Christmas '64 - The Incredible Jimmy Smith

This is the first and only Christmas album released by Jimmy Smith. I kind of decided to review this album because the first time I did this I decided to do a Jimmy McGriff album, oh whom I'd mix up with Jimmy Smith. 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 Rudy van Gelder 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 Kenny Burrell, Al Cohn, Art Davis and Billy Hart along with a number of people whom I don't recognize, but have played on records I want to or have heard.

1. God Rest Ye Merry Gentlemen: 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 Thus Spoke 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.
2. Jingle Bells: Ah we meet again for round number four. This time though, it's only a trio. With Quentin Warren on guitar and Billy Hart 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.
3. We Three Kings of Orient Are: 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 
4. The Christmas Song: Fuck this song, I think it's so stupid it's called this. Chestnuts 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.
5. White Christmas: 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.
6. Santa Claus is Coming to Town: This is a cover of a song later covered by Bruce Springsteen. 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.
7. Silent Night: I did like the version on Jackie's album. And this is the orchestra again, it's almost like they got him to guest appear on his own album [Jimmy]. 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.
8. God Rest Ye Merry Gentlemen: 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.

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.

Merry Christmas from Jackie Wilson

Last time I reviewed Elvis, this time I'm doing the guy who Elvis called the Black Elvis. With that being said, this is Jackie Wilson's sole Christmas album from 1963. Now unlike the James Brown Christmas this is all covers, and while I love Jackie, 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 Sinatra Christmas. The album was conducted by two guys, Dick Jacobs (1-3, 6, 8, 9) and Alan Lorber (4, 5, 7, 10-12)

1. Silent Night: 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.
2. White Christmas: I think I've grown to find humor in this track. Probably because of Uncle Bernie's Farm, 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.
3. O Holy Night (Cantique de Noël): This is a standard version of the song. But the vocals are great and you feel Jackie singing in it.This isn't the These Arms of Mine. 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 The Jefferson Theme. You know what I mean? I think it'd be a nice touch.
4. The First Noel: 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.
5. Deck the Halls:  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 Jackie 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 Beatles or folk tune and the arrangement doesn't work. You end up with a sort of "this is...... kinda good? right?" feeling. Billy Paul's Magic Carpet Ride for example.
6. Silver Bells: I never cared for this sing. It is kind if stupid if I'm being honest. This has this sort of Felice Navi Dad 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.
7. Joy to the World: 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.
8. It Came Upon a Midnight Clear: So this track, while not done particularly crazy or different or even new... Works. How you say? Jackie 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.
9. Adeste Fideles: Sinatra, 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.
10. I'll Be Home for Christmas: 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.
11. O Little Town of Bethlehem: 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.
12. God Rest Ye Merry, Gentlemen: Hey, guess what. Next we have one Jimmy Smith 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.

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 Jimmy McGriff, Jimmy Smith 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 Ain't that Good News 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 "Awaken, My Love!". I can't believe how much I'm digging this thing.

Witchcraft Destroys Minds & Reaps Souls - Coven

So to kick off my less Halloween-tackular-bonanza-onzi-Month-A-Palooza (fucking let me die please), I have decided to do an album I've been putting off for a while. Why have I been putting it off, because I forgot about it to be honest, the review. This is the debut by Chicago satanists Coven. I chose to initially review this album because it predates Black Sabbath by a year, also another funny thing about this is there's a member that's nickname is Oz. Also Jinx used to do devil horns on stage before Dio was performing. She also gets naked in the gate-fold, but she's much cuter on the cover than naked (IMO). This was pulled after only a short shelf life because of the satanic themes, remember this was 1969, not 2016. But whatever, I still dig this thing and am reviewing it. Oh also, check out the wikipedia page, there's a really interesting story about the songwriter for the record. Not occult odd, just kind.... well you'll see.

1. Black Sabbath: This is a shot for shot remake of the film of the same name. This opens with a sort of groove, that I wouldn't expect to be here. It's a very interesting sounding sort of vamp over the vocals. The keys, or effects add this sort of horror film eerie dissonant sounds. I like the guitar tone, and I think the vocals and are sort of added too, during the long notes with that echo or dissonance.  The songs has this sort of pivot with drum rolls and it does into a much harder rocking part. That ends with sort of cadence, but I love it because it makes me wanna sing a patriotic song sort of. Not really, but that's what comes to mind. I really like the bass and the sort of marching feeling that is hypnotic and could be them summoning something. I can't believe they fit this much shit, in the best way possible, into 3 1/2 minutes. This is a really well put together track that has great flow and the "pivots" work and don't detract at all.
2. White Witch of Rose Hall: Okay, off the bat I'ma be straigh, this is a phenomenal track. I could so easily see this being a soul song, if it didn't find it's home on this record. The percussion is pretty solid, though it kinda sounds a bit off a parts but it's all good. The vocals here are great and the groove and forward pushing drive of this song is great. The piano sounds fucking great and they even were able to throw in some variation. Fucking James Vincent, I gotta look into more of his shit. I really like the percussive sounds they got on this track, and it's kinda like outta nowhere. I'd never in 1 million years expect this to be on this type of album.
3. Coven in Charing Cross: Ah. Classic titular band track. This song has a very psychedelic feeling, but it kinda makes me smile. Hippies were like, happy and "peaceful" but it's funny to hear that mentality and sound for something more conventionally sinister. I love that group chant that makes it almost sound as if it's a cult, but this is a pretty solid tune. There is a song this kind of reminds me of, but I can't quite finger it. I don't like this as much as the last track, but I do still think it's pretty solid. The only thing I think they could have changed was maybe that last longer chant they could have had music or something going on to make it sound hypnotic or more textured. Like it happens three times, each time I think should be start stop start stop. Why not have it start, stop, then start then trip out. I fee like the sound could have been shortened, but I feel like based off the last two songs they could have done something really good with those two other pauses. Hell even reading the chant over the outro solo or having that phase out and then the segue in with a vocal harmonies and someone over it. I have tons of ideas for it.
4. For Unlawful Carnal Knowledge: This is a cover the the Van Halen album of the same name. But oddly enough this sounds much more reminiscent of The Doors. Maybe mixed with Uriah Heep's keyboards (only so slightly though). This still is a great tune, don't get me wrong. I love the grooves and the fucking bass player. Damn, I love that bass line (the tone). This could pass as a Door's reworking or a version before Jim joined the band. Hypothetically speaking of course.
5. Pact with Lucifer: This is a song that is kind of standard, it really isn't blowing me as much away as one of the other tracks. It's not bad, but it's kind just like a song with Satanic lyrics that could have been recorded at the time. This could so be a Jefferson Airplane song.
6. Choke, Thirst, Die: This is what my ex used to yell during sex, so as you can tell I have a sort of nostalgic connection to the song. Holy shit, does this remind anyone else of Soft Paradise. Mixed with Stange Days maybe a bit. There is a great solo on the track, I do really dig, but the song is just another song that kinda fits. It isn't throwing anything new at me. I do really like the vamp feeling to it though and the keys really sound great. There's a part where it sort of has a pre-solo vamp section, and they just go to the introduction. Like what the fuck bru, I get that it does pick up, but still.
7. Wicked Games: This is a song based on a cover of The Weeknd's hit Wicked Games, adapted to modern texts. This is a pretty solid tune and it's good a nice feeling to it. Again there isn't anything crazy here,
8. Dignitaries of Hell: This so reminds me of Cream in the beginning. Though I do like the keys added, like it gives a different flavor to the sound you know. Like an extra texture.
9. Portrait: of a picture of my parents, as I left for California? This is another track that fits, but it's a bit more organ heavy maybe. It kinda feels like a less intresting version of something happening on Fly to the Rainbow.
10. Satanic Mass: This track, at 12 minutes, is the longest by far and most unconventional track too. It's an actual "induction" into what sounds like The Church of Satan. It's creepy and in my option, something you only need to hear once, unless your an occultist or into paganism or satanic imagery, literally. I mean it's just kinda bizarre, it'd be like listening to a baptism on a record..... But into the Church of Satan. Not saying that its fucked because its for Satan, or whatever strain of Satanism it is. I'm more in the, its 12 minutes of an induction ceremony, so like do i really want to revisit this... Regardless of what its into. I don't know you know, its unique I guess but it is what it is. It also has a writing credit to Bill Traut (the guy who produced a number of singles and albums, but for me most notably the first four Styx records). #BillTrautIllimanitiExposed

Overall I have to give this album a 7.8/10. I like the record, there's a punch you dig. All terrible jokes, and confusing dumbass references aside check this out. It's a great rock record and great for Halloween. I think they sort of lost their creative steam after track three, but that's not a terrible thing. I know a ton of people who like songs that work together. It's not so bad it blends, but they all work on the same album. I just wish there were more parts that kind of threw in changes, and things out of nowhere (or at least changed it up a bit). Check it out if you think the cover, the themes, or anything about it is intresting. Hell even if it's just outta morbid curiosity listen to the last track. I think it can be summed up as if Jefferson Airplane, mixed with The Doors. And also if Janis Joplin wasn't boring as fuck. Side note: I wonder what this would have been if it was a live record.

Complete & Unbelievable: The Otis Redding Dictionary of Soul

So I just listened to Endless, and if Blonde is anything like it it'll be kinda of boring and then end on a mind fuck of I don't know. But not good. So to combat that I decided to pick something that does indeed have songs, that aren't complete snooze fests. This is the fifth studio album by southern soul legend Otis Redding. Now what do I have to say about this guy.... Well first off he's amazing. This also sadly happens to be his final solo studio effort released during his lifetime (the Carla Thomas duet King & Queen album the next year, followed by Live in Europe). So why not review this and hear the last album this man made before he passed. October 15th, 2016 is the 50th anniversary of this album, but since that month is devoted to Halloween Month, I'll do this now. Something else I want to mention, just really fast, is I will review all the albums from the debut of Pain in my Heart to at least final posthumous Tell the Truth (possibly do live albums after that too). Just a side note.

1. Fa-Fa-Fa-Fa-Fa (Sad Song): Opening the album is a horns that are pretty promising. I don't really like the refrain, I just can't get into it. But the song's verses are pretty solid and I like the groove. There's a chill feeling to it, and the second refrain isn't so "bad". I mean it feels like they aren't fucking up I guess. I do like the feeling though, all though it's also not the saddest song he's ever done. So I don't know if Sad is the right title for this. It's not that I don't like this song, I just think there are far stronger tunes by Otis that should be hits or more well known I guess.
2. I'm Sick Y'all: I actually do really like the keys on this, and can totally see this song being sampled for hip-hop music. Like to be honest this is a better song to sample than say, Try a Little Tenderness just for the vocal loop *cough*. The drums have a punch to them and then once the organ plays I could so easily see that being looped, maybe cutting out his vocals though. Fuck you could use this entire track besides his vocals. Anyways I really like the feeling of this, its got some great sounds and the arrangement keeps me interested. I like how he has his vocals and there's a bit of a grit rather than say a Jackie Wilson. It works quite well. I know I barley talked about the music but I really can only say its a solid beat, groove and I really like what I'm hearing. I could picture someone crusin' for burgers in daddy's new car to a song like this. Or in a movie crusin' for chicks. 
3. Tennessee Waltz: Here we have another cover of a tune Sam Cooke did. Yes this time it was also a cover for Sam, Pee Wee King originally performed it. Now what does this version have to add to the version I've heard. Where Cooke had a swing to his, and made you wanna dance, this feels more mournful. Now that might actually be better fit to the material, and the story presented here. The arrangement is very Stax ballad-esque like his other ballads and slower numbers. Now I do enjoy this, but I still love the Cooke version so much it's kinda hard to LOVE this. But I do quite enjoy this soulful version. The song thought doesn't hit the highs or lows or build of two tracks down, but also that really wouldn't work for the given material. I do like the contrast in terms of this and the last song though. This is a bit quieter in the beginning where the last was more of a jam or groove, and it's so much more enjoyable in the context of the album.
4. Sweet Lorene: I like the groove to this, and totally reminds me of Booker T. The descending riff, of melody rather... Hook(?), played on the horns is really great. This is a bit more energetic than I'm Sick Y'All. The thing they have in common though, is they're both solid tunes. My only real complaint is there's like a part where its more of an interlude for the guitar or a quick fill. They could have had a guitar solo there or something. As I've mentioned it's a lively number, of which who's horns remind me of Blues Brothers (which some of this band was in). Good ole Memphis Soul jammin. 
5. Try a Little Tenderness: He's a cover of the famous song that dates back to 1932 and was recorded by Ray Nobel Orchestra. There exists many other versions, but this arrangement in my opinion, drunfs them. Even the Jackie Wilson, Sam Cooke and Sinatra versions. The building of this song, the tension added, not one second isn't necessary to this songs progression. It's like a movie that cut the fat and only left in everything needed to get from point A to point B, but in the best possible way.... possible. I love the keys, the organ's fucking great and I love the piano in this. Isaac did a great job and the horns fucking work and there's a sort of sigh of relief and ease the pressure after that fucking drop of the title. Maybe it's because I'm stupid, but I can't really think of many songs that are this effective. This really is a masterpiece of a song and arrangement, and also not to mention execution. The only complaint is the version I got his this dead air in the track and I feel it kinda takes away a bit, but once you can't hear it it's fine (and it's the worst for this track).
6. Day Tripper: This is a cover of the 1965 Beatles pop rock classic. Now to be completely honest,  I prefer this to his cover of Satisfaction. I like the bass in this, and it's nice to hear a different take no this track other than the one I've come to be able to play in my head without even hearing a second of it. I mean, this is much more soul and gospel inspired than the original acid/rock version. I mean I do prefer the original, but this still is a neat rendition that works and is pretty fun. 
7. My Lover's Prayer:  This opens side 2 and is a soft ballad type song. If you've heard It's Too Late or I've Been Lovin' You Too Long then you'll know how this sounds. I do like this track, but I don't have much to describe this with. It's solid and has some nice arpeggios and it's a sweet soulful song, but I just don't connect with it the way I do some others.
8. She Put the Hurt on Me: This has a great groove, and some nice rotor organ on it. But other than that I can't say much that I haven't already said about the other songs. This isn't that distant a cousin of earlier grooves. I like the pronounced bass on this though. This feels a bit more fun though, like goofy maybe....
9. Ton of Joy: My Private Joy is definitely a ton of this. There is a guitar no this that kind of reminds me a bit of Dock of the Bay. I don't know it's kinda boring a bit to be completely honest. Like by this point the album has lost a lot of steam.
10. You're Still My Baby: This is a cover of the Chuck Willis tune of the same name. This also happens to be the only cover on side two.I think the biggest problem with this is the fact that it's so easy to mix this up with just about any other track so far on side two. That's not a good sign. The problem is if you can easily mix everything up hows that good song writing. It's not.
11. Hawg for You: I do like the bluesy feeling to this tracks intro, and hey there's something that doesn't sound like the other songs. I mean I'm not in love with the bluesy feeling, but it's a good change. It has this weird sort of Memphis soul feeling to the blues there it doesn't quite feel like Chicago blues. I mean it's pretty neat, the piano is probably my favorite part. But in reality it's kinda forgettable to me, to be honest. Like I'd be more okay with this if this was the last two songs (in terms of doing something different).
12. Love Have Mercy: I don't remember anything about this track. It was okay, but it isn't anything to write home about. It sucks to because this could have ended so epic, but no.

Overall I have to give this album a 6.4/10. Is every song here amazing, I mean it depends on how you look at it. Overall the album is best consumed front to back, or maybe at least a full side at once (1-6 or 7-12/or my preferred 1-6 and nothing on side two). The second way is actually how I reviewed the album. Yeah there isn't a huge variety, either soft or grooves, and you could argue they almost all sound the same but Otis is a fun guy. There's a charm about him that doesn't piss me off about him you know. But this album has great moments, it's just the lack of variety outside of the fine details it kinda boring. But really side two hurts this album so fucking bad.

Revolver - The Beatles

Fifty years ago today, the seventh Beatle studio album was released in the UK. This is the often looked at as the sequel, or part two, of Rubber Soul. While I can sort of see that now, I still think it's great in its own right. None the less this was the last album they toured for, and only played I believe one song or two off the record (the rest required too much studio trickery to do live). I can't really think of much more to say about the record, other than lets review this thing.

1. Taxman: Opening the album, we get George's ode to Tax Collectors. A pretty  funny song, and I love the guitar and beat to the song.  I love the little double time parts Ringo plays and I love the backing "oh Mr heath" (or whatever they say). The vocals on this are great, and I think this a pretty strong track that packs a punch. This has a tasty solo and I still like it quite a bit. 
2. Eleanor Rigby: When I first heard 1, the compilation that introduced me to the band after Across the Universe, I skipped this song. The reason was because I was seriously afraid of it. Now when I listen to it I think if all the times I heard it playing video games, bit I also hear a song that has some gorgeous string arrangements. It's a very sad and lonely sing, for a very sad and lonely woman. If my ears are correct there's viola, violin, cello and maybe contrabass (could be wrong, but hopefully my ears are right). While it's kinda repetitive, I still think it's a really cool idea for a really cool song. #ExperimentationIsKey
3. I'm Only Sleeping: This has a very dream like quality to it, very laid back and stream of consciousness feeling. By that I feel like, even with the backmasking (used correctly this time) add to the dream quality. I also love that acoustic guitar in the track, I also love the bass pops. This is a solid tune and one of my favorites off the record. I also love the weird noises, which were backmasked as mentioned earlier. 
4. Love You To: The second song on the record to be written by George. This song has a very raga influenced sound to it. It opens with some sitar and could actually add to the dream like feeling from the last track. I really like the rhythms on this track a lot, and like the vocal effects on this track. I doubt its only sitar, but there is some great sounds on this track. I'd love to hear a isolated version of each instrument for this track. I know sitars can have that sustain, or are supposed to rather. I also love the percussion on this. I also dig the double time at the ending g, or at least the pick up in tenpo at the ending. 
5. Here, There and Everywhere: This is a sweet Paul McCartney tune. You can tell because its very pop like, and he's singing it. The guitar on this is so sweet and the harmonies are so fucking great. There's a dream like quality to this, but its more of a romantic dream feeling. Like what it's like to be in love and I love the arrangement here. I could easily see this being played on strings and horns but work quite well without them. Finger snaps a plus. 
6. Yellow Submarine: I don't really feel I need to talk about this song, but I will. I really like the acoustic guitar on this track. It was written by Macca for Ringo and I love the sound effects. While I feel like, oh its this song, I still get kicks on the occasional listen. Plus, damn they really did a great job with all the effects on this thing. Honestly, listen to the non guitar, bass, drums or vocals (Ringo/harmonies) in the track. I wonder how long that took to do. 
7. She Said She Said: This song has a bit of a punch off the bat and it has some nice acid rock guitar on it. I also really like the bands tone on the track, we get some great sounds that make it a bit more trippy, and the bass sounds great. Plus that's some solid drumming from Ringo. The vocals work well here, and I like the part that changes. I like this but I have to be in the mood for it I guess. Also the ending where it kinda speeds up a bit, I really dig that. 
8. Good Day Sunshine: This is sunshine pop, I guess. I like the upbeat feeling of this, but for whatever reason it isn't as sunny as I feel it should be. Like if its sunshine shouldn't it be super bubble gummy. All though I love the piano work on this track. I like how the drums add a bit more punctuation to the vocals. I also really like the harmonies especially at the ending and I like the hand claps. And I appreciate that sort of loop at the end, that's really short. 
9. And Your Bird Can Sing: This is another track in the vein of She Said She Said, all though it's more fun to listen to. Again a killer bass line and some great drums. Though in the mix they seem to be a bit more buried. I like the hand claps, they are a nice touch. And I love the riff to the track a lot. I love the bass tone though, its like an electrified upright bass without the finger hits as audible. It's nice and fast and works quite well here. 
10. For No One: This is a bit of a baroque pop number. I really like the harpsichord on the track and its a gorgeous song that I could very easily cry to. I have heard this song a million times but that trumpet still gets me, I know its coming but I still love it. Paul feels very much like he's singing a Paul song. I think the only thing that could have made this possibly better is maybe strings towards the ending. It's still a solid track though. 
11. Doctor Robert: I like this song, but I also feel like its kinda filler. I mean there are a number of songs that give you what this song gives you on the album. I still like the whole Beach Boys thing in the middle, but I don't fully see the point of it I guess. But what that said its still a solid acid rock tune. And I do dig the bass and organ during that one part. I also want to point out, that guitar is weird. I mean throughout but still. Kudos for getting that in a pop record. 
12. I Want to Tell You: Another George tune, but I still dig it. This is more in the vein of say Good Day Sunshine. It's a pleasant track. I like the ending fade out, but I've kind of described what I like about it elsewhere. It's a fun song
13. Got to Get You Into My Life: This is a great time, great bass line and great horn section featured. I could almost see this, if done slightly differently, being on a Motown album. Maybe something like Away We A Go-Go. This has a fun feeling and while it's kinda bare for how large it could be, I think it works. I also love the guitar tone on this thing. It's great. The ending is also great. 
14. Tomorrow Never Knows: opening with a sitar drone, followed by what sounds like a drum loop with some snare. I really like the drums on this, but I'm pretty sure it's a loop. Like outside of the vocals, I'm pretty sure everything is tape manipulations. Now that's not bad, there's a great solo that is backmasked and the song keeps you interested. I mean some sounds do repeat, but I'd still pick this any day over.... Well a lot of stuff to be honest. I also bet this was fun to do when recording it, considering how this was the first time they played with tape really. I also like the thumb tack/honky rink piano at the ending. I never heard, or remember hearing, that before. Great ending and great prelude for what was to come next. 

Overall i have to give this album a 8.8/10. This is a Beatles record, so its inherently great. Well not always, but you know what I mean. They were lucky enough to not really make a terrible record, even when people fucked with the music. But this is a great, exciting record with a lot of interesting sounds and ideas. While I don't think it's perfect or mindblowing, I do like what's on the record and recommend it along with all the other Beatle records. 

Freak Out! - The Mothers of Invention

Today marks the 50th anniversary of one of my favorite, and one of the most influential to me personally, release #1 by Zappa. This also happens to be the debut album by The Mothers of Invention, bestowed upon the unworthy Earth on June the 27th, 1966. Where to start, where to start.... Well, I don't really know? I think this is one of the greatest records ever made, and should be on the lists for guitarists to listen to, and for fans of music in general. In fact I'd go as far as the only reason for it to not be on a top 100+ list is only if you Rolling Suck, or you've never heard it prior to compiling it to the list. It also happens to be quite funny, and is not super serious (well at some parts). All and all its just a really a great rhythm & blues record. I can go on and on forever about the history but why do that. I wanted to note for this review that i will not be using the CD, because that's the most common version of the album (the '87 remix/'95 Rykodisk versions). I will be using the original vinyl mixes (Disc one of MOFO), and also my vinyl copy of the album. Why? Well, why not do the original version for the anniversary.

1. Hungry Freaks, Daddy: Opening the album we get this, this rocker that just takes you there. With the help of Elliott's lead and the other Ray's tamborine, but it's the song in general. Something nice about this is it has something to say and it says it,  being pretty funny along the way (kinda). I think the lyrics are straight and the point I don't really think this could have opened better with what's present. Plus that solo, damn Winged Eel Fingerling.... 
2. I Ain't Go No Heart: An instant classic, I love this song so much. This is a bit less punchy, like it doesn't feel like a rock song with a punch as much as a rhythm and blues number. This has a timpani and feels very large, again we get some great playing and this song is so crafted, and sounds so great. I love the middle eight and it's so fucking large. I'm serious you could easily turn this into a big band television/orchestral piece. Also that ending......... he's a bumber every summer.
3. Who Are The Brain Police?: A complete change of tone. The first two tracks where upbeat, fast and exciting. Upbeat as in not downers sonically, this couldn't be any more opposite. This sounds as if you were on a bad acid trip and your senses were slowed down. There are moments, during the verses before the refrain, of the Umpalumpa song. The thing is, that came out 5 years after this. This also is pretty trippy, as mentioned, and I think (as much as it sounds like I'm sucking his dick) a really nice contrast from the first two. The sound isn't boring, and overall it sounds like a nice change of pace really. I can't every begin to tell you how much I love the freak out in this thing and it's such a fucking great song.
4. Go Cry On Somebody Else's Shoulder: A doo-wop classic, sung by Ray Collins. This is a solid tune, and does a great job of replicating the sound and style. This isn't quite as silly sound ling as say, Oh in the Sky, but its a got some boy soprano from Roy. This tune also works and feels like its fit in a movie from the 50s very snugly. Great tune that really "is very greasy". The song progresses, though it's probably an inside joke, it contains one of my favorite lyrics about khakis. And the song becomes more silly after that but it's still done pretty straight for the style. Also fuck, Eugene that's some fucking fire piano playing.
5. Motherly Love: This is rather funny. I could be misreading this, but I feel like when you hear Motherly Love its like (and as the lyrics hint) love from a Mom. But the lyrics also hint at it being "love" from a Mother. Thus is a solid R&B number, and just rocks. This also has some funny little sounds here and there and some nice playing, as with the rest of the record. But it's solid bro.
6. How Could I Be Such a Fool: This is a song that's grown on me oh so much. It's sort of weird, where the others thus far rocked or were kind of shallow this song musically is sad. Like I feel like Zappa could be making a joke, but this song is so fucking good. Like if he wasn't a cynic I feel like this could be a great break up song. The arrangement..... Fucking Amazing, and it comes and goes so fast. I feel like it is like a relationship, grasp it and get what you can and give what you can to it while its still here. This might be one of best songs here to be honest. Also Carol Kaye plays 12 string guitar on this track.
7. Wowie Zowie: This is a fun little ditty that could very easily be a children's song. I feel like he was going for that too with some of the lyrics. But then, I mean it's bizarre.... I still love it. The xylophone makes it more playful but it still has the that great hook. 
8. You Didn't Try to Call Me: This is another huge song that is phenomenally put together. Pet Sounds is a masterpiece, fuck that noise everything here kills that fucking notion. This song is a great and I really don't have much to say other than this is hilarious, but sonically it's great.
9. Any Way the Wind Blows: Another break up song, another classic. This song is very memorable and has that fun Wowie Zowie feeling but is a bit more serious maybe. You know the whole gauntlet of what this album puts you thought, why can't all music be this compelling, fun, exciting, scary and interesting. Also there's a neat background to this story in the liner notes of the original Lp
10. I'm Not Satisfied: Is it wrong to find this track funny. While it isn't as mellow dramatic as the lyrics, well extreme, to ITIGKM this sonically sounds like a "depressed" teenager. Don't get me wrong, it's a great tune, it's just it fits so well with this shallow, one dimensional character. Like really, I can't help but laugh at this song. The music is so big and so large, as with all the other tracks.
11. You're Probably Wondering Why I'm Here: This title is a bit misleading. but it's such a weird song. Like really, it's got that kooky feeling to it but I also feel like it might be a love song. But then again, most love songs aren't really that deep, so maybe it's just the satire :) I love the music and the lyrics have me rolling on the floor and I can so fucking quote this. The call and response, in the Zappa's dead pan. Plus I caught that Caravan reference.
12. Trouble Every Day: One of the best blues song ever. Seriously; not only does the music have balls and kick ass, the message is equal to that of the music. Actually the lyrics might be more relevant today than back then, at the very least are still relevant today. This really is s song to aspire to pull off if your a musician who isn't just in it for quick doe, but rather the are, craft and power of music. Really, I'm serious, flawless.
13. Help, I'm A Rock: On the vinyl this and the following track were the two sections of one track, but for the sake of the way the thing is why not. This is a bizarre track, which I don't really know how to describe. I know the rhythm section is really doing a great job keeping the beat but the voices sound like they're freaking out. This also has some kind a funny stuff, but it feel a bit like an experiment. There is a section that changes but I believe it to be the In Memorium of Edgar Varese but yeah, hear it yourself, but I personally love it.
14. It Can't Happen Here: Another quotable tune, that is just all kind of wonderful. I love it and it makes sense that it follows what just happened. Also this is an all a capella tune. Well that's at least for most of it, there's this piece spliced in there..... it's fucking great. Feels sort of improvised. I also think parts of the next track, or parts of this track, are in the next track. But they mention Suzy.
15. The Return of the Son of Monster Magnet: "Suzy, Suzy Creamcheese. What's gotten into ya darling" what a way to end the record, that voice introduction then go straight into the Varése quote with the lion or whatever it's called. Love the drum beat in that beginning and this is the sound of chaos. I really think you need to hear it yourself, also it's nice to hear it not so reverby as on the Freak Out! cds. I love sounds and how stuff works and Zappa obviously know how to do dat shit. The thing picks up pace and starts to sound like white noise almost. As the song progresses it becomes complete chaos until it becomes a sort of reprise of It Can't Happen Here then going into a sort of Mr. Bungle/Were Only In It For The Money/Lumpy Gravy thing for the last four or so minutes. It's really something to hear, not only does it make me smile, but I love every second.

Overall I have to give this a 11/10. I didn't highlight anything because there are kind of all my favorite songs. Actually upon re-visitation I might like this more than Abbey Road. Even if you think his humor is stupid, his writing is to silly, or his music is to complex to swallow; I am under the belief there is still something here for you to find and take home. From the novelty to the political messages to the blues rockers and doo-wop tracks. From the avant-garde experiments and musique concrete compositions to the down right and instantly quotable song. No matter your taste, no matter your style, there will be something for you to take from this 1966 classic double album. And to be honest, these songs are so damn catchy I can't imagine you not coming away with something you sing. I mean I can't stress that enough. This is the perfect starting point to get into Frank's enormous body of work, and its also one of his best. Also if I didn't make it clear, check the lyrics out, it'll be worth it trust me.

LISTEN TO THIS RECORD, I couldn't fit it in the Albums to hear before you die with the amount of characters in the Blogger label section. 

The Soulful Moods of Marvin Gaye

This is the 1961 debut album by the one and only soul legend, the man who stood up to Berry Gordy, the Prince of Soul, the one the only Marvin Gaye. I love Marvin and think he's great, that goes for everything about him minus the drug stuff. Though the '70s/80s is the cream of the crop, he has other solid records/tracks prior to those monsters. Before he was every woman's "man" he was every woman's "guy", so to say. Something I read some where was he was described as a "clean college boy" prior to 1971. On this cover he looks like a youthful fellow, maybe even a little stubborn. This was followed by the, better all around, 1962 album That Stubborn Kinda Fellow. That features the titular track, Pride And Joy, and also the awesome Hitch Hike. This was Marvin's debut though, and it was the #2 Motown release, second in chronological order to Hi... We're The Miracles (also that bands debut). This is basically a Jazz standards album. I'm not sure if these tracks were "standards" yet, but listen to any Jazz record by any artist and there's bound to be one of the following tracks, more or less. I always see

1. (I'm Afraid) The Mascarade Is Over: Opening the album we have a cover of the Magidson/Wrubel classic. Now the thing is, this isn't half bad. While he isn't really singing the way he would later, this ain't half bad. There is a charm to the way he's singing this song and I gotta support it. He's also singing restrained, he isn't really using the power he'd use on later records. Maybe he wasn't good enough, maybe he was just going for a certain sound, who know. I still dig it. My only complaint is its 5 minutes long, maybe cut it at 3 minutes or so. But I still like the song. 
2. My Funny Valentine: Of the many versions Barbra Streisand, Miles Davis, Carly Simon, Bill Evans, Chet Baker, Ella Fitzgerald among others. Actually, the original dates to 1945 and was by a guy named Hal McIntyre. I don't love this version, but I do like the drums when they pick up. But I mean I just don't really care for the way this overall sounds. I do like the  chorus, but I don't know how often I'll visit though outside of the novelty of re-visitation and the review. 
3. Witchcraft: Another track that I know, and I love this version. This is exciting, where the last two were more laid back and crooners. This really is a nice change of pace and shows good track listing. This is just such a fun damn song, I don't know if I like this or Sinatra's version more, but I love the guitar tone and the drumming. There is a nice guitar solo by someone who don't get credit. Fuck You Berry Gordy and you no crediting performers. This really is an early stand out and make you wanna listen to the rest of this thing. I love the head.
4. Easy Living: This is a cover of the Billy Holiday song track from 1950's. A laid back number, there is something about this that makes me wanna smoke a cigarette relax and reflect on certain things. This is a very pretty song, and I'll be damned if Sinatra didn't do a version (though Nat King Cole or Sammy might be better fit to do this). I really like the drums here, brushes on the snare. I also really like the guitar lines and it sounds pretty damn slick. I'd love to get a copy of the lead sheet to this track. Also I cant forget to mention that piano that opens and closes the track. 
5. How Deep The Ocean (How High The Sky): This is a famous Irving Berlin song. This is a other more laid back vocal jazz number. A solid tune, and this is a pretty solid version of the song. 
6. Love For Sale: This along with track two are very often covered jazz standards. Some other versions include the likes of Cannonball Adderley, Billy Holiday, The Manhattan Transfer. Written by Cole Porter my boy Marvin does a solid job. I dig the big swing to it, and there are some tasty drum fills. I like that guitar and the bass' tone. This kind of feels like a Bond theme. 
7. Always: This is a cover of the Irving Kaufman song of the same name that dates to 1926. This track has also been covered over the years by artists such as Paul McCartney, Frank Sinatra and Patsy Cline. The shuffle drum rhythm is really nice here and works quite well. I think the solo in here is a nice thing, a detail not in all the others. And I can't believe it's here at all, Marvin isn't even playing the guitar either. To be honest, I really like what the Soul Brothers did here. 
8. How High The Moon: By this song the formula and style is beginning to loose its interest. Yes if you listen oht of context its a swell rendition. I don't think this is the best song here, but I think (as mentioned above) swell enough. 
9. Let Your Conscious Be Your Guide: Is this a fun number that really doesn't sound out of place on a Motown record. With an organ, that sounds like it was in The Champ, piano that has that doo-wop progression, mono chorus vocals that sound large and a. I've performance from Marv.... Plus some nice drums, brushes. This is very revisit-able. 
10. Never Let You Go: Following the Motown sound, we get another hip dance number. I could actually see Smokey singing this. The chorus is a bit silly, but I still enjoy and dig the tune. There's a swing to that is fun, and great piano solo. I like the little details in the song. I wonder if this was intended for The Miracles, but then again the pianos a bit more rock and roll then they are. I could kind of see this being a cover on maybe Beatles For Sale or With The Beatles. 
11. You Don't Know What Love Is: This is a classic jazz standard covered by numerous artists. This song is really great and a solid haunting way to end the record. This is a solid cover and works well to end everything. I also love the arrangement. 

Overall I have to give this a 7/10. This is Gaye's debut album and it's packed full of Jazz standards. Now what's weird about this is I didn't really dig the vocals of Marvin throughout it this album, until I sort of learned to appreciate jazz more. After being a bit more versed on this, I kinda love this thing. I mean, its pretty solid and while not nearly his best, its not anywhere near his worst. It's pretty solid.

Part One - The West Coast Pop Art Experimental Band

This is the second release by The West Coast Pop Art Experimental Band. I've heard of these guys before but I never really took the time to check them out. Recently (In like 2014) I thought I'd give this cover of Help, I'm A Rock a spin on the ole computer. Needless to say that inspired this entire review and I honestly need someone to know what if feel for the album. I'm not just basing it off a single cover, but that was the inspiration.

1. Shifting Sands: Opening the album we get a track that isn't half bad. I mean it isn't amazing, but it isn't bothering me. This is a pretty decent opening, and you know if you like psychedelic rock I'm sure you'd dig this. My favorite part is the guitar tone, though the sort of waltz feeling beat is pretty nice too.
2. I Won't Hurt You: This is the first track that appeared on the earlier Vol. One from 1966. This opens with a sort of heart beat and a guitar. I mean I get the whole idea of counter rhythms but I think this beat is too loud and over powers everything else in the beginning.I get this is sort of a nice short little number, or transition, but this isn't impressing me. Also when you get to the actual vocals and lyrics......... Well, let's hope the next track is better.
3. 1906: To be honest, at this point, I kind of know where this is going. This isn't horrible, it just isn't impressing me. I feel like this might as well be a loop of it's self.
4. Help, I'm A Rock: This is the real reason I started this review. Why, well this is such an underwhelming cover of this fah-nominal Zappa track of the classic Freak Out!. They didn't do this song any justice and it's, to be as nice as possible, probably the worst Mothers cover I've ever heard in my life. To be honest, I'd try to cover this cover up. :(
5. Will You Walk With Me: Let's just hope the rest of this album does a good job of not letting me revisit the prior track. Opening rather promising, it's not until the vocals come in and to be honest I could see this being a pastiche attempt at making this flower power sound baroque pop on an album like Spinal Tap or something like that. It's pleasent to listen to, but much like some of the new Coldplay record, I won't remember it once it's over.
6. Transparent Day: Oh what a happy tune, this ins't half bad but the vocals are so boring.
7. Leilya: The beginning isn't that great, but that acoustic section that fades in and is over the track is nice. But this isn't anything special. I wish that would have lasted longer.
8. Here's Where You Belong: Another song that is just Okay.
9. If You Want This Love: This track also appeared on 1966's Vol. One. Suprise, this is just okay. To be honest this sounds like it could be a re-write of Love Potion No. 9. And that solo is too short to be awesome.
10. 'Scuse Me, Miss Rose: This ain't half bad in the beginning. It has some promise. To be completely honest, get a different singer, and this would be a keeper.
11. High Goin': That as a decent closer, I was gald when I heard it.

Overall I have to give this album a 5/10. I mean this is pychedelic rock/pop. What do you expect, it isn't anything mind blowing or breathe taking. I'll never revisit this, and really don't care either. I think the best part is the thing that looks like a girl as Bowie on the Hunky Dory cover in that picture. The only difference is she's cute.

D-I-V-O-R-C-E - Tammy Wynette

I can't say I like country, it's more tracks. But I do have a bit of a crush on Tammy. I mean for one she's beautiful, and shes a pretty great singer. I contemplated reviewing her best song, Stand By Your Man, but as a while that album isn't that amazing. There were still some stand outs so I may, but who knows. I decided to review this, now, because why the hell not. I'm on a roll baby, and lets see how many I get done this month.

1. Gentle on my Mind: This is a Glen Campbell cover, which was the 1967 Title Track off that album. This has some nice finger pickin' in the beginning, and I like Tammy's vocals. This is a nice way to start off the album, and makes me want to.... It makes me feel like this might not be half bad. The drums and percussion have this sort of fun feeling to it. I mean it isn't a fun song, but it is kind of. Like I imagine if I played this it'd be sort of fun.
2. Honey: This song sort of reminds me of a song I can't quite think of the title. MacArthur's Park, the backing track if you took out the twang and country feeling. This is a cover of the Bobby Goldsboro tune from 1968. This song sort of gets larger, but it sounds good to me. It doesn't bother me. Two for two, damn Tammy you're impressing me ;)
3. Legend of Bonnie and Cylde: This is probably the wrong word, but this makes me think of skiffle. Damn, we got some nice guitar work, fills and whoever this session musician kudos bro. This is a solid ass song, all around really. Oh also this is a cover of the Title Track off another 1968 record, this time by Merle Haggard and The Strangers.
4. All Night Long: This is a slower tune, but this isn't bad. On Stand By Your Man I remember there being a few of these. This is nice that there isn't one after another after another. I might be wrong, but I think this is the first original. Even though it was written by Don Chapel.
5. Sweet Dreams: This is a cover of a tune dating back to 1955. I think it said the originally by the songs writer Don Gibson. Numerous artists would cover this Emmylou Harris, Patsy Cline, Roy Buchannon and even a collaboration between Chet Atkins and Mark Knopfler are the ones I know. This isn't that bad of a tune, more or less the same thing as the last track. But it goes by fast, and it doesn't bore me.
6. Yesterday: This is a cover of the famous Help! tune by The Beatles. This is a pretty solid cover, but I think it's kind of a hard song to mess up. I mean it kind of falls in with the other covers I've heard that aren't as good as the original. But at least this has a bit of a country twang and the backing harmonies are nice. Plus, glad to hear Tammy's pipes on this tune.
7. D-I-V-O-R-C-E: Alright, this is a phenomenal track. I've never had a divorce, but I kinda of imagine this would give me comfort if I was going thought one. A great written pop song is catchy, it gets stuck in your head but it doesn't fade. It can also stick to a theme or a style and does in creatively. Now like I said I have never been divorced, I'm not even in a relationship, but this song paints a very vivid image of what it'd be like to have a young child. Be getting divorced and trying to not upset him, by way of spelling out words for him to not understand. This is a very powerful, simple musically, song. And it's odd how much it "hits home" with me, without ever having an experience for this to "hit". I think that's part of being a good writer, you make someone else feel you, feel your situation, make it seem real. It's not fairy tale, not something where everything will be alright, its the end of something.... It's life. The only thing anyone can assure you in life is death, and in which its an ending. And another reason this is great, it isn't a track that asks you to feel bad for it. It doesn't force you, you just naturally feel. It could be me, but as far as country goes this is one of the best songs ever written. 
8. Come On Home: This is okay I guess, I mean it's nothing special. I've heard it before on this record, but he singing is the only thing at this point saving this record. I really hope there aren't any tunes that are in this style after this. Give me something else to bite on.
9. Where There's A Fire In Your Heart: See this is why I love you, and upbeat dancable tune that is pretty damn fun. I'm also digging that slide guitar. The only real complaint is the fade out. It kind of happens quick.
10. Kiss Away: Another sort of slow ballad, well at least I got a change of pace. So I mean.... And this isn't that terrible. Honestly, I'm kind of suprised by how not bored I am. These vocals are killing me, in one of the best way possible.
11. Lonely Street: I wish I knew this track prior to the Magic Whip review, I could have made a "this is not a cover of the 1968 Tammy Wynette track." Although it was Lonesome...... Whatever here we get a track this is pretty nice to close this, and even though it is very similar sonically it isn't to repetitive. It's a nice little touch.

Overall I have to give this album a 7/10. Okay I'm either loosing my mind, but I liked a country, Nashville sound, record. Yes it was Tammy but still. That music usually bores me. Maybe I'm going crazy, maybe after hearing two days at work of new country and hearing how it is more garbage bull shit than a lot of hip hop music..... I don't know. I do know this is pretty damn solid, and I think you should check it out. Maybe my next review should be Aids-a-delic:D...... By the way, I will do one of those albums, just not sure which I'll do.

Lucille - B.B. King

This is the long awaited review I'm gonna give. It is also the long awaited review of a blues legend. Now I'm gonna be honest, going into this I knew something. There are only two tracks by this guy I LOVE, the title track and The Thrill Is Gone. Now in the wake of his passing, I have to be completely honest.... I felt it was time for me to review him. I did it for Lou Reed, and B.B. King (while not on me specifically or my writing I or direction) has had a huge influence on artists how have had a huge influence on me. Much like Elvis or Buddy Holly, Chuck Berry or Ray Charles and so on. Now if not for a double album called Freak Out! I would have lost faith in the blues, well minus Aerosmith. The aforementioned band, well they kick too much ass to bore me, but I digress. Now from FO! reviving my interest, I also gained footing in my favorite blues band, not from America, Fleetwood Mac. I said that because here there is a quote from BB that said Peter Green is the only guitarist, white, to give his a cold sweat from his pure tone. Now really none of this matters, what does is the BB King is a legend and has influenced countless artists, so why not do the album that I have the best chance of loving. I will also do The Regal next time I get the chance, and depending on how this goes maybe some other records also.

1. Lucille: Opening with same notes as the legendary Let's Get It On, this is a phenomenal blues track, and one of the best of the genre I've heard. Hell it's one of my favorite songs ever, and at over 10 minutes it doesn't get boring at all. Its "talking blues" that has the in between fills that's sound like a blues god is filling in the voiceless areas. And its not just guitar soloing is also has sax fills and piano fills and even organ fills. I need to say that the tone used for the guitar is amazing, and is gorgeous. I LOVE the Sinatra name drop, and I read somewhere he'd listen to In The Wee Small Hours everynight, and that Old Blue Eyes was his favorite singer. So I got respect for him bro. And the way the he is laughing and just having fun, that's what music really. It's art, but it's also about having fun. The tone is top notch and the playing here is great. All the solos are awesome and I laugh everything I hear the "Oh I bet you're wondering why I call the guitar Lucille". And the tale, while ultimately pointless, is pretty interesting to me at least. Oh I almost forgot to mention; that organ, Damn this recording is so damn phenomenal. {9/10}
2. You Move Me So: The horns on this upbeat song and fast paced track It's exciting and is a left hook for me in this album, I figured the only good track would be the title track. This is very Motown sounding to me. The upbeatness and speed remind me of a Sam & Dave track like Hold On or Soul Man. The funny part is they were on Stax, but you get the point. I honestly enjoy those tracks. This sounds like it's be a fun little ditty, and sort of sounds like the Shakes but good.
3. Country Girl: "Fell in love with a Country Girl". The second this started I went "Fuck another Lucille". But that organ is actually pretty solid, and to be honest that little "dun dun dun dun dun dun" at the end of the verses, it reminds me a ton of Pride & Joy by Marvin Gaye. So thumbs up there :) I mean it isn't amazing, but it ain't terrible and boring to me.
4. Mo Money, No Luck Blues: A Joe Ivy Hunter penned track. This isn't that bad, but I mean it isn't ground breaking. It's a blues tune. I did enjoy it though.
5. I Need Your Love: While this isn't a cover I vaguely remember a blues classic that had this title. Maybe I'm wrong, but who fucking cares. At this point it's starting to wear thin, the whole blues feeling. I mean I feel hypocritical because I loved Mr Wonderful but I don't know. While the piano is making it much easier to take, I just... I kind of know the rest of this thing is going to be very similar isn't it.
6. Rainin' All the Time: This does have a nice feeling, but again, I've heard it already and can't really say it's that great in context of a front to back listen. I mean I could totally see myself digging this by it's self, but in context it isn't standing so strong.
7. I'm With You: Babe: This was very similar and I spaced out and didn't even realize this song started. I think it's okay.
8. Stop Putting the Hurt on Me: I guess BB ain't into chains, hahahahaha. No just another blues tune.
9. Watch Yourself: To close the album we get more of the same. I mean it isn't half bad, it just a bit much for me.

Overall I have to give this album a 6/10. First off, I need to be honest. I was surprised by how much I didn't hate this. There are tracks what I think are decent and much better than say his earlier albums. I played a track off each album and damn are some of those boring as fuck. It was nice to see that there was an album with a very long track and not every other track was shit. It usually happens with longer songs like Love to Love You Baby, Foreigner, Disco Wedding, and many others. The title track alone is worth buying the vinyl or CD of the album. At the end of the day Lucille will never be black, instead it will be sunburst and hell maybe one do I'll be able to cover it live. So goodbye Riley B. King, you wont be forgotten by your fans, and won't be by me after making this album. Also there will be another Memorial review coming up tomorrow, or The Next Day.

Christmas Album - Herb Alpert & The Tijuana Brass

Sadly, Zappa never released a Christmas anything, so I can't do Zappadon (but I do have a plan for next Christmas, or maybe an entire month. Don't worry you're pretty little head). This is the Christmas album, and last for this month (unless I decide to change my mind), by Herb Alpert. Now I feel he gets a bit of a bad rep, lots of people seem to know Whipped Cream & Other Delights only because of the cover. Well.... if you dig deeper the songs aren't that bad on that record. I own The Lonely Bull, !!Going Places!! and What Now My Love on vinyl. I plan to eventually get all of those records, plus sometimes he has pretty girls on the cover.... So that's a plus.

1. Winter Wonderland: What can I say about this Christmas classic.....  Well this version is kind of fun. It isn't so overtly this song, I mean I hear it, but it doesn't just bother me to where I"m like shut this off. Maybe it's because it could be in a different key, or the choir, but I like the lack of vocals (lead vocals). This is a pretty promising opening.
2. Jingle Bells: Fucking again with this song. You have to be joking at this point. It's unavoidable, and get no one has realized its annoying as fuck. This version of the song may not be as bad, but I haven't really heard a version I do like. This beginning reminds me a bit of Our Prayer by The Beach Boys (who's Christmas album will be for next year). I really like this rhythm, one which is very fun to hear. I kind of feel like this would be in the Christmas episode of Arrested Development. Odd thing to think, but that show has lots of horns and I could totally see this being in the show. It would fit quite snug. And I'm actually enjoying a version of the song.
3. My Favorite Things: While I already have my favorite version, John Coltrane's 1961 title track version, I would still be interested in hearing what Herbie has to add to this song. I like his ensemble (or set up rather) of the group so I think this might be good. It's funny, a week or so ago this movie was on the tele. While this is a pretty nice version, digging that guitar, I have to say Coltrane takes the cake for best version. This continues that fun feeling with a very Barry string section for say a Bond film-esque feeling. Well technically, Monty Norman but still you get the idea. And that lone piano part, this is a keeper. 
4. The Christmas Song: This is the first track to have vocals, and I guess it's a nice change of pace. I don't like this song, Merry Christmas to You, not a fan. But this version isn't terrible. It's not, even thought I do enjoy popping him on, Ray Conniff Singers, repetitious.
5. Las Mananitas: I don't recognize this tune, but I do think it's pretty nice. I like the island feeling percussion (xylophone instrument). This song also has song great guitar and string instrument sounds. This is a very pleasant and would be a great finale to the record. There is a very Ennio feeling I get from this.
6. Sleigh Ride: I mean I still enjoy this, it's just it's magic is beginning to loose it's magic. I don't really care for this tune, but you know at least it's different than Jimmy's album. Although that march part is pretty cool.
7. The Bells That Couldn't Jingle: I can't say I know this song. I may have heard it but I don't know it by name. Eh, that intro is something that I'm not really feeling. All though, before he started singing, the rhythm brought to mind "Goodnight friend, but not Goodbye". That song from the Star Wars Holiday Special sung by Bea Arthur.
8. Let It Snow, Let It Snow, Let It Snow: Well, at least I only have to hear this once this Christmas for a review. This is a pretty standard cover, and fits in with the rest of what was sonically going on here.
9. Jingle Bell Rock: This is one of those, so fucking stupid what's the point songs. This is one of those, once is enough. Even hearing part of it once is enough. So I'm hoping this ends up being unique or different and not just a straight cover. This is a fairly straight version of the song we know, but an instrumental.
10. Jesu, Joy of Man's Desiring: I like this tune, like the actual composition. I'm glad it's here, I'vent seen it, to what I can recall, on a Christmas record yet. This is faithful to the original, even has a harpsichord. Though there are horns. This is a nice closer, though I wish the song mentioned earlier still closed the record.

Overall I have to give this record a 6/10. This was not as bad as some other records I heard, but still why can't Christmas records be unique, There was a lot of repetition in what I heard here, but I did enjoy this. I don't think I'll return, but it was fun if you subtracted a song or two. If you can, please point out any original songs Christmas albums for next year. Maybe like Hey Ameria or Santa Dog or something.

Christmas with McGriff

This was actually originally the other release I planned on doing this Christmas. There are some covers and some originals here. At one point I planned to only do albums with originals, but I figured the chances of finding Christmas albums of all  originals is next to..... It's unrealistic. I just was lucky to stumble into that James Brown record. So I went with this, look at that cover.... I know I'd buy that in 1964.

1. White Christmas: This was the opening track to the last album I reviewed...... What a coincidence. Well, to be completely honest I doubt you can hear this on just about every Christmas track. To be completely honest, I kind of like this organ, sax, guitar drums and bass. It doesn't specify if it's a Quintet but I like the set up. This has promise, and it probably my favorite version of this song I've heard.
2. Christmas With McGriff: This is an original, and I think it sounds pretty good. I mean not to the point that I'd revisit it not around Christmas, but still. I think it's a pretty decent track. I think the star is the organ, but that's probably almost always may answer. I do have a very soft spot for theses Hammond organs (?, I assume it's one). This track isn't anything that blows me away, but it's a nice change of pace from the last review.
3. I Saw Mommy Kissing Santa Claus: A song I normally dislike, here turned into a song that I think isn't terrible. I mean it doesn't have that cutesy feeling that irritates me. But on the other hand, I don't like the organs sound on this so much. I wish it was played on maybe guitar. And this is basically just a vamp with the organ playing the lead melody. While I probably shouldn't expect people to not do that, I wish it wasn't just that you know. Though I think it might drag on a bit to long. But lots of songs here may over stay their welcome.
4. Hip Santa: This feels pretty fun, I mean it's not amazing, but it feels fun to hear them play. I feel like this was fun while they were recording it. I do enjoy the drumming here, but really I kind of forgot what was happening after spacing out for a second.
5. Winter Wonderland: Of all the songs here this might be the least interesting. I'm sorry to say, but at this point I really can't say that the album is that interesting. I mean it'd be a much better EP. This kind of feels like it's the old "rich people play jazz as background music" stereotype.
6. Santa Claus Is Coming to Town: This is two of three songs that also appeared on Christmas Songs by Sinatra, my previous review. Not this version, but song. This is very faithful to the sound of the rest of the album in it's rendition of this Christmas Classic.
7. Rudolph the Red Nose Reindeer: Another song I don't care for, turned into another version that is just another track on this album. I can't really report anything of note.
8. Jingle Bells: This is the last song to be featured on the Sinatra album I just did. Lets see if this version of the song is better than Ole Blue Eye's take. To be honest, I like the swing of this track. I mean it isn't perfect or anything, but much more fun than a standard vocal jazz verison, or really any other version I've heard.

Overall I have to give this album a 5/10. Don't worry I still got at least one more review for this month. Hopefully it'll have Auld Lang Syne or Ave Maria. Either that or be if all original songs. But this is exactly what you'd expect from a jazz organ player. I like this record, but I can't really say anything more that just like. You have no idea how bad I want to review Blowfly's Christmas Party (the single). I could do his Christmas record, but I don't really care much for it..... Maybe next year. Here's a little Christmas gift to you, since I need a lot more time to review these albums I'll just mention some Jazz records to listen to New Grass by Albert Aylers, Pakistani Pomade by Alexander von Schlippenbach Trio, Pre-Bird by Charles Mingus, Out to Lunch by Eric Dolphy, Sextant by Herbie Hancock and one more review to do this year, unless I change my mind.

Help! - The Beatles

This is late, like it should have been up last month, but whatever it's up now. Something I wish i would have done is review these in honor of their 50th. All The Beatles albums, why? Their my favorite and most influential artist on my taste and writing. The worst part is I did their debut as a 50th so its not like I started doing reviews and it was already the 50th for Revolver. I was doing the prior to the first album. So whatever,  this is the sixth studio UK studio, and second soundtrack, album by The Beatles. Well it coincided with the movie of the same name, only the first side of the album songs featured in the movie. In the US version, it was a straight up soundtrack. It featured the movie songs, and also the instrumental tracks from the movie. I've also researched the movie for the hell of it to remind myself how they work into the story. I have it on DVD so that was no problem.

1. Help!: A classic theme song that sticks in your head very easily. I may not love this track, but I like it. If was originally supposed to be slower and more depressing, but they made him change it to upbeat. I wish the early version would have made it to the Anthology. That has more of a blatant, "help me I'm depressed and not getting better" (which is what its meant to be). This is more of a lighthearted" help I'm a damsel in distress and will ultimately be saved, this is an episode of a sixties show with  shenanigans". But regardless of the end products "meaning", I  love the descending guitar line. Also how it then arpeggiates.... *Fancy Person Rating Restruant Kiss Finger Thingy* Ah. This song has a really solid arrangement. I don't know if Martin was responsible, but the shifts, and the little spirts of change make this a classic.
2. The Night Before: One of my personal favorites is this track. I love this thing. Paul sings this, and wrote it, but I love how catchy it is. I also think its better and stronger than the prior track. There isn't a single second of this that isn't a 10. I love the harmonies that both back up and call and response to Paul, the hammond organ (actually a Hohner Pianet), the bass line, the double tracked lead vocal. Then drum heavy refrain and the guitar tone that is one to aspire to in that solo. This is how you make a frickin flawless rocker. I can't not listen to this without singing along. It's seriously impossible.
3. You've Got to Hide Your Love Away: This is a decent song. I mean it isn't of the quality the last two were, but it isn't of the quality the next one is either. This is actually, thought I never realized it, a perfect track to fit this spot. Now I don't think it's as good as the two before it, but it's at lest a 7 or 8. But it's slower, it doesn't keep chugging away at the quick rockers that the first two were. This also uses the flute to a masterful effect. 
4. I Need You: This has a weird minor feeling to it. I feel like I should look up these chords. Now I want to note this is one of the first times Georgie wrote a song. The first is one of my favorites Don't Bother Me, frickin' instant classic no matter what he though of it in later years. This, this is more in that lane of... I kinda feel like this should be the song that was his first time writing a song on an album. I mean in the movie it works for it's scene, but on the album I kinda think it doesn't. I like the strum pattern, the kind of spanish (?) one. I think the thing that really bothers me, or hurts the song, is the fade in fade out guitar lead. This doesn't really seem like the type of song that this would work for. Maybe if it was an organ and they notes were a little longer, but the guitar just.... I don't like it's mymic job you know. I looked it up, and now I understand why it doesn't click. But I'll never tell. Mostly because I didn't figure it out on my own, but also because it'd be very bad.
5. Another Girl: Easily one of the best songs by the group in my opinion, it was penned by Sir McCartney and features him on lead fills and lead vox. This is very similar to The Night Before, It's very fun and makes me want to get up and play along. I really love this and I really can't find much to say about it that I didn't say earlier in this review.
6. You're Going To Lose That Girl: Not huge on the fact there's another long track that could work as being lines in each others songs. I don't know why, but this isn't that bad. I mean, I know all the words to this track, it makes me want to play along. And that's kinda the magic of this group. They always have solid drum beats, catchy vocals, great bridges, tasty licks and at this period some nice sharp guitar tones. If the guitar was mixed louder I'd almost think it was taken from Roxy & Elsewhere or at least that 1973-1974 period where he used "razor blades" to play. It's hard to hate any of their songs. I do like the intro to this song, and love that bongo.
7. Ticket to Ride: I never got this. The first Beatles CD I had, my cousins burned it on my computer, was 1. There was songs I skipped, and never really liked to listen to. To my recollection all have either grown, or degrown (but not to the point of not liking it) on me, except this track. This honestly was the same from day one, in terms of feelings. Few tracks are like that. I know its a popular Beatles song, but I'm not into liking things just because they are popular. I like what I do because I do. Let's hope the chord structures unique or interesting. I mean I guess I can look at the sheet music and see if I like the way it's voiced. I mean I didn't see anything that I thought was mind blowing, but I do like the ending. I kinda wish that didn't fade out of the best part, but you know.
8. Act Naturally: This is a cover of a song by Buck Owens and The Buckaroos, sung by Ringo. This song is so Ringo, you kinda can't hate it. And this is also the perfect song to be on this album, it's almost self aware. It wasn't written for this, but this is the soundtrack, Side 1, for their second movie and it talks about "Acting Naturally" while being in the "Movies". It's a country diddy that fits very well too. I do like the 
9. It's Only Love: This is a sequel of sorts to Your Gonna Loose That Girl, but where that song is fun this is more sad or low. This sounds like an outtake from, honestly, Beatles For Sale. It's kind of a romantic feeling to it, but I don't know. I really am kind of out of things to say about it. I mean, I really can't think of anything I haven't said earlier, or later, here that is different. Not that it's not different, just I don't have anything to say.
10. You Like Me Too Much: This is another just okay song. This is much better than I Need You, but it still kinda reminds me of that, but also mixed with some other songs on this album. The piano reminds me a little of a saloon, but the pianet reminds me of the other songs with it used on it. This could almost be looked at as George's take on The Night Before. This is more relaxed, or loose rather. I don't think those are the right words but where TNB is urgent and fast, this is took a toke and played the same song. Does that make sense?
11. Tell Me What You See: See this is another track that would be snug on Beatles For Sale. And I... Damnit what song. This reminds me a lot of Every Little Thing or maybe What You're Doing, though that little post chorus sections with the really cool "fill" is sick. Not mind blowingly sick, but sick enough. But that's the only really interesting part. And the thing is even the lesser songs on Beatles For Sale have something going for them, interesting arrangements or instruments. Or the fact there is a cover or two, so if a cover's not exciting I don't really hold it against the bad. And both of those song listed earlier are notable better than this. And the change is more.... they flow better.
12. I've Just Seen A Face: A song that touches me every time I hear it. It's so innocent, I mean it has a skiffle feeling to it, and it's also a country song. This is like All Together Now, except this is a love song. From the drum sound (achieved with "brushed snares" I looked it up), to the vocals (not double tracked), to the solo that is works and never sounds a bit off. This is also a great song to get you into the full effects of the next track. There isn't much here to comment about, it's just a really great song that's infectious as hell. Much like some of the other greats on this album.
13. Yesterday: This really is worthy of being a standard. Being the most covered song ever, officially, its gorgeous. The original is the best but its such a well written song its one of those, every version is either, good great or above. Songs like Autumn Leaves and Summertime are like this. I've yet to hear a bad rendition if this, or those. There obviously lesser version, but I haven't come across a totally bad version. It's got the gentle touch of a solo song that is just so intimate. The string arrangement reminds me a little of a variation of the Family Way soundtrack that was arranged by George Martin also, and was written by Paul. This is how arrangents should vs the sometimes over-arranged (at parts) Let It Be album, though I do think it'd be siginficatly better if it's wasn't so "wall of sound" 
14. Dizzy Miss Lizzy: This is a cover which I'd assume was rather dizzying back in the day. Now it is still kinda, bug not so much. It's not half bad, but it's also not that amazing. It's a rocker that closes the album, but the sharp tone might be mixed a little too loud without not enough power. Like there are parts where it sounds like it's not synced up. Like the double track isn't matched up close enough. That kinda sucks about it, but I wish the guitar also was more intresting. Not just that same riff. Play little fills and licks, not "Da Da Da DaDeLa Da Da".

Overall I have to give this album a 7/10. Of the 14 only 4 in my mind are flawless. At the end of the day one of the weaker albums in my opinion. But saying that doesn't take away from this being one of the best albums on the 60's. Maybe I'm biased, I mean there are songs here I haven't heard in a few years that I am picking up on things I try to do in songs. But I try to look passed my biases. This is where they started trying new things, not to the extent of Rubber Soul but seriously. There isn't another album by the group that sounds that similar to this, if you look past the songs that are "outtakes". But the worst part here is that the songs are so short and go by so fast, it's hard to get all my thoughts out. TBH that's kind of a good "flaw". If you get a chance check out the mono version of this, it's worth it.