towards the ending. The arrangement is great, though I wish I could hear all of the instruments. Strings might have helped.</li>
<li><u>White Christmas</u>: I think I've grown to find humor in this track. Probably because of <i>Uncle Bernie's Farm</i>, but this rendition isn't half bad. I like that organ, and the swells in the track take up a lot of the white noise that was in the last track. I feel like his vocals were recorded over the track, there is a distance, but the piano sounds good when you hear it.</li>
<li><u>O Holy Night (Cantique de Noël)</u>: This is a standard version of the song. But the vocals are great and you feel <i>Jackie</i> singing in it.This isn't the <i>These Arms of Mine</i>. I do kind of wish they went into a gospel feeling though, like. "Oh night de------ vine!" he holds the "ine" and the backing section turns to a gospel choir type song like <i>The Jefferson Theme</i>. You know what I mean? I think it'd be a nice touch.</li>
<li><u>The First Noel</u>: I also think this is a standard arrangement. Nothing to crazy here, but there is something endearing about the monologue. I mean, I don't know, I like his delivery. And he gives a solid vocal performance.</li>
<li><u>Deck the Halls</u>: I don't know how this will go over, honestly I was a bit nervous. Not that I doubt him, but you never know. And if I'm being honest, this is too light. Also it just doesn't feel like <i>Jackie</i> fits. I kind of can say this when you turn a rock song into a soul song and don't do it properly. You know, if you go on a covers website, look up your favorite soul/jazz artist and they do a cover of a <i>Beatles</i> or folk tune and the arrangement doesn't work. You end up with a sort of "this is...... kinda good? right?" feeling. <i>Billy Paul</i>'s <i>Magic Carpet Ride</i> for example.</li>
<li><u>Silver Bells</u>: I never cared for this sing. It is kind if stupid if I'm being honest. This has this sort of <i>Felice Navi Dad</i> feeling to it in the response to the "ring a ling" lyrics. This isn't a terrible version, but I don't think it really works perfect. Like it has it's short comings I guess. But I also don't like this song either in general. So that could also affect my outlook.</li>
<li><u>Joy to the World</u>: You know this song, and nothing new is here. I like the guitar strumming you can hear, and I like the timpani and the backing vocals. The triangle is nice too. I wonder if his vocals weren't meant for this song. Like I feel like this is a bit of a nightmare, but like it's not his fault.</li>
<li><u><b>It Came Upon a Midnight Clear</b></u>: So this track, while not done particularly crazy or different or even new... Works. How you say? <i>Jackie</i> has a great voice and he just oozes charisma. I do actually like this, and it works quite well. The tremolo strings actually work very well and I think he sounds like he fits on this track.</li>
<li><u><b>Adeste Fideles</b></u>: <i>Sinatra</i>, did it first. Honestly, I like the church feeling of this song. I just feel the vocals need to be much larger, he sounds like he is in front of the mic and everyone else is in the other room singing into the same mic. There aren't enough swells and it isn't powerful enough for me to feel anything really. The second verse should get larger and add other things, and the way he says "given" sounds weird. I do like this rendition, I just feel it's to bare. But I like it well. And that last note sung, I'm not sure how I feel about it. Kind of indecisive.</li>
<li><u>I'll Be Home for Christmas</u>: Fuck this song, but whatever. This has a nice shuffle feeling to it, but the damning thing about that is I wanna hear solos. It's almost like a sequence, for me. Not that it is one, but how it takes you from one thing to another.</li>
<li><u>O Little Town of Bethlehem</u>: This is just okay, this doesn't do much for me. It's nice, but I've heard it before I guess. Like nothing that new is added. It's not that compelling.</li>
<li><u>God Rest Ye Merry, Gentlemen</u>: Hey, guess what. Next we have one <i>Jimmy Smith </i>who plays a fucking killer version of this track. Like in the next review, not on this track. I do like the harpsichord, it's a nice addition. But I wanna make a suggestion, instead of the bells why not add timpani or a percussion instrument that is a bit more eastern.</li>
</ol>
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Overall I have to give this album a 6/10. There is a sort of soul-jazz feeling through out, like I'd heard on <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Jimmy%20McGriff"><span style="color: #9fc5e8;">Jimmy McGriff</span></a></i>, <i>Jimmy Smith </i>and so on. It's very hard to breathe new life in these songs, especially now. While this isn't mind blowing, I gotta say it's more enjoyable than most other albums that cover this music. Well at parts at least. His voice also helps the album a lot. Don't get me wrong, but there are moments I felt, this is a <i>Ain't that Good News </i>Christmas nightmare isn't this. I guess I think the biggest disappointment was two things. He's great, so I can't imagine him not making at least a 7 or 8. Second, I feel like this soul jazz/vocal jazz christmas thing would work phenomenal. I guess it sound be revisited another day maybe. Also I wanna have a shout out to <i>"Awaken, My Love!"</i>. I can't believe how much I'm digging this thing.</div>
Danhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.com0tag:blogger.com,1999:blog-2454518670323856077.post-82243314208354358832016-12-01T22:06:00.001-06:002016-12-01T22:06:18.265-06:00Elvis' Christmas Album<div class="separator" style="clear: both; text-align: center;">
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So last year I did this Christmas themed thing, and while I did it I came across about a million different Christmas themed albums. Some look like shit, some might be okay (but probably will be shit), and some I don't know why but I want to hear. I'll probably kill myself after this, but why not do Christmas again this year, and maybe I'll get more than four done. This album, being <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Elvis%20Presley"><span style="color: #9fc5e8;">Elvis</span></a></i>' Christmas album, released on October 15th, 1957 (I don't really know why), but it is sure to have some classics. I mean look at the track listing. Something I wanna point out too is the last 4 tracks were released on <i>Peace in the Valley</i> Ep that was released earlier that year (in April). Let's see how many songs the albums have in common from this and last year. After looking I saw four songs, one of which was on three of the albums.<br />
<ol>
<li><u>Santa Claus is Back in Town</u>: Not to be mistake with one of a number of songs related to this holiday that makes me want to kill myself. Wow that's a run on. But anyway, this opens and it isn't what I thought it would be. It's a blues number and to be honest it isn't the song I thought it would be. Like I was expecting something horrific. It's well enough, not that the whole album should be like this, but it ain't terrible.</li>
<li><u>White Christmas</u>: Last year I did <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Frank%20Sinatra"><span style="color: #9fc5e8;">Sinatra</span></a></i>'s <i><a href="https://danburnettealbumreviews.blogspot.com/2015/12/christmas-songs-by-sinatra.html"><span style="color: #cfe2f3;">Christmas</span></a></i> album and this song was featured in it. The vocals on this kind of bother me, but again it isn't terrible. I mean it's not like I'll revisit it the same way I do <i>Hey America</i>, but it's well enough. Only real major complaint, why can't my Christmas be yellow or black or red or insert other colour relating to race.</li>
<li><u>Here Comes Santa Claus</u>: This is a song that I never really cared for any version of, this is kind of a bland song that does nothing for me. I could see people eating this up at one point, but I don't. There is a feeling of Christmas though from this song. </li>
<li><u>I'll Be Home for Christmas</u>: Another song I don't think i ever liked. This has a jazzy feeling, but it's like fucking bland. It's more bland than the <i>Sinatra</i> album. Now that's not to say I hate it, it just doesn't have any flavor.</li>
<li><u>Blue Christmas</u>: This is a famous song that I know without even hearing it. For the review I'll listen, but I've heard this so many fucking times. I don't really care for this song, and I think it's a bit boring. There isn't even anything appealing to me about this. I mean I don't really have anything to say about this. I like the way he sings, and they harmonies. But it's not like I love this. And I guess it's nice to kind of focus on everything going on for once. I think the acoustic guitar sounds pretty good.</li>
<li><u>Santa Bring My Baby Back (to Me)</u>: Now I'm pretty sure I've heard this song before, but I do know the title interested me. Like is this song about the war, is this song about something that could be deeper than just a break up. This actually makes me think of <i>Weird Al</i>. Like I could see him doing a parody and this being the outline but instead it's something over the top and absurd. But done straight.... This isn't really anything special. And it's not pulling me in at all. I guess it's nice to hear a new song.</li>
<li><u><b>O Little Town of Bethlehem</b></u>: I know this song, and I think it's an okay song in general. There are versions I do enjoy, and this isn't terrible. I feel like the song should be much larger, and the vocals should overwhelm, but in a good way. The organ sounds nice and I like that.</li>
<li><u>Silent Night</u>: So this fucking song, why is this on every Christmas album? Like really I don't quite get it. It's not that phenomenal of a track. This rendition, well honestly, it ain't anything special either.</li>
<li><u><b>(There'll Be) Peace in the Valley (For Me)</b></u>: While in opposed to reusing tracks, this is nice. In glad it isn't just a spew of the boring Christmas standards. This title also reminds me of the one <i>Dylan </i>song, <i>Down in the Valley Below</i>, or something like that (it's off <i>Desire</i>). This isn't that bad of a song, and to be honest it's probably my favorite song here. It has a gospel feeling to it, but there is also a doo wop feeling to it. So it does pull on my heart strings a bit. But not in the same way others of the style do.</li>
<li><u><b>I Believe</b></u>: This track has a very large feeling, and I think works. Do I think it works as well as it could...... probably not. But it is a breathe of fresh air. This song has so much potential, but it just doesn't reach that for me.</li>
<li><u><b>Take My Hand, Precious Lord</b></u>: This is another song that ain't half bad. But again, the high I need from this isn't reached. It's so close, and I'm pretty sure if I was to hear a cover or another rendition it would hit that. This isn't terrible</li>
<li><u>It is No Secret (What God Can Do)</u>: This is a nice closer, but again nothing crazy</li>
</ol>
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Overall I have to give this album a 5/10. So at no point did I really feel anything, outside of feeling of Christmas on a few songs. The only songs of quality were from that fucking EP. But there was nothing at all, like not even me being bothered. By definition I felt what I'd consider a 5. But it just is so bland I don't think I can give it a neutral feeling. Maybe I'm cynical but if I feel nothing then I think that's negative. I like that there might be some originals, as in new songs for this, but yeah. I'm not a huge fan of <i>Elvis</i>, I only truly love a handful of his later songs and some earlier songs but nothing like this early. Ill probably do another <i>Elvis</i> one next Christmas. I mean I probably set myself up for failure considering I'm not a fan of that period of his music or his music in general. I respect him, but next week... Oh boy. I got something good planned.</div>
Danhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.com1tag:blogger.com,1999:blog-2454518670323856077.post-82152240101055763902016-11-25T15:35:00.003-06:002016-11-25T15:35:55.574-06:00Chicago '78 - Zappa<div class="separator" style="clear: both; text-align: center;">
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I wanted to fit in one last one before I had to do the Christmas reviews. This is one of the newest <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Frank%20Zappa"><span style="color: #9fc5e8;">Zappa</span></a> </i>records to drop, I'll not acknowledge the existence of <i>Zappetite</i>, but this was released on November 4th, 2016 and was dropped alongside <i>Little Dots</i> and <i>Meat Light</i>. The album is the September 29th concert at the Uptown Theater in Chicago. Now I was excited to see this being released, it's a Chicago show and I live not far from there. While I've heard official releases from this band, the Fall '78 band is featured on <i>Beat the Boots </i>albums <i style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">Saarbrücken </i><i>1978</i> and <i>At the Circus</i>, plus a number of various live tracks on different albums (<i>On Stage</i> and <i><a href="http://danburnettealbumreviews.blogspot.com/2012/05/tinsel-town-rebellion-frank-zappa.html"><span style="color: #cfe2f3;">Tinsel Town</span></a></i>) here and there and the <i>Halloween </i>album from 2003. But I still have hope, I mean look at the line up. <i style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">Vinnie</i><span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;"> on drums, </span><i style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">Denny</i><span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;"> on guitar and vocal, </span><i style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">Ike</i><span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;"> on vocal and guitar, </span><i style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">Arthur </i><span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">on bass guitar, </span><i style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">Tommy </i><span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">and </span><i style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">Peter </i><span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">both on keyboards and to wrap it up..... <i>Ed Mann</i> on percussion and rat. I mean that's a pretty solid line up of you ask me</span><span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">. Yeah, it maybe true I didn't like </span><i style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">Saarbrücken</i><span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">, </span><span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">nor am I crazy about </span><i style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">At the Circus</i><span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;"> or the </span><i style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">Halloween </i><span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">album, but who knows. To be fair; <i>Halloween</i> does have a minor line up difference, No </span><i style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">Ike</i><span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">, <i>L. Shankar</i> or </span><i style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">Arthur</i><span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">, but still. I mean in reality most of this I've heard other versions from this period, so I'll have a general idea ahead of time what is being played. But I could always be surprised. </span><br />
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<ol>
<li><u>Chicago Walk On</u>: This opens with the <i>Lather </i>conversation, and you hear the introduction in the background. I'm wondering if they actually played this while they got on stage. I like the drums I'm hearing but I'm not sure what's live and what was before hand you know.</li>
<li><u>Twenty-One</u>: At first I wondered if this is something along the lines of <i>Thirteen</i>. It wasn't until I revisited <i>Halloween</i> I realized, it's probably more in line with <i>Ancient Arnaments</i>. I mean it's basically the same track listing for the first 4 tracks. This is an instrumental track and I'm liking the vamp I'm hearing so far. The solo from this actually isn't half bad, I mean I'm digging what I'm hearing. So far I think this might have been a solid choice to use for a release and I'm glad and feeling confident. This sounds like it wouldn't have been out of place on <i>Shut Up N Play Yer Guitar</i>, any of them. The only complaint is it doesn't really go anywhere. But it is enjoyable.</li>
<li><u>Dancin' Fool</u>: Ah <i>Dancin' Fool</i>, a track that was featured on the famous <i>Sheik Yerbouti</i> record. This is, more or less, the same as the album version. The deviations come from differences to side commentary and other little tiny things. The drums sound a bit different, but that's obvious, different drummer. The song has a bit of a different vibe to it, but it's still done the same way it is from the original album. Where a track like <i><a href="http://danburnettealbumreviews.blogspot.com/2016/11/the-crux-of-biscuit-frank-zappa.html"><span style="color: #6fa8dc;">Uncle Remus - Mix Outtake</span></a></i> revived my love of the song, I never was tired of this track so something like this doesn't do much for me. </li>
<li><u><b>Easy Meat</b></u>: I love this song, really I honestly do, it's just there isn't a version I think completely works... For me at least. The <i><a href="http://danburnettealbumreviews.blogspot.com/2012/05/tinsel-town-rebellion-frank-zappa.html"><span style="color: #cfe2f3;">TTR</span></a></i> version is great, it just goes on to long, and the extra sections definitely hurt the song for me. <i>On Stage 5</i>'s version is also great but the song section isn't as strong as the original. So I can kind of assume this is sung by <i>Ike</i> and a bit slower than on the 80's versions of the song. There is a heaviness that I feel should be here, it kinda feels like a hard rock/heavy metal song. This is a solid version and I think the solo is so much better here than on the original album. The original just kind transitions into the orchestra part of Sink Trap then comes back and the guitar just doesn't stop, its like if (since hearing this live album, not the tracks original version) the <i>Yo Mama</i> solo drained you to the point where the pay off doesn't even register. Like you were done before it even gets to the good part. I wish the song was maybe faster and we got this type of solo on the original. Though I guess it could work faster then slow it down, to this tempo, for the vamp. I'm probably just being picky, this track is still overall really good (and flows better than the original I think). This is also a bit more hard rock (70's rock) vs heavy metal (or 80s rock). I'm an idiot, I can't believe I forgot about the best version of the song, the <i>Crush All Boxes </i>version. </li>
<li><u>Honey, Don't You Want a Man Like Me?</u>: A <i>ZiNY</i> cut, I fucking love this one. This is a great version of the song, though it's nothing I haven't heard already. I do like the drums on this one though. But sadly I don't have much more to say about it. My one complaint is <i>Terry</i> had a personality and <i>Vinnie</i> doesn't really. He's an amazing drummer and has a personality when he plays, but I can't imagine him singing about <i>Punky Meadows</i>. Though he didn't make seal calls for whatever reason. I miss <i>Terry</i>'s shrieks and that makes this not as engaging. I do like <i>Denny,</i> <i>Tommy</i> and <i>Ike</i> but they don't do what <i>Terry</i> does with <i>Patrick</i> and the other members who were with the band while they were. It's like those two are the best friends in High School who have been away from each other for years and meet up again and just play off each other perfectly like no time has passed. I don't feel the same chemistry with this band's vocalists.</li>
<li><u><b>Keep It Greasy</b></u>: I have heard the live version from <i>On Stage 3</i>, and it's more or less faithful to the album.... But no where near as good. Kinda like when a band is on their fourth decade and they play the songs they wrote on their first album, probably not as good. Hopefully this cut will either be different, or a solid enough version in its own right. Well, this version is like a slower version of the album version. Not significantly, just enough to where it's like why? It's also not as big or engaging. Like it doesn't suck me in and make me wanna play along or be a part of it, the same way<i> Joe</i>'s version does. </li>
<li><u><b>Village of the Sun</b></u>: I don't think I've heard a version of this from this period. I do really like <i>Napi</i>'s vocals on the <i>Roxy</i> album, and also on later versions from '74 (<i>Token</i>, <i>On Stage 2</i>). I'm figuring, based on my knowledge of his vocals, <i>Ike </i>will l be singing the song for the performance. Right before this was released, I re-stumbled upon the <i>Saarbrucken 1978</i> track listing. Whrn I saw it I was like, "I don't remember at all this track on there". This is similar to the original and I'm glad they did it that way. This is a pretty solid version and <i>Ike</i> gives a great performance. There are parts that do feel a bit bare, but I still enjoy this overall rendition. The ad-libs also work quite well. Yeah there is five extra minutes in this version, but I'm not growing tired of the track. I really like the vamp in the track. The solo is nice, and there's this weird twang that I really like in the background.</li>
<li><u>The Meek Shall Inherit Nothing</u>: I kind of have an idea of how this song will go, but that doesn't take away form the track. I do like the slide guitar on this, and this is a far more laid back version of the track. This doesn't really get me into is as much as the other album version, or even the SNL version, but it still works.</li>
<li><u>Bamboozled by Love</u>: Again this feels a bit slower than the album version. I'm glad some of these weren't released until <i>Vai</i> joined because they are not heavy metal enough. This feels more like a blues number. Yeah I like the solo, but by the point it comes in I've kind of been checked out. Not like, I'm not paying attention, just I've been bored and am done with the song. The coda or ending is the most interesting part of the song.</li>
<li><u><b>Sy Borg</b></u>: It'll be nice to hear a live version of this song, I haven't heard one yet... at least from my recollection. I remember reading it was originally an instrumental, I'm thinking something along the lines of <i>Tush Tush Tush</i> maybe. But wouldn't that be at the beginning of the concert then? I mean the lyrics to that are so much a part of the story, in the same way <i>A Token of My Extreme</i>'s are, I can't imagine he used them. So it'll probably be a vamp with a solo or maybe different lyrics. Wow, I'm surprised this is more or less the album version. The only real difference is the slick and lush production of the album. And the percussion is very audible in this. The guitar on this track is really great and subdued too, or is that keyboards. I don't know, and it doesn't really matter, this track is worth a few listens alone. Really I've listened to this a few times since listening to the album, and posting the review. I love this cut and it's a lot easier to digest maybe than the album version. It doesn't have Sy talking, which I think is appropriate in context of the album, but not if I just wanna listen to the song.</li>
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Now on to disc 2. There are more songs here than on the <i>Halloween </i>album but I do also want to point out (including an introduction) 7 of the 17 tracks are on both of the albums. They're in common. But on the <i>Saarbrucken </i>album there are 12 tracks in common.</div>
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<ol>
<li><u><b>Little House I Used to Live In</b></u>: During this period, from the boots I've heard, this is a stand out. I generally like this tune, but I really dig it during the late 70's live. My favorite being from the Poughkeepsie show from the 21st of September 1978 (8 days before this show). They should release that show at some point. I really like this introduction, and it makes me a bit excited for what to come. It grabs my attention and I'm like what I'm hearing. I really like the differences between the parts. The band is doing a really good job on this and I really enjoy the keyboard sounds on this. It's shit like this that makes me forget about <i><a href="http://danburnettealbumreviews.blogspot.com/2012/05/tinsel-town-rebellion-frank-zappa.html"><span style="color: #6fa8dc;">Bamboozled</span></a></i> and the other tracks that don't do much for me, well in the context of the album not in reality. I really like the changes and I really like the part where it goes into double time. It's been a while since I've heard the '78 version of this but I gotta say I'll be revisiting this. That vocal keyboard matching thing they <i>George Duke </i>did on <i>Bebop Tango</i> isn't bothering me here. I mean I could easily see myself being annoyed but I dig it. There is also a sort of progressive rock feeling I'm getting to this, but this feels far more interesting than a lot of those old records I heard loved and grew away from. I also really like the gospel organ sound they got in that one section. Really digging the jazzy feeling and <i>Vinnie</i> is doing a great job here, and impressing me. It doesn't even sound like he's trying.</li>
<li><u><b>Paoxysmal Splendor</b></u>: I'ma take a shot in the dark and guess this is either a solo or an instrumental. Most likely a solo, though it could also be a talking track or an intro/audience participation. I really dig the <i>Greggory </i>name drop, didn't expect that. I also really enjoy the waltz or tango. The guitar reminds me a tad of <i>Love is Strange</i>. This is a fun track and I'm glad it's here. This is kinda like a proto '88 tour goof around you know where it's like they'd just throw in sounds and burps and what not and try to make each other laugh. I also like the <i>Beautiful Guy</i> quote, the bass line is great and the solo has nice overdrive. I don't think it's his best but I wonder if this is where the riff is derived from (the vamp). There's something he's doing on guitar I've heard somewhere before but I'm drawing a blank. I also love the keys sound on this track. This is probably the highlight and the boogie section's solo so makes up for the lack of one in the <i>Beautiful Guy </i>one. This actually kinda reminds me, his guitar, of <i>Deep Purple</i>. They also play <i>Crew Slut</i> in the track. I don't really know how to feel about this. It's like a gift from heaven. </li>
<li><u><b>Yo Mama</b></u>: This is actually on an album I plan to do next March, and the only other version I can recall (outside of one of the shows it was made up of) was from, I wanna say, '88. But regardless it'll be nice to hear a non overdubbed version and being a whole version of the song, not made up from different shows. Maybe that'll hurt it, who knows, but I think it'd be nice. The song section of it works and I enjoy what I'm listening to. I don't think its as good as the album version so far, but it's pretty faithful to it. Well with the exception <i>Ike</i>. The second that solo starts I get nervous, like it's so bare and he better do something great or I'll check out. I am not sure, but it sounded like he quoted <i><a href="http://danburnettealbumreviews.blogspot.com/2013/11/zoot-allures-frank-zappa.html"><span style="color: #6fa8dc;">Zoot Allures</span></a></i> at one point. The solo is better than I expect it would be, but it's not like it really does anything. It sounds like he's quoting a few songs in other parts, I think it sounded better when the drums come in, along with the bass, but I don't know. I like that the drums are speeding up, but that doesn't particularly sell me on the live cut. I feel like if the solo was a bit more focused this would be phenomenal (before 8 minute mark maybe 7:30). The song kind of comes into focus and we get something really nice and I'm glad we eventually got here. Did it take a while.....yeah. But the pay off is worth it I guess. I mean it's a more grand pay off than <i><a href="http://danburnettealbumreviews.blogspot.com/2016/10/tupelo-honey-van-morrison.html"><span style="color: #6fa8dc;">Tupelo Honey</span></a></i>. I like the ending of the track and it was good enough. I mean I'm not sure if I liked it enough to bold, but I don't know. That outro solo is great with the vocals. I'm glad this is here.</li>
<li><u><b>Magic Fingers</b></u>: This is a track that I'm glad they brought back from the grave. It was originally on <i>200 Motels</i> and I remember digging the <i>Halloween </i>version. I'm a bit surprised this is basically faithful to the original version, with differences to instruments and sounds. I'm not complaining, but I'm just a bit surprised. Plus they really sound like <i>Flo & Eddie</i>. Solid hard rock number. I really like the sort of kookiness of the ending and I like the <i>Louie Louie </i>quote</li>
<li><u>Don't Eat the Yellow Snow</u>: There exists no version from the late 70's revival of this song, I care all that much for. In fact, though I love it, it never reached the highs it would during those 73 shows. So I'm hoping it's just <i>Yellow Snow</i> and not the entire suite. Well fuck me, because we got all 18 fucking minutes. Also it's fucking 2:26 in the morning, not looking forward to being up another 34 minutes because of this track. I don't know what it is but I get bothered by the keyboards playing the marimba part. I mean this is superior to the <i>On Stage #1</i> version, but I far appreciate the <i><a href="http://danburnettealbumreviews.blogspot.com/2016/11/the-crux-of-biscuit-frank-zappa.html"><span style="color: #cfe2f3;">Crux the Biscuit</span></a> </i>live version and my favorite version <i><a href="http://danburnettealbumreviews.blogspot.com/2012/03/apostrophe-frank-zappa.html"><span style="color: #cfe2f3;">Apostrophe</span></a></i>. Like I honestly get very little out of this track. The one highlight for me, if I'm being honest, is the Chicago name drop in "unknown to the people on this area" part. I'm glad the audience participation isn't a poetry reading. And the voting comment did make me laugh, but I don't know. Part of the charm of the track for me is the commentary and his ad libs and jokes to the audience, in the live versions. This one has some nice little things that do make me laugh. The marimba works, but the keyboards in the <i><a href="http://danburnettealbumreviews.blogspot.com/2012/03/apostrophe-frank-zappa.html"><span style="color: #6fa8dc;">St Alphonso</span></a> </i>into bother me and I'm not jiving at all with this version of <i><a href="http://danburnettealbumreviews.blogspot.com/2012/03/apostrophe-frank-zappa.html"><span style="color: #6fa8dc;">St Al</span></a></i>. There' only like two parts I like, the part where they repeat it before the "stole the margarine" line and that instrumental section following because they keys aren't so prominent. <i><a href="http://danburnettealbumreviews.blogspot.com/2012/03/apostrophe-frank-zappa.html"><span style="color: #6fa8dc;">Father Oblivion</span></a></i> is good enough, but I feel like something's missing. <i>Napi</i> does a really great version with his vocals. I don't know, they changed enough to make it this bands, but it just doesn't have that charm. The "domnius vo-bisque" section is okay enough. This includes <i>Rollo</i>, and while I dig it I don't dig the lyrics to the song. It kind of ruins the subtlety. I know, <i>Frank</i> and subtlety that's a joke right? But in the original you could tell he was jerking off, they didn't come out and say cock. They make it kind of obvious but don't say it. I don't know, it's just kinda like. Oh in case you're a fucking idiot, he's masturbating.</li>
<li><u><b>Strictly Genteel</b></u>: I was really looking forward to this one too, and this is the encore. This was worth the wait, though it doesn't really differ from the <i>On Stage #6 </i>version. I do wish this was the closer though, but I do like the shorter versions of the following track anyway, so this should be a nice ending.</li>
<li><u>Black Napkins</u>: Closing is an appropriate number, and a classic, Negro Nakins (in a <i>Thing Fish </i>vernacular). I guess this is shorter maybe because of the shitty version of <i>Yellow Snow</i>. This is a solid version of the track and doesn't over stay it's welcome. A nice closer.</li>
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Overall I have to give this album a 7/10. I mean I guess in theory, this isn't anything new. The earlier albums I mentioned all have this so you're not really getting much new. I mean if you like this period it's solid, but I don't think I'll revisit this outside of the bold tracks. I will say there exist version of all the songs here I do enjoy listening to, it's just some of these aren't the ones I'd go to or really even like enough to revisit. I think the best comparison is to a film. A really good film pulls you in and you forget what's going on other than the Film. It's as if your a part of it, these songs for the most part don't do that. Some do. But most don't. One thing I also want to point out is of all the tracks released this year; all 153 (including alternate takes/versions) the best, outside of <i>Meat Light</i>, were tracks like <i>Twenty-One</i>, <i>Little House</i>, <i><a href="http://danburnettealbumreviews.blogspot.com/2016/06/road-tapes-venue-3-frank-zappa.html"><span style="color: #6fa8dc;">King Kong/Igor's Boogie</span></a></i>, <i><a href="http://danburnettealbumreviews.blogspot.com/2016/06/road-tapes-venue-3-frank-zappa.html"><span style="color: #6fa8dc;">A Piece of Contemporary Music</span></a></i> and the other longer instrumental tracks. Why not just put those in a compilation a llah <i>On Stage</i>. I mean I why release complete concerts if the material is 90 been heard in other shows. Maybe make Joes Solage an album of solos a llsh <i>Shut Up</i>/<i>Guitar</i>/<i>Trance Fusion</i>. Or make a new album with goodies weve never heard. </div>
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Danhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.com0tag:blogger.com,1999:blog-2454518670323856077.post-78445485074985895962016-11-23T19:04:00.000-06:002016-11-23T19:05:01.841-06:00The Stage - Avenged Sevenfold<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-DhqBOvWpxUo/WBOs0hqQmfI/AAAAAAAAiUc/M5VbmjaFlFA-BqBRp_JDVt4YZ0QPGj2NACLcB/s1600/The%2BStage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="" border="0" height="400" src="https://2.bp.blogspot.com/-DhqBOvWpxUo/WBOs0hqQmfI/AAAAAAAAiUc/M5VbmjaFlFA-BqBRp_JDVt4YZ0QPGj2NACLcB/s400/The%2BStage.jpg" title="Spotify" width="400" /></a></div>
This is new studio album from <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Avenged%20Sevenfold"><span style="color: #9fc5e8;">Avenged Sevenfold</span></a></i>. It happens to be album number 7 and is their first for Capitol after a stint of 4 albums with Warner. This is also their first with new drummer <i>Brooks Wackerman</i>, brother of <i>Chad Wackerman</i> who drummed with <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Frank%20Zappa"><span style="color: #9fc5e8;">Zappa</span></a></i> for almost the entirety of the 80's (81-88) but then also did some overdub work from him I believe in 1993. Whatever he was <i>Zappa</i>'s last drummer. I'm kinda glad they dropped in in October instead of December, though... the name is kinda... it's really stupid. Once I saw the credits I'm glad they have a nice variety of instruments that's probably a stupid thing to note but I think it works.<br />
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<ol>
<li><u>The Stage</u>: So the first time I heard this I was not really excited. I saw the title and the single cover and though it was kinda dumb. Once I heard the song I didn't hate it, but I didn't like it either. I mean it isn't a bad song... but it felt like they were doing what they've already done before but not as effectively. Like where are the "chances" being taken and what not. I hear the melodic direction, and the aggression but I don't really feel the aggression or the punch. I really do like the ending though, with the nylon string guitar. Thought I feel like that could have been worked into the song better maybe. Like I don't know, it flows but not as well as it could have.... I don't know. The biggest fault though, imo, is the vocals. They don't really work with the delivery for this track. The opening reminded me of <i>Not Ready to Die</i>, played by <i>Jason Freese</i>, and the song portion kinda reminds me of <i>Carry On</i> or <i>Flash of the Blade</i> at first. The song isn't a travesty but I just don't jive with it the way I do with even <i><a href="http://danburnettealbumreviews.blogspot.com/2013/09/hail-to-king-avenged-sevenfold.html"><span style="color: #6fa8dc;">Heretic</span></a></i>. While <i><a href="http://danburnettealbumreviews.blogspot.com/2013/09/hail-to-king-avenged-sevenfold.html"><span style="color: #6fa8dc;">Requiem</span></a></i> is a song I still dig, and needed a dozen or so listens to appreciate.... I'm not getting anything here. The introduction should pump you up and take you there and it should only grow in its awesomeness. This just kinda doesn't go anywhere and the more I listen to this the less I feel a connection to it. Though I like the drums. The solo is pretty solid and I like how it slows down for a sort of feeling that I've heard on, <i><a href="http://danburnettealbumreviews.blogspot.com/2012/01/nightmare-avenged-sevenfold.html"><span style="color: #6fa8dc;">Victim</span></a></i> if memory serves. But again it's okay, but does nothing for me. And most insulting is I barely remember anything once it's over. Even right after I hear the album. I also wish the transition into the nylon string guitar was done a bit better maybe. </li>
<li><u>Paradigm</u>: This is pretty aggro, but again I'm finding error with the vocals. The feeling I get is there should be a swagger with the vocals in that intro, but I'm not quite feeling it. The drumming sounds great, and that growl sounds tasty but one of my initial impressions was "I feel like this needs more listens". The solo is pretty nice though, even though the first part doesn't do much. The second part has a punch and some power behind it, but it seems too buried in the mix for it to be fully aggro. I definitely think it should be turned up in the mix. </li>
<li><u>Sunny Disposition</u>: This introduction reminds me a bit of <i>Waking the Fallen</i>. I'm thinking <i>Radiant Eclipse</i> but heavier. The first time thought it seems a bit dizzying and I'm assuming this is intentional. The horns are a nice touch you wouldn't expect, though I feel strings could also add to the song at accenting the vocal line. There's also this <i><a href="http://danburnettealbumreviews.blogspot.com/2013/09/hail-to-king-avenged-sevenfold.html"><span style="color: #6fa8dc;">Planets</span></a></i> feeling to it a bit. Like it feels like a few different songs mixed together and blended to make this song that I don't know if it's a mess or if it's weird in a good way. I mean I get they wanted horns but not sure if they fit this track. It almost feels like <i>ALPoH</i>. It's kinda a jumble fuck. But worst of all it's too long. </li>
<li><u>God Damn</u>: What a bland song title. Whatever happened to <i>Warmness on the Soul</i>, <i>Desecrate Through Reverence</i>, <i>Clairvoyant Disease</i>, <i>Lips of Deceit</i>. While you may go, corny or lame, you can't deny those paint a picture in your head and make you think for a second. God Damn makes me go " okay, well I don't know if this'll be good but I don't care for the title". The song part is okay and the music isn't half bad. In fact the music during the chorus I've even warmed up to. I'm just not feeling these chorus lyrics, though as I've said I do like the harmonies and the sort of contrast to the verses music. It's lightens up, apposed to the aggression. And they just pulled on my nostalgic heart strings ah-lah, <i>Desecrate Through Reverence</i>/<i>Heretic</i>. Those fucking drums. I don't mind the solo, and I don't mind that Spanish <i>Sidewinder</i> section. But again this doesn't really do anything. </li>
<li><u>Creating God</u>: I can feel the weird feeling of this, and I like the four on the floor but I'm feeling like I've heard something like this somewhere else. This reminds me of a radio friendly type song, that while not really that weird people might go.... hey that's weird. I feel like, this'll be single. I'm calling it, this sounds like it was written for the radio. Especially the chorus, even though I think it's probably one of the weaker songs and isn't really challenging to me. I know I haven't read the lyrics to this song but the words I hear are having me scratch my head. Not in a I don't get it, but more of a I don't like this. The solo works, but I'm not feeling this one overall. The vocals are what kill it for me, the music is just okay, but the vocals kind of put it in this coffin. Though I guess that riff doesn't work to my savor. That's correct use of that right? Who cares.</li>
<li><u>Angels</u>: This song, I don't know. I do like the eerie atmosphere to this one, it's kind of something I didn't expect and I'm glad they kinda keep in for the entire track. The solo is a nice solo, this could have used strings though. The second solo, played by the good old <i>Papa Gates</i>, is much more interesting I think than <i>Syn</i>'s. I will say this track would benefit from that nylon string guitar at the ending more than the title track did. Though I'm not sure they would have worked with the next track as a segue. I want to point out the thing that kind of warms my heart a bit is that chorus, it sounds a bit like a mellotron is being used. I'm pretty sure they aren't using one, but it reminds me of one a bit. Like sampled strings, but a primitive one.</li>
<li><u>Simulation</u>: So I do like the sound effects and the sort of electric piano sound that happens during the verses and the whole atmosphere that is created here. It sounds more like an organ, but whatever. It works for this type of album cover, well the intro at least. Now I feel like the two sections should flow better. Like the effects sound hold over into that drum roll for a few seconds before he starts talking. I think the whole drill sergeant thing doesn't really work that well, but they're going for chaotic. I'm not sure if this works though...... the idea is a cool idea and it kinda of reminds me of a variation of the <i><a href="http://danburnettealbumreviews.blogspot.com/2012/01/nightmare-avenged-sevenfold.html"><span style="color: #6fa8dc;">Nightmare</span></a> </i>music video. Like maybe what they were saying but you couldn't hear because of the song. The nurse is actually <i>Val</i>, <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/M.%20Shadows"><span style="color: #9fc5e8;">Matt</span></a></i>'s wife. I wanna point out the more I hear that part the more I cringe. I do think they achieved chaos in the song but I kind want more. I've recorded more chaotic stuff, though it's not complete yet, in my basement. They say that <i>River James Sanders</i>,<i> </i>who's <i>Val</i> and <i>Matt</i>'s son, and <i>Tennessee James Baker</i>, who I assume is <i>Zacky</i>'s son are backing vocalists on this track. I didn't hear their voices the first time though. I assume it might be mixed in though to the chaos. I guess the whole AI thing has to do with this track, whatever I'm not really digging into that bullshit. I'm more interested in the music and the profound nature of the lyrics. The most upsetting this is like nothing, I mean yeah the chaos sounds cool, but like I'm not feeling anything. I mean, to be honest, I'd much rather listen to <i>Oxygen</i> or <i>For Adolphe Sax</i> or I don't know something more chaotic. I will say though, after <i>Val</i> talks that solo is fucking tasty. Top notch and it is almost worth playing this song to get to it. Almost, but again, not completely. I mean I guess the evil prayer on <i>Requiem</i> is cheesy, but that song is not only bad ass but it works.</li>
<li><u><b>Higher</b></u>: I don't think this works on spotify, you can't have interruptions in the middle of the songs. Like I feel like that completely ruined my impression of this song, given how it started. Fucking asshole commercials. I do like the song, but I didn't get the full impact until I picked up my CD copy. I did like the ideas going on and what was happening in the song, like the different flavors mixed in there. The piano and the multi tracked vocals work I think. I mean there is a bit where I'm like... eh, but for the most part I liked that introduction. Now the song starts and I'm not feeling that as much, I do like the sort of odd time to the riff. I can't pin the time signature, but it sounds like there is an extra 8th or 16th note. I like it. The chorus is nice, but first time thought it's too short. The vocals though, like they hurt my ears at parts. I like the sort of choir that is behind the prelude to the solo. I could be wrong, but did I correctly count 4 over 3. The choir that sound like its out of an 80's or 90's song. It kinda reminds me of <i>Like A Prayer</i> a bit. I don't really approve of the effect on his vocal, but I think it works. I like that piano that has a little part for just like two seconds. There are a lot of nice details in this song. It isn't prefect, but I like parts. And the piano towards the ending reminds me of <i><a href="http://danburnettealbumreviews.blogspot.com/2016/07/the-real-thing-faith-no-more.html"><span style="color: #6fa8dc;">Epic</span></a></i>. It's a decent track {7/8}.</li>
<li><u>Roman Sky</u>: This opens promising, with a guitar that hark-ins to the ballad off the last album. So why are they fucking with his vocals. This feels like a shitty version of <i><a href="http://danburnettealbumreviews.blogspot.com/2013/09/hail-to-king-avenged-sevenfold.html"><span style="color: #6fa8dc;">Crimson Day</span></a></i>, or at least a version that doesn't click. I will say, the guitar is still pretty solid and I wonder what key or mode or scales he's using for this. But the strings are a bit irritating me, like the best part of the song is getting burried. And I guess as it progresses the instruments balance much better and the song unfolds into a solid track. But that first minute and a half or so is like a bit cluttered. The balance is all fucked. And I guess I could nit pick the balance with those strings are very fucking. Okay it's supposed to be gorgeous and heartfelt and pretty, and it feels generic. They are pretty, but it's not pulling on my heartstrings the same way <i><a href="http://danburnettealbumreviews.blogspot.com/2013/09/hail-to-king-avenged-sevenfold.html"><span style="color: #6fa8dc;">Acid Rain</span></a> </i>does. It has it's moments, like during the solo, the arrangement works very well. In fact I hear some <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Yngwie%20Malmsteen"><span style="color: #9fc5e8;">Malmsteen</span></a></i> in the solo. But like I don't know, I don't think I can bold this track, there are to many moments it's off for me. And those two songs I compared this two, I actually went back and revisited them to hear why they work and it's because the lyrics are much better first, the vocals also are more effective. But you feel the emotion and the guitar doesn't come in and out it kind of plays it quite, until the solo. It's kinda like too much at once isn't good. Both of those ballads have phenomenal arrangements, this isn't really. Simple but effective, this is not simple and not effective.</li>
<li><u>Fermi Paradox</u>: The drums introducing this song has a nice feeling to them and I like energy of this track. The intro also reminds me a bit of a not stripped version of something off <i><a href="http://danburnettealbumreviews.blogspot.com/2013/09/hail-to-king-avenged-sevenfold.html"><span style="color: #cfe2f3;">Hail to the King</span></a></i>. I still think the guitar should have more punch, but it works..... But I'll admit, the second the vocals started I made a fact that was like "did someone just shit down here". The vocals ruin this song, and the energy just dies. Like instantly, though I do like they guest guitar work from <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Yngwie%20Malmsteen"><span style="color: #9fc5e8;">Yngwie</span></a></i>. That's a joke by the way, but it sounds like something I could hear on one of his record. I like the vamp for the solo, and the solo itself works fine. Also I am aware of the Fermi Paradox, but I forgot what it was called. Like I have heard of it, I just didn't recall what it was called... if that makes any sense. The whole, we can logically assume this exists but if it does then why don't we have enough proof to suggest that it even could exist. Also I can't be the only one to cringe when I hear those "AMSR" vocal part. No, not good.</li>
<li><u><b>Exist</b></u>: This albums sonic attempt at making a <i><a href="http://danburnettealbumreviews.blogspot.com/2012/01/nightmare-avenged-sevenfold.html"><span style="color: #6fa8dc;">Save Me</span></a></i>,<i> </i>or rather an epic closer kinda. I will say it's a pretty solid track that needed multiple listens, it's much more effective than <i><a href="http://danburnettealbumreviews.blogspot.com/2015/09/the-book-of-souls-iron-maiden.html"><span style="color: #cfe2f3;">Book of Souls</span></a></i>. longer cuts, and the composition is pretty nice. There are lots of sequences and classical touches and I think it's a well arranged track. There are parts in that intro where I feel it's up to the power of <i>Save Me</i>.The dual lead in the one descending riff is awesome. I also like the other descending riff, even though it also ascends. The horns reminds me a bit of <i>Planets</i>. Actually this could be a mix between <i>Save Me </i>and <i>Planets</i>. There is this sort of solo before the vocals section come in and it give me goosebumps. Loving that tone, and then I really love the electric "acoustic" guitar that leads introduces the vocals. I think the vocals are fine here, and this part in and of it's self is a great song. Kind reminds me a bit of <i>Gunslinger</i>. It's also a nice contrast and way more relaxed, and is a nice contrast of what happens later. Everybody sounds good here, though I am not crazy about the effect on <i>Matt</i>'s voice. It doesn't ruin the vocals though, just a slight nit pick more than a real problem. I also love when the strings come in and I'm glad they had them come in... thought I'm not crazy about the drums at that part before the chorus. It kinda felt odd, or maybe off a bit. Like kinda oh lets put something rather than work I guess. I don't know. I really like the bass line in the track and everything works together to progress the song and the details are really nice. The transitions and developments into the solo are nice too, thought I don't think the solo is mixed loud enough, but that's just me. I do like the keyboard sequence here, the guitar also has a nice accent feeling. And I really like what's happening here. When I saw <i>Neil deGrasse Tyson</i> I kinda rolled my eyes. I was like wow, they would.... or anyone would really. I understand what he's saying works, but I don't think it sonically sounds that good. Like the way it is like it was over the phone in the background. Not really feeling that, but I think the words work I guess. The only thing is eventually there should be a part where <i>Syn </i>just fucking shreds. They probably kept it out to have the focus on the the words, but I don't know I kinda what that solo to add so there's something more to hear beyond listen 3 or 4. Also I mean I get what he's saying but I kind of disagree. Basically people are very shitty and self absorbed partially because we only see us. We need to realize how truly insignificant we actually are, and maybe then we'd "grow up". He uses bigger words to convey what he's saying, but I don't think people'd be less shitty if we did that. Maybe I'm misunderstanding that, maybe he's just saying he doesn't get caught up in the retardation that is us. But people have been around for how long? We still have many of the same problems like war, corruption/manipulation, intolerance, pride, ignorance, willingness to be ignorant among many others. So I doubt that'll ever change. If it somehow did, it would eventually crumble and we'd be fucked in the ass again, its only human. Well never be a Star Trek society unless you force us to be against our will. But this is a great tune and probably the best one here. The 15 minutes is justified. {8/10}</li>
</ol>
<div>
Overall I have to give this album a 7/10. My initial listen I was unsure if I liked, it was okay and I was satisfied. The one thing though is it didn't feel like <i>Avenged</i>. That's not a bad thing, but that's also not a really good thing. After a few listens, like enough to where I was like... "Okay, this is what I think" I realized something. I don't think I'm gonna be listening to this album by the time the next one comes out. Hell two months from this review I probably won't. There is something about it that just doesn't click for me. The other bands I've out grown almost completely, I like this more than them. But like, <i>Brooks </i>is a solid drummer, but I'm not sure he should have wrote with them. Though they kind of have to change their sound because they don't have <i>The Rev</i> anymore, and <i>Arin</i>'s gone, so I don't know. I will applaud them for kind of throwing me off the trail of predicting what will happen next. So many bands make albums and I can listen to 10 seconds or 30 seconds and know what's gonna happen or have the basic idea. In fact, most of those bands you can listen to three songs and you've gotten more out of that than listening to the 11-15 tracks. I respect they aren't going back, or stripping down, they're pushing ahead. There's a lot of good ideas on this record, but like so close. I wonder if they were trying to do a more complex version of the last record. But they also made a less effective one, the tracks on that that are good still are good. I don't know, I think I'd rather revisit <i>"We got it from Here.... Thank You 4 Your service." </i>or for sure <i>Blackstar </i>and maybe <i>untitled unmastered</i>. I guess it's just depressing I bought two CDs this year, and one of them I only have to complete my collection. Ill probably do the next album by these guys but my stance on my fan hood has been shook. Maybe l'l do my favorite album of their next.</div>
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Danhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.com0tag:blogger.com,1999:blog-2454518670323856077.post-27784889806882620772016-11-21T00:00:00.000-06:002016-11-21T14:30:18.925-06:00Outlandos d'Amour - The Police<div class="separator" style="clear: both; text-align: center;">
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Today I have a very easy, simple review to do here. This is the 1978 debut album by <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/The%20Police"><span style="color: #9fc5e8;">The Police</span></a></i>, the UK's best at mixing Reggae and Punk and also new wave. This cover I have is the original UK version, and while I prefer the US version, it is what it is. For the longest time, I've considered to one of my favorite albums of all time. I actually don't have much to say about this album other than I hold it dear to my heart and it has memories for me. Now not all memories are good, and can often be debunked. That made no sense, point is let's see if this holds up.<br />
<ol>
<li><u><b>Next to You</b></u>: Opening we get a solid number with some nice drums. This is a punky feeling song and has such a catchy chorus its so good. I love the drums in this track and think everything about this track is a great opening to get you excited for this record. It sticks with you and the track slows down a bit for the solo, which sounds out of the <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Joe%20Perry"><span style="color: #9fc5e8;">Joe Perry</span></a></i> playbook on like <i>Draw the Line</i>. The transition back into the drums and the sing works very well and the song goes by quite fast. Great opener. </li>
<li><u><b style="background-color: #444444;">So Lonely</b></u>: Great great tune and a favorite of mine. I love the guitar tine and can inky imagine how it sounds in vinyl. The drums are solid and the sort of ska feeling is great. I fucking love this chorus and I can't tell you how engraved in my memory this song is. The second it started I was like fuck yes. I love the little touches and the lead during the verses. The harmonies are great on this and so far there batting 2 for 2. Another great solo. While maybe not as good as the last, there are parts that are great in this one. And once it picks up and is in the feeling it works and the bass you hear. Also I wanna say that two seconds of harmonica actually is a nice touch. I know its super short but I think it works. The breakdown is very nice and I love how <i>Gordon</i> is joined by other members. It feel like an angry teenager who is lonely and mad because of it. </li>
<li><u><b style="background-color: #444444;">Roxanne</b></u>: The, some could say, over played hit by the group. I myself have over played it, and haven't actually listened to it for a very long time. I mean I still love this and it is also engraved in my consciousness but I think the reggae beat and the laugh at the beginning works very well. The lyrics to me work very well and I almost picture someone playing on the streets singing to or about his lover who works the streets. The baseline in this is also freaking great and I love how its on their two 8ths on the first two of the 1. Does that make sense. I hope its in four four and NY math is correct. I don't know and don't care. I fucking give this song. </li>
<li><u><b>Hole in My Life</b></u>: This song may not be as good in my opinion as the others but us a great change of pace. I love the vocals on this and they works very well. The reggae beat and the punk vibe to the drums. Is this actually ska, correct? I really like the chorus and I love that bass tone. This actually kind if reminds me a but if <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/The%20Beatles"><span style="color: #9fc5e8;">The Beatles</span></a></i> on say...... <i><a href="http://danburnettealbumreviews.blogspot.com/2016/08/revolver-beatles.html"><span style="color: #cfe2f3;">Revolver</span></a></i>. I don't know why, or exactly what song but if you read this and hear <i>The Beatles</i> in this track let me know. This is a very well constructed song and I live the piano in the track. I am glad it want just done straight you know, they add to the sings and have it grow. The bass reminds me a but of <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Frank%20Zappa"><span style="color: #9fc5e8;">Zappa</span></a></i>'s 80's bands but also <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Paul%20McCartney"><span style="color: #9fc5e8;">Macca</span></a></i> on a later <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/The%20Beatles"><span style="color: #9fc5e8;">Beatles</span></a></i> record. I ale love the ending a great thing I didn't expect. </li>
<li><u><b>Peanuts</b></u>: This always made me laugh a bit. Like what the fuck. I actually really dig this drum beat and I like the sort if proto-<i>Synchronicity</i> feeling to this. This is also one of my favorite songs by the band. I love how everything sounds together and it is like a sped up version or a faster version if the track mentioned. I also love the noise that is the solo. Honestly, its freaking great. I wonder if <i><a href="http://danburnettealbumreviews.blogspot.com/search/label/Frank%20Zappa"><span style="color: #9fc5e8;">Frank</span></a></i> came in and played the solo for this. Kinda reminds me of <i>Zomby Woof</i> a bit. Its pure emotion. The electric piano/synth on the track is something I forgot about but I'm glad its there and I really like that part, though it doesn't do much. And I love how I get exactly what I wanted at the ending. Chaos, though is wished they guitar came back. </li>
<li><u><b>Can't Stand Loosing You</b></u>: This is another song I've listened to so many times I might do legit review without even listening to it while I do it. Originally I dug the song, but now looking back i find a humor to it. Where it was once, kind of dark I have grown to have a dark sense of humor since those initial listens. I really like the sharp guitar on this track and find the lyrics to be humorous. I also love the catchy chorus and it comes and goes quite fast. </li>
<li><u><b>Truth Hits Everbody</b></u>: I really dig the riff to this song and this this is a nice change of pace. While its nothing completely different it kinda has a different vibe than the other tracks. I really like the harmonies on this and love the new wave feeling. Its a rocker. </li>
<li><u>Born in the 50's</u>: This is another rocker, but more of a rocker. This has a bit of nostalgic I'd assume for the band. The song its self is just okay, one of the weaker songs. I do think again though its welcome as a change if pace. Its a lighter type of track without such sharp guitar. It isn't that different than <i>Can't Stand Loosing You</i>, with that in mind. </li>
<li><u>Be My Girl - Sally</u>: I like this song and it kind makes up for the last track. The guitar intro is awesome and the bass accompanying it works very well. The vocals in the beginning are okay and it isn't anything on here you haven't heard really. But what I like about this track id the weird as spoken word thing that I wanna say comes out of nowhere. I like that piano in there, and it takes you by surprise. Its got this weird ass feeling to it, but I won't say who sally is. Then the sing fades back in and you just laugh now that you know the who Sally is. This ends with a weird shriek and is fitting to come before the instrumental track. </li>
<li><u><b>Masoko Tango</b></u>: Closing is an instrumental that time has only done this in its favor for me(?). That's not proper English, but who fucking cares. While there are vocals I don't know if its actually anything. The bass on here is phenomenal and the drums keep the beat very well. I really like the guitar on here and this has a odd feeling to it. There's also these swipes of effects that come and go in different places. Almost like sped up/reversed feedback. I like how it kind of gets drowned in the effects almost as the song progresses. The effects wouldn't sound out of place in <i>Revolver</i>. I really dig this track and live the drums and that weird ending that fades out. </li>
</ol>
<div>
Overall I have to give this classic at 8.5/10. I think this holds up and is a really fun and simple record that is worth checking out if you haven't heard it before. Solid record and really good.</div>
Danhttp://www.blogger.com/profile/07142886720643992968noreply@blogger.com0