Done with Mirrors - Aerosmith

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, Aerosmith. Yes, it is not one of my favorites. I still like it, regardless. This is both the first album after Joe Perry and Brad Whitford rejoined the band, leaving in 1979 and 1982 respectively, and first to be released on Geffen. While they were away Joe formed Joe Perry Project and released 3 albums from 1980-1982. Brad also started a band with Derek St. Holmes, singer for Ted Nugent, called Whitford/St. Holmes. 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.

1. Let The Music Do The Talking: This is a reworking of a songs that was the title track of the 1980 debut album of Joe Perry's solo project the Joe Perry Project. 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 Aerosmith 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 Draw the Line, 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. 
2. My Fist Your Face: 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. 
3. Shame on You: 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. 
4. The Reason a Dog: "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. Joey was right about this sound like it wasn't finished. 
5. Shela: 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. 
6. Gypsy Boots: 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 Toys title track or Bright Light Fright. Actually this sounds like an 80s redux of Toys in the Attic. 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 Last Child. 
7. She's on Fire: 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. 
8. The Hop: 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 Get Back sessions. Which this kind of could be compared to kind of.  
9. Darkness: 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 Duke Ellington vibe I'm getting from Steven's phrasing at parts. Reminicent of Take the A Train. I also live the tempo change and how the song actually feels urgent and flows. This could also be compared in feeling to Round and Round. 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. 

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 Pump or Permanent Vacation 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. 

Ride the Lightning - Metallica

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. Hardwired 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? 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. So in honor of that disappointment I felt I needed to review my favorite album by the group. This is the second album by Metallica. This is also my favorite album by them. This album kicks ass. Now this album is also somewhat historical. Yes, Dave Mustaine co-wrote four of the songs on Kill 'Em All, 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 Metallica ever made.

1. Fight Fire With Fire: 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. 
2. Ride the Lightning: I think that this is kind of cool. People thought this was about the horror of Capital Punishment. But James 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 Lars drumming actually fits this songs tone and theme quite well. Also how can you not love that opening riff.
3. For Whom the Bell Tolls: 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 Dave. This again is a very memorable solo and song in general. I love the ending and they basically do the break down of Raining Blood two years before it came out. 
4. Fade to Black: 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-Black Album 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-protoOne. 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.
5. Trapped Under Ice: Based on a demo from Kirk's days with Exodus this song Impaler. Note: this demo was later released, rerecorded, on Exodus' 2004 album Tempo of the Damned. I honestly don't think this would sound out of place on Kill Em All. 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.
6. Escape: 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.
7. Creeping Death: 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 Kirk 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 Wormwood by The Residents. They got some odd stories that actually are in the bible. Judas Saves is my favorite in terms of thinking. Regardless great tune as a penultimate track.
8. Call of Ktulu: This track was originally titled When Hell Freezes Over and was co-written by Mustaine. Mustaine later released When, a reworking I believe if I remember correctly, in 2001 with Megadeth. 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, Fade to Black. 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 Pulling Teeth, Orion and definitely Suicide & Redemption. 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.

Overall I have to give this a 9/10. Don't get me wrong, thematically the lyrics on these Metallica 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, let's hope that in 2031 they release the follow up to Lulu and not a St. Anger II in 2023. But according to past behavior (1988/2008, 1996/2016, 2003/2023?).

Can't Stop the Music - Village People

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 Sleazy half of Live and Sleazy. 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 Victor Willis. Though he did write the words to Milkshake, Magic Night and obviously the previously released YMCA.

1. Can't Stop The Music: 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 In-A-Gadda-Da-Vida 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 Love to Love You, Supernature 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 In the Navy 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 Let's Go Crazy, we need the whole thing. Plus it doesn't kill the momentum of the song having the whole thing either.
2. Samantha by David London: With an introduction that reminds me of My Sharona, and a glam rock inspired by a Rocky Horror, this song isn't anything to rave about. Well maybe more along the lines of a chorus off the more popular Styx songs. It makes me smile a bit because of that, but they did it better than David London. 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.
3. Give Me A Break by The Ritchie Family: 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 Bad Girls, My Prerogative (I know that's from 1989) and throw in kind of generic disco sounds. The bass also reminds me at one point of Good Times. For whatever reason.
4. Liberation: 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 Am What I Am. 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.
5. Magic Night: 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.
6. The Sound of the City by David London: If anything this reminds me, vocally, of Elton John. Seriously, this sounds like his vocals on Philadelphia Freedom. 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, Horrace 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.
7. Milkshake: 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 Go West, 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. 
8. Y.M.C.A.: The only real difference between this and the Crusin' version from 1978 is Ray sings this, if I'm correct. I am saying that because the vocals sound a little different. Ray does sing in a similar style as Victor, 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 Ray sounds more like a homy polone than the butch that Victor was. Ray also isn't as emotional and soulful. Like this feels less energetic.
9. I Love You to Death: 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 Rocky Horror meets the Flight of the Conchords' tracks Love Is Your Weapon of Choice and Demon Woman. 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 Rocky Horror musical. Really it would work quite well there. 
10. Sophistication  by The Ritchie Family: 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 Donna Summer'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. 

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 Milkshake, Liberation or Magic Night 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 Crusin', Go West, Village People and so forth. Please do me a favor and check this out if you want to just have fun. 

Making Movies - Dire Straits

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 Dire Straits, released in just as many years. This follows the 1979 album, often looked at as a remake of the debut, Communiqué. This album was released on October 17th, 1980 with production being handled by Mark and Jimmy Iovine. I guess after hearing the song Because the Night that made Mark want to get Jimmy to produce this album. Jimmy also engineered for Bruce Springsteen on Born to Run and Darkness on the Edge of Town and also was a recording engineer on The River. He also worked with Meatloaf as a remix engineer for Bat Out of Hell. There is other albums he has worked on, though they are less important for this review, but I digress. Speaking of notable things, Roy Bittan of The E Street Band plays piano on the record. I assume it's because the Iovine 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.

1. Tunnel of Love: Opening the album with Roy quoting The Carousel Waltz from the Hartz/Rodgers 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 Jungleland. 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.
2. Romeo and Juliet: This opens with a similar melody to that in Jungleland. 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 Brothers in Arms 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.
3. Skateaway: 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.
4. Expresso Love: 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 Because the Night. I mean it's not a terrible song, it kind of works as an in between of Romeo and Juliet and Skateaway 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 Bruce material, but still.
5. Hand in Hand: "heart to heart, everywhere. That you never start". This introduction reminds me of Two Out of Three Ain't Bad. 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.
6. Solid Rock: 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.
7. Les Boys: 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 Make Up or Walk on the Wild Side. This tongue and cheek style track is something that sounds similar to the tongue-and-cheekness of New York Telephone Conversation or Goodnight Ladies. 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, Oh Well Parts 1 & 2 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. 

Overall I have to give this album a 7/10. The biggest problem is why have Romeo follow Tunnel . The album runs out of steam by the ending. Why not put Romeo in the second side at least. I like that the Les Boys 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. 

Renaissance - Village People

This was not an album I was is intending to review, but to be fair, it does have the spookiest cover art of all time... So why not. This is the 6th studio album, 7th if you count the Sleazy half of Live and Sleazy, by the Village People. This followed their huge flop, and is a departure from their disco roots in favor of New Wave sounds. The wikipedia page has tons more info, more than I'd really ever need but now I can say this is the first album with Jeff Olson as the Cowboy and the last with David Hodo the Construction worker. Now I don't know if this look really works for them.... it kinds looks really fucking dumb. But hey, why not give the album a try right.... what could possibly go wrong?

1. Do You Wanna Spend the Night: What the fuck is this, it's like they sucked the charm of the Village People out and made them shit. I mean it's an okay song I guess that sounds like like could be a watered down Foreigner, with a weird 80's chorus, but like I don't know. It's not horrible but it's too bland, where's the camp. I do dig the backing vocals, and I mean I like the song and all but I just don't really see myself returning outside of a curious listen.
2. 5 O'Clock in the Morning: This intro sounds like a Duran Duran copy cat trying to figure out a Bond theme. I do like the synths on this track, but I mean it kinda makes me think of AOR. You know maybe a good comparison would be 90's Foreigner, after they lost their umph. I mean I think if someone else did this it could have been a hit, but it's the group that no one took seriously anymore (well you know what I mean). The song is so repetitive but it hasn't gotten old while I listened, so that has to be a good sign.
3. Fireman: This is a title, that is pretty cheesy. This has a disco feeling in my opinion, or at least post-disco type sound. There are some lyrics where I'm like, really just say sack. But this isn't terrible, I'm just pretty sure I'll forget about it once the reviews over. I like the bells and sirens and what not. Nice touches. There are also nice synth sounds on this too. It's better than Uptown Fuck.
4. Jungle City: There's something about this title where I could so picture the cheesiest, campiest, over the top music video of all time ever. Like Raining Men level cheesy video. The song isn't maybe cheesy enough for the music video but it's bad. I like the drums though.
5. Action Man: "Action Jackson, is my name, bold adventure is my game". So I looked up the lyrics before I heard this song and some other songs on this album. When I saw that chorus I just.... I was not looking forward to this track. Who knows its could be good, but in reality...... it's really not. If anything; it's like more along the lines of what the fuck am I listening to, mixed with Whip It.
6. Big Mac: I have no words for this song, outside of once I looked up the lyrics and read them I just..... I don't know. Is anything even real anymore? Waterfalls is about AIDS, there exist Titanic video game from Japan and most shocking..... The Village People sang a song about the legendary McDonald's burger... the Big Mac. This isn't terrible, but really were they endorsed by Micky Dees. There's a sort of surf feeling to the tune, maybe like the B52's. Eh, I don't know not feeling it. 
7. Diet: This is so 80's, but it's not in the good way. So when I was younger, and far less intelligent (or at least had worse taste) I would watch hours of VH1 Classic music videos. Mind you I was in Middle School and most of that music I either like out of nostalgia or I think sucks. Some I still love, Video Killed the Radio Star, Aerosmith but that's besides the point. I feel like, even then, this would have been on of the songs I'd see and be like okay lets wait until this is over so I can see a good music video. My favorite was Pop Up video for Sexual Healing. #Fucking Classic - Not this Marvin's tune.
8. Food Fight: Is this a sequel to the 2012 film of the same name? You know, I kinda think this is fitting... Not the song but the jesture maybe. David left after this album, I doubt they or he knew while they were recording, but I like to think this is his send off (he sings lead vocals on this track). Okay this is my favorite song here, for the fact it sounds like Weird Al's classic tune Happy Birthday. It also kinda reminds me of Blondie, maybe. That one could be me remembering wrong, but I do know that the vocals and the way this is reminds me of that HB. 

Overall I have to give this album a 5/10. This wasn't as terrible as I thought it'd be, but I mean I don't know if I'll ever revisit this. I mean while the songs aren't half bad they aren't fun.There is a very 80's feeling to it, and it kinds suffers a bit for that. But I don't know, it isn't terrible

"Weird Al" Yankovic in 3-D

This is the second album by Al and is followed by my favorite album of his Dare to Be Stupid. This album thought was released February 28th, 1984. I originally planned to do this before the release of Mandatory Fun, an album I still occasionally listen to tracks off of to this day. Since it's been a while why not do one of his classics. This album is fun too and why not, I mean everyone's back at school we could use some fun.

1. Eat It: I love this song, and to be honest, still find it really funny. This is a parody of Beat It by MJ. I used to love that track, back in my early days of getting into music. Now I'm not so keen on it, nor am I that keen on really anything by MJ, with the exception of the classics (Got to Be There and Ben). Rather than being about disagreements, and gang shit or whatever the fuck this is about (being tough?), Al makes it about eating. You really can't go wrong there. The honest truth of it is, looking now, I like this version so much more. It's like hilarious, the silly little intro and solo still make me laugh. Those backing vocals too, they did a really good job with this one. I don't know how I can still love this, but like when I hear the original I can't even sit though it anymore. Really, that's kinda of a a fact. But back to the solo, I love it so much and that explosion. 
2. Midnight Star: This is an original, this song is an "ode to" a made up tabloid. Like a magazine and what not you'd find at a store or something. While this isn't as great as the last track it's still a solid tune and I think it works here. I think this is a pretty funny and silly song, and I like those keyboards on the song. You can tell it's from the 80's or so. This is a pretty decent song though, and I looked it up and he said most of these headlines were real. I really like the arpeggios at the ending and the outro to the song is pretty fun and this is a solid 7 or 8. Probably more liek a 7.5 or so.
3. The Brady Bunch: This is the Brady Bunch theme. kinda, to the music of Safety Dance. I like the original version of the song, but to be honest I don't know. I'm not really feeling this song so much, I get the joke but I'm not feeling it. I've seen the show before and it kinda fucking sucks. So yeah, but whatever. They did a solid instrumental cover though.
4. Buy Me A Condo: This is a style parody of reggae music, and I really dig it. Like in all honesty this song kinda got me into reggae :D.  I mean I've heard other bands and songs I've liked, but it wasn't until this that I was able to get into Marley. I'm not a huge fan, but this song is great. I kinda love every aspect of it.
5. I Lost on Jeopardy: This is a parody of one of my favorite songs, Jeopardy by Greg Kihn Band. I love that sort of funk feeling to the keys and the instrumental cover is such a good fucking cover.... damn! If not for Al it'd be easy to mix the two up, well that and Don Pardo. This song is hilarious and it's really fucking great.
6. Polkas on 45: This features a bunch of songs, it's a polka melody. The tracks here are Jocko Homo, Smoke on the Water, Sex (I'm A...), Hey Jude, L.A. Woman, In-A-Gadda-Da-Vida, Hey Joe, Burning Down the House, Hot Blooded, Bubbles in the Wine, Every Breath You Take, Should I Stay or Should I Go, Jumpin' Jack Flash, and lastly My Generation. This also happens to be one of the best ones he has ever done, and the only song I was unfamiliar with at the time of this review was Bubbles. Actually it also has some of my favorite songs here, I love Jocko Homo and Smoke on the Water is still pretty solid. I LOVE Sex, Hey Jude and L.A. Woman. In-A-Gadda-Da-Vida is a song I've kind of grown tired of, but I like this rendition quite a bit. That goes for Hey Joe and Should I Stay/Jumpin' Jack. I know I basically said a whole lot of nothing, but this is a lot of fun and a great track. Plus it's super catchy and makes you wanna revisit it right after it happens.
7. Mr. Popeil: This is a style parody of the B52s, according to Wikipedia. But it also mentions that Al said it's not a style parody. This is also is a song about Sam Popeil, who's daughter sings on the track and has sang with Zappa. This is a fun enough song, and I mean it's not something I listen to outside of the context of the album but I do like it. The female vocals on this remind me a bit of God in 3 Persons. So obviously that makes me smile. :)
8. King of Suede: This is a parody of the King of Pain by The Police and is about the owner of a clothing store, who is the King of Suede. This is a good "cover" and while I'm not in love with the original version I do like it and this one. Plus this is so fucking goofy. Where the original was written after separating from his wife [Sting], this is basically a commercial that I could imagine seeing on TV if this was the 80's or 90's or even cheesy ones today. The Perkins reference made me smile too.
9. That Boy Could Dance: You know this is an original. The one thing that I have to say is that it isn't as good as the originals of Dare to Be Stupid, but still enjoyable. This is another number that's well enough and it's fun. I dig the saxophone in this and it screams 80's. I could imagine hearing this in an 80's film that someone was playing in the intro or on their boombox.
10. Theme from Rocky XIII (The Rye or the Kaiser): This is a parody of Eye of the Tiger, and now I think is funnier to listen to than it probably was back when this came out. It's making fun of how many films there were, and kind of like eventually he'd be too old to fight and the movie would be him doing something not as exciting. For example, buying a deli and working there. I kinda don't wanna say anything else, because I love how un-Epic these things he does are, over the music to the Epic pump up song people love. I dig the tune well enough, but this makes me smile. Now I know he in the one film he still boxed, but it's funny because they resurrected it and he kind of was "to old to fight". Al predicted the future :D.
11. Nature Trail to Hell: This song starts out reminding me a lot of the intro to Black Sabbath and Mother. This is I think the best original he did, thus far in his career. Digging the "strings" solo, and damn is this cheesy. Thus making it the sweetest ear candy known to man, to me at least. This song is proabably the best original song here, and it's proabably one of the best originals he's done. I love horror films and I could see this being an 80's slasher film. The instrumental is also really neat, like they did a really good job there are sections and kudos Al.

Overall I have to give this album a 8/10. This is a solid album, fun to play and has some memorable parodies of great tunes. I know I didn't talk it up that much, but really it's fun and reminds me music shouldn't always be serious. Harmless fun isn't a bad thing, I just wish people who did that today did it as good as him. At the end of this album there's really only one thing to think, Does Humor Belong In Music? it's up to you to decide

Torture Time! - Polly Bradfield, Eugene Chadbourne

So today, since I'm house sitting, I decided to finally review this. Plus it has to be better than that extremely boring Georgie Fame album i just listened to (sorry Oxley you couldn't even save it). Also I've been writing and I need something non-singer/songwriter or to help me focus and get inspired by music. This is the third release by Polly Bradfield. This is a collaborative album between her and experimental guitarist Eugene Chadbourne. Well kinda, she has only been credited to about 20 some odd albums, recorded, from 1978, Frank Lowe's album Lowe and Behold, to 1986, John Zorn's  album The Big Gundown (which might be uploaded soon, either that or Spillane). Hopefully those commas make sense, because i know its technically incorrect use but fuck that. If you remember three February's ago, I was feeling daring and did Environments For Sextet, (which she played violin on). She also played with the other 11 releases he is credited on (from various places, though there might be more). This is also the last album that was released where she was credited as an artist. This album was recorded on April 2, 1981 and should be noted the only instruments on here are violin and dobro.

1. Untitled: Opening with what sounds like a crank or a wheel being turned. First time trying to do the review, I made it like 30 seconds in and my brain turned to mush thinking how the fuck Polly is doing what she's doing. I mean it could just as likely be Eugene, but Polly is the more talented one (IMO). I have to figure shes doing something with the strings on that violin, and some of these "effects" are really interesting sounding. I can't even describe some of the sounds happening because that take far too long and take away from others interpretations. The thing I like is when I hear sounds that sound like a horn, toys, whistle, saw or something not a Dobro or violin. There is percussive noise, but I assume it's achieved by hitting the instruments. At about five minutes in I'm beginning to hope it can keep this up or get better. I like the sort of sped up horse gallops part, that kept me trying to think how's it exactly done, but I think I might have figured it out. There are also parts that remind me of Mr. Bungle field recordings that find their way all over the debut.  Is that a bicycle bell. Around 13 minutes I do like what's going on, but its kind of losing me. To be honest, I'm not completely looking forward to another 20 minutes of this. It kinda sounds like a fart. I feel like if cut up into individual tracks, to sort of help only get short doses of this the track would be much better. Like maybe cut this into 5 or 6, 1-3 minute tracks. And maybe cut parts that kinda repeat you know. 
2. Untitled: Bow by the time I'm at side two I'm like, the better be damn great of amazing to make up for the overall okay last track. And yeah it starts off promising, though it leaves me wanting more (in the this isn't enough, not I want to have more the the same or quality). Why no drums bru, that'd make it so much fucking better or something else, horns something. There is a sound that when I hear it I imagine the film being dissolved, like in movies. But in this instance it'd be the sound or music. There is a nice "banjo" type thing I hear, but it fades to fast. I like some "effects" on this track also, but I fear its going to wear thin fast. I mean the last thing wasn't so hot. It kinda sounds like someone masturbating. There's a part where the Dobro is in,  the distance and almost sounds like its over a radio. I like that a lot. But it goes to fast and isn't fully utilized. 6 minutes in, of 15, and I'm kinda picturing what could make this better. Horns would so fucking make this better, like horns that acted as a regular string section. Then maybe pizzicato horns (probably using term wrong or not ever the right term, but fuck it). At 9:24 I'm beginning to completely check out, I am glad I checked the time because that helps me know its almost done. I do like the breathing sounds and how it is chaotic towards the ending but I feel like it didn't do what I wanted it to do. 

Overall I have to give this album a disappointing 5/10. It's free improvisation, what did you expect. I mean as much as I enjoy the genre and take influence from it I can't say anything of it could really be a 10/10. I mean I bet if I was to play this and have ten people review this most would hate it and point out, its not music. The thing is, this is music, we've past the point in time a long time ago where this wouldn't be considered music per say. But that doesn't mean i didn't have hopes of it being a 7 or 8. I mean this album, to me, felt like it could be up there with European Echoes, Environment, Typography of the Lungs and so on. Sadly it's just one I heard I'll probably forget after this review. There is an art to being able to do so much with so little, and you know I learned quite a bit from sitting through this record, but I won't revisit it. Actually on that note, the fact there is so few and little also detracts from this. I mean if they added a percussionist, and he had a shit ton of things to use that'd help make this much more interesting at parts. Really, if you open minded about music I ask you check this thing out, maybe you'll get something out of it. Or if you play a string instrument you can hear weird sounds for 35 minutes. But yeah, its nothing that I'll ever want to bear again. 

Rising Force - Yngwie Malmsteen

This is the debut album by Yngwie Malmsteen, Swedish neoclassical metal/shredder. This album is pretty solid, I'll say that off the bat, this album also finds itself often on lists of "Best of..." lists. I figured I should do this because of my recent listening to Yngwie. But what broke the camels back and brought forth the review is to show why World on Fire not only sucks, but it causes cancer. The line up for the album is one Yngwie on guitar, Moog Taurus (a foot operated synthesizer), and bass. It also features Jeff Scott Soto on vocals, Jen Johansson on keyboards and Barriemore Barlow on drums. 

1. Black Star: Opening the record we get a classical guitar introduction. I really like that and its a nice introduction before the bass and drums set up the actual song and the lead guitar comes in. I like the sort of building its doing and the synths acting as strings to set up the atmosphere. The dual lead guitars are great and I think add to the atmosphere and feeling. I like how this isn't overtly in your face. The guitars aren't overwhelming. I mean you can barley hear the bass, but the guitar is great sounding and the drums are still audible. There is a composition to this that is interesting and the bass during dual harmonies part that repeats is freaking great. Shame you need headphones to hear it, or maybe Jason Newson has an uncredited bass performance here :D. But this thing really is a great tune and a great introduction to what's about to come. Also I do have to admit I have a soft spot for these sort of epic early/lo-fi synth neoclassical guitar shredder type albums. I don't know who to explain it, but if they tend to have similar production. 
2. Far Beyond the Sun: Maybe my favorite song by Yngwie, along with I'll See The Light Tonight. There's a confidence here that may have been lacking on the last track, but I love the harmonies on this and damn is this thing great to drive on a highway fast to. It's really what Yngwie is all about, well back before he became someone stuck in the 80's. I really think his tone is great here, and the composition is also more focused and "fire!". Great stuff, and possibly the best trait of it being kinda fun and exciting to hear. There's is a glorious feeling when you get that sort of return to the head in the solo. It's pretty epic. 
3. Now Your Ships Are Burned: I hate myself, I'm a guitarist and I can't fucking think of the techniques he's using. This is the first song with vocals, from Jeff Scott Soto, but the intro is pretty great. There's a sort of Scorpions vibe, but maybe sped up, to this track. Something with Uli playing on it. Jeff is a solid singer, and the instrumental shines here to be honest. I love the sort of vamp in the middle and how it has a part for the bass to shine. That's a nice little touch, it isn't just Yngwie's guitar (though he is also playing the bass, so you could argue he's doing it to show off). I don't know, I don't think it's that. 
4. Evil Eye: I really like this composition a lot, and it opens with a solid classical guitar intro. I don't think it over stays it's welcome but I think the transition works for the song. The down side is its based off Bouree, and since I don't know the entire composition by heart I can't say what is or isn't just a variation, or if it was just inspired by the track. When the song starts it starts out epic and feels great. I like the double hits of the drums, the gallop (can't think of what that's called). I really think the instrumentation and how everything is working together to make a sort of hypnotic feeling is great. I could almost see this taking you down to hell. The little changes here and there keep the track from becoming stale. It works well in my honest opinion. I also love the vamp section for the dueling keys and guitar and then the dual keys/guitar. Damn! This is fucking spit fire. This really is a well put together instrumental composition. The guitar solo towards the ending is nice and when the track slows down that's also a nice touch but yeah. It's solid and I love the ending, that's a really nice touch. Something different I guess you know. I've said I in this tracks review haven't I.
5. Icarus' Dream Suite Op. 4: This track finds itself based off Adagio in G minor by Remo Giazotto. Now that being said I really dig this track and its very epic. There is a great laid back and almost heavenly feeling to the beginning of this tune. The keys almost make me wanna say Angelo Badalamenti sounding, though this predated Blue Velvet and Twin Peaks. After that some gorgeous acoustic guitar comes in with some great keys and a nice guitar wailing in the background, but not too overtly. I like when the other instruments come in, and the transitions on this is pretty great to be honest. This track feels like it deserves to be the six minutes it is. I mean I like majority of the track here, but some feel like they might go a bit long for what your getting i guess. This is justified. I really like the sequence in the track also, I mean it kinda takes you out of the song, but I do like it. I also love that guitar and the sort of like multiple guitars playing at the same time transitioning into that being played on electric guitar and a band. This is top notch bru. I do like the distant acoustic guitar sounds on this album a lot, I don't know why but I do. I also like the playful lead that comes in and it just feels fun. This also reminds me a bit of Love to Love by UFO (an all time favorite of mine). 
6. As Above, So Below: Now this is where I think the album kind of loses some steam. Not in that this is bad, but in that I kinda feel this should end the album. The organ intro would be a great transition into the last track, or to close the album. I mean don't get me wrong I dig this tune and move the harmonies. I also like that Jeff's back, but I feel like this should have finished the album maybe. I really like the vocals on this in the chorus. I mean again Jeff is a bit confusing. I think when he's singing in there are times he doesn't sound like he's hitting the notes but then the long high notes are glorious, and I am chorus is fucking great. I don't know, also I think the sequence here works very well and doesn't take you out of the song. The guitar work and the key work on here is, guess what I'm gonna say...... Top notch. No really, this thing is fucking great. The thing I can't pin down is the vocals though, but I don't think I may ever. Now after that outro I'm kinda checked out. Like that's the most logical outro, for what is presented on the album. 
7. Little Savage: This should be track 6. I mean yeah I like this song, but after that last track and sitting through the rest of this album I don't see how this enhances or really adds to the album. I mean there's a part of me that loves the slower solo part, but then there's a part that goes, why why why place this after that last song. I mean maybe the solo section is worth it to be here, but place it one track before. I also like the harpsichord, but yeah I like harpsichords so. I also like the keys on this quite a bit, but again at this point in the record there isn't much of a point I guess. I mean the way this ends might have even worked better if the organ followed.
8. Farwell: I think this would work as an ending track if it sequenced from As Above, So Below. Like the organ maybe ended and the sustain from it carried over into this. Or the acoustic guitar and organ crossed and the organ became the guitar. Or maybe a few seconds of silence to let the organ die off and then you hear the acoustic guitar. Then you get the book closer you wanted Yngwie. Which yes its your first record, so I can't be super mad, but I mean I wish you would have done one of those you know. 

Overall I have to give this album a 8.8/10. My friend Justin (his review here) mentioned he didn't like virtuous-osity-ness shoved down his throat, Here it feels natural, and lacks the cockiness (though has confidence) of his later albums where he doesn't need to change his sound or style or even practice playing. I'd go as far as after Trilogy it goes down hill. This works because it's fresh, then, and well its also kinda fun to hear and maybe try to learn the lead guitar lines, licks and sweeping. Plus these are all memorable, and don't sound exactly alike. It doesn't just have one or two songs that are only revisit-able on an occasion or greatest hits/anthology collection spanning a career, there are multiple songs that should appear one of those. These songs here are all solid enough in their own right, and deserve to be heard. I like this record quite a bit. 

The Real Thing - Faith No More

What a perfect way to have a summer feeling than an album that is quintessentially summer music to me. What is this, this is the third LP by Faith No More. Their first two LPs, '85s We Care A Lot and '87s Introduce Yourself feature the vocal talents of Chuck Mossley. He was a sang in a monotone voice, which might be off putting but I believe it worked for their sound and image. A lot of that founds its way on this, the first album to feature Mike Patton on lead vocals. In fact all the music was written prior and recorded, they just asked Mike to write lyrics and sing for the album. 

1. From Out of Nowhere: Opening we get a solid opener. And to be honest this is a great opener, in context of the other albums they have song but they don't really pump you up. Right off the bat there is something building up to somewhere. Not tension, but the music is very very engaging. The play also happens to be much more fun and have more personality in my opinion. This has song great vocals and the keys are something else here. The arrangement is great and that bridge ...... Yes! Great solid opening. And even though it's a straightforward song, there are little elements that change slightly enough to not be a loop. {8/10}
2. Epic: Possibly the best know song by the group, this tune is a classic. What a baseline, what a riff, what a rap. While I think it's silly, I still love this thing so fucking much. I also love the tone on those guitars, Jim does an awesome job. I also like this being sequenced second because I personally think if fits better that way. The song is quite good at building tension, and the licks are pay off. I could almost see this being played on strings and working well. The ending fade out is so fucking awesome and that piano. Well lets just say that's part of the reason the piano is my favorite instruments. Every time I hear it it takes me back to High School Summer Sophomore Year. Trust me I like this, not for nostalgia, but for the fact I just love these songs. 
3. Falling to Pieces: The third track to be a single from the album, and at track three I gotta say it's great. It's weird how this song, along with my lesser favorites have grown on me. The bass line is very memorable, with some great guitar work and just gives an atmosphere. Like it can't hear this song and picture anything other than the music video. It's a fun music video, but the song itself is quite fun. I really love the keyboards on this thing too. I love the guitar solo towards the end, the buried in. And I like the multi tracked vocals on here, silly but add to the song. 
4. Suprise! You're Dead!: This song has a much rougher, rawer feeling to it. It has that Metal that makes this a Funk Metal record. I could see this going toe to toe with another Metal band at the time. Maybe not as heavy as a Slayer, and I know there are heavier bands back then than Slayer, but yeah. I still think this song packs a punch and, maybe the backing vocals take away from that lunch a bit. If this was produced, or executed, a bit differently I could see this being a Slayer song. I really dig it and like the telling from Mikey. 
5. Zombie Eaters: This opens with arpeggiated acoustic guitar, and is a nice follow up to the last tracks punch. I also like the hi hats that punctuate his vocals. The arrangement here is great and it builds tension. Even if you've never heard the song before there is a tension you feel. I love the Spanish feeling guitar licks and once it happens you just feel that hit. The bass is thundering and I'd love to hear this thing live. I really like the sections and the builds and changes that happen in this song. While it's pretty straightforward, I still like the little details here and there. It's not just a straight loop. The only real complaint is I don't think it HAS to be 6 minutes long. They could have maybe cut a minute out or 30 seconds maybe. Although I don't know, they do kind of justify the length a bit by the changes, but I feel a bit unsure. I like it but it is a bit long. I guess I really have to be in the mood to hear the entire song (outside of a front to back listen). I really like the ending though. 
6. The Real Thing: Alright, six tracks in and we finally get the title cut. Opening with a drum beat, that has a snare hit (I believe)... Damn! There's also this like wind sound or something, or water sound effect. I don't know but I like it. There is a tension of waiting for the song to explode. Now while the explosions are more overt and obviously going to happen in this song than the last, that doesn't make it bad or worse. I don't think this is as well arranged, but there is a bit more of a punch maybe. This also sits at 8 minutes and is a song I feel like I have to be in the mood to sit through all of it. I like the vocals on this thing. I do dig the part where the song quotes down, nice dynamics. But again, I feel like it could end at 5 minutes but there's still 3 minutes left. Like honestly there isn't much that happens in those last two minutes of the song. I mean yeah sound effects, but that doesn't mean it's worth. They could have just as easily edited it to be shorter. 
7. Underwater Love: Now where the last track runs out of steam a bit, this track absolves it of its sins for me. Honestly; as goofy a song as this is, and as goofy the lyrics are too.... I kinda love this song.  This is just a fun song that I feel like is a bit of a return to the fun of the first few songs. Not that the others aren't fun, but this is a fun song. I can't believe it wasn't a single. I really like the vocals and I love the underwater feeling to the vocals. I don't know, I feel like I'm underwater when I listen to this song. I could be crazy, but that keyboard intro definitely helps set that tone. Solid tune, which happens to be an all time favorite of mine. Also love the drums in the outro, good job Puffy. 
8. The Morning After: This song is a song I go a bit back and forth with. Like okay, this feels like a song written for their last album or maybe their first. Like honestly, this would fit quite snug on Introduce Yourself or We Care A Lot. I like the punch/crunch to the guitar and the pop of the bass. Actually it isn't that much if a stretch to imagine Chuck's monotone voice singing over this. I like the harmony guitars in that one, I'll cal, aside. The funny thing is this was "demoed" and released on a 7" or something for a magazine back in 1988 with Chuck on vocals as New Improved Song. Now even before I heard that I could hear his voice over this, but look at the two side by side and you'll get what I'm talking about when I say this is a step up from the last two records. The ending is great also. 
9. Woodpecker From Mars: Closing we have a reworking of Pills For Breakfast but better quality and more intresting. Now I could just be saying that because its an instrumental, but this compared to their last instrumental is far superior. Actually this feels a bit more like an eastern sounding thing. Also even though they aren't the same thing exactly, they both function and are set up similarly. This is just more of a fleshed out version of the idea better fit to the sound of the album. I hope that makes sense. Also this packs a lunch and is a far more satisfying closer. I really dig this tune, though it is a bit long. You could also see it as an extension of the last track a bit too, but that might be a stretch. 

Overall I have to give this album a 8/10. These are solid tunes, memorable choruses and fun to listen to while driving in the summer heat. While their next LP would be their best, this still belongs the best of the 80's list. This is fun and harmless music and maybe you'll end up finding a favorite song somewhere. This improves on what the previous two records where trying to do and is just, its kinda awesome and just so much larger and confident. The CD bonus tracks, Edge of the World is great, but it wasn't on the original vinyl so I didn't include it in the review. 

Killing Is My Business... And Business Is Good! - Megadeth

This is the 1985 Combat Records debut album by thrasholes Megadeth. FYI that was a compliment, if I said douchestep or something else non-Metal it's be an insult. I've previously reviewed Super Collider and So Far, So Good... So What! on this blog, and I figured why not get this one over with because it was fairly simple. This album features Chris Poland, Dave Ellefson and Gar Samuelson and was self produced by Dave. This is actually the last of the big four's debut albums to be released, Fistful of Metal was released in January 1984 this was released in June of 85. Just a fun fact.

1. Last Rites/Loved to Deth: Opening with a quote from a classical piece, that for whatever reason I'm to stupid to recall. When I look it up, I discover it's Bach's Tocatta and Fugue in D Minor. I think it's a nice intro, and once it ends and the song starts it has a nice punch. Now the "verses" kind of sound like a mess, like they don't really sound like they lined up correctly. As it progresses it sounds like it comes together better, and David Ellefson's poppy bass sounds like it fits better. A decent song, but the solo isn't really there.
2. Killing Is My Business... And Business Is Good!: This opens rather promising, and the vocals sound very demonic with the shrieks. The plays a riff, that almost sounds like a chase, and I love the bass and drums accompanying it... tasty. Nice and angry too.
3. The Skull Beneath The Skin: The way this opens I was expecting it to maybe be fast but this isn't as fast as some the others this far. This is fast but parts are slower when its just drums and the bass. This is a nice speed metal tune though, and tells the tale of how Vic became Vic. If your interested I'd definitely look up the lyrics. It's kinda neat, but then again Black Magic and Occult interests me. Not like I'd practice or believe it, but in the same way Ancient Egyptian mythology interests me.  
4. Boots: The infamous cover of the Nancy Sinatra classic. This is basically a thrash/speed metal cover of the tune. I mean is there really much more to it than that. I mean the stupid fucking beeps on the reissue sound terrible, laughably terrible. But this is an angry song and I like it.
5. Rattlehead: Ah the track named after Vic, one of the many metal mascots to grace album cover with the likes of Eddie the Head or Snaggletooth or even more recently the Deathbat. Even though it's named after him, its about head banging. I like the tune and solo, but yeah.... I mean it's not really mind blowing. 
6. Chosen Ones: This almost sound like it could pass as a Priest song. Really, I'm serious. It's actually a bit refreshing after 5 tracks of essentially the same thing. Yeah this isn't really THAT different, but it feels different enough I guess to where I like it. Plus tasty solo, and great bass fill. Plus the song is about Monty Python. 
7. Looking Down The Cross: A very beefy song topic, about the "real" last thoughts of Jesus. The song in its own is interesting and has a nice build into the song, which appears to fade in. I really like that solo and I feel like this song is being given room to breathe. This sounds like a Megadeth song by the way, and has that sinister feeling that they are great at. Also this is possibly the best song on the album, like really. It's the most unique, sonically different, and kinda has this sort of Iron Maiden bass gallop. This could pass as a Maiden song, but that's not necessarily bad. I kinda think this is one of the songs that I'll revisit, and while it may not have the punch I want it to have, looking back like none of these songs do. This really sounds like classic Megadeth, and I feel like if he revisited this song it'd be phenomenal on the level of other songs like Peace Sells or Tornado of Soul.
8. Mechanix: This is the original version of the Metallica classic known as The Four Horsemen. While the affirms rioted track is better crafted, this track is very fast and about sex using a car as a euphemism. This could basically be looked at as if you sped up the track and took out the nuances and structures and made it much more straightforward. I still enjoy this, thought you can't top the others

Overall I have to give this album a 6/10. This sounds very loose, and I like that. At the same time, its very one note. Like I feel like these songs were recorded live all in one take and the album was cut on track after another. I mean the songs fit together well, but like..... It's very self produced sounding.... Which it is. I also feel like there is a sort of demo feeling to the album, which isn't a bad thing, but it doesn't sounds as focused. Like all the songs are of the same mind set sort of. If you weren't paying attention it'd be easy to mix one into the other. At least their next album would feature a more cleaned up sound and more focused. Just check it [this one] out, its worth a listen or two. 

Controversy - Prince

This is the fourth album by Prince and was released in 1981. This album follows the amazing 1980 Dirty Mind. While it may not be as good as that album the title track alone makes this worth a listen. This was also released in October. The album before and after were also released in October. As you may know Prince recently passed away, I plan on doing a Purple Month sometime next year maybe, but for now this'll have to suffices. Now I'm a huge fan of this guy, his Cream of the crop coming from 1980-1987 (it starts to decline after 1992 a lot). Now I will miss Prince, but not sorely. Why? Well blame it on Bowie, but after he died I said.... When's Prince and Macca and my other heroes gonna die. And when I heard the news I went, that was quicker than I wanted. :( But to honor him I'll review a pretty straightforward less popular, but solid, record.

1. Controversy: This track opens the album. This is an amazing track from every which way. This track features Lisa Coleman as a backing singer. At 7 minutes I have to say, this really doesn't feel like it overstays its welcome. It kicks off with a punch, had a solid groove. The chorus is very catchy, and the Coleman's refrain of the title is great. Oh the track also changes enough, while not a progressive composition, it changes enough to keep me interested. I love the umph that Prince does, which sounds like a sampled voice being played through a drum (essential serving as a bass drum).
2. Sexuality: The definition of Prince's music, at least Pre-2000. Hahahahah, that's a good joke right guys?!?! But more seriously, this was released as a single, but I don't hear it. It's kind of an uninteresting synth funk number that has been done much better by The Purple One himself. It also sounds like a song I could hear being a new wave influenced maybe on a VH1 Classic rewind music video block. This isn't terrible, but I know if I heard it I'd probably just hear it passingly. Like there isn't anything here that really drives me, outside of the review, to revisit this. The only thing that I do smile at is the lyrics that were quoted in Rainbow Children.
3. Do, Me Baby: If I'm correct this was written by André Cymone. This also dates back to 1979, though this is a re-recording from the 1981 sessions. The one thing I have to say about this song, honestly, is damn this is long. Maybe it's a bit too long. This is a sensual song, kinda like International Lover. The only thing is this isn't as good as that track. It's almost as if that was a re-write of this, but done better.
4. Private Joy: This was actually later covered by LaToya Jackson among others. Honestly this is a pretty fun, 80's song. I really can't hate it you know. It's pretty damn fun. While I feel like it might be a bit more fit to someone else, I can't knock it you know. I don't know which I like better, I mean the cover sounds better, but this.... I think his singing is what kind of make this sound like the original of a song that was later covered by someone else and made a hit. A number of song on that list include Since You've Been Gone, I Feel For You, Blinded by the Light, Nothing Compares 2 U, Respect among others. This is still a nice song and worth checking out. I do appreciate the sort of distortion and segue into the next track.
5. Ronnie Talk to Russia: Being Lisa's second track shes on, this is a very short track. Look at it as this albums equivalent of Sister. There is some nice drum work in the beginning, then when the song starts it kind of makes me think of a rocker off The River. I mean it's a fine song, it's sweet and short, not as good as Sister or memorable, but it is what it is you know. Kinda tongue in cheek.
6. Let's Work: Originally titled Let's Rock after a dance the title was changed to make it less timely. This song is kind of simple and these not much to it. This beginning of the song, or refrain  reminds me of Le Freak. The comes the bass line for a few bats before the vocals come in, which I think is the best part of the song. I really like the way he sings and the sort of six syllables or beats he sings and the synth backing him up. This is really a top notch song from this style. And I'm pretty sure it'll make you wanna get up and dance. This also sounds like it's pretty confident and I could almost see it being on par with the next release, if not so new wavy it could also fit on there. It's pretty confident and bold and just straight up great. I also like the synth that works as sort of strings for the track. Nice ;)
7. Annie Christian: The segue into this next track is something else. Its almost if he was aware this is odd and he wanted to get you in the mood right away. Now this isn't odd in a "I can't believe he'd cover this topic". This is odd for the way it sounds. Like I almost feel like it's not shocking, just bizarre. It has this weird feeling to it that makes me think it's supposed to have a deeper meaning to it, but I don't know. There is a really nice guitar through out, and this icy synth that sounds like lazer shots being fired. The more I listen though, the more I love every second of this. And I'm serious about the guitar, we rarely get solos and here is like a 3 minute long one behind the track. Maybe the best way to describe this is he was a Third Days Something, I don't know but some people say that is like a cult. This song has a very cult-esque feeling to it. Almost as if he was brain washed or sung by a robot. The only real logic I can find is maybe it's about the devil, and to back that up the fact Annie Christian Annie Christ sounds like Anti Christ. 
8. Jack U Off: If I'm not mistaken this is the first track Prince misspelled. This track, while classic in its blunt title.... It isn't classic. It kind of has the silly feeling Delirious and a number of tunes here have. This is kind fun, but I'm not sure this fun feeling is right for this song. Maybe for the chorus, but like I don't know. It doesn't leave a good feeling in my ear, or mouth. I've heard far worse song, and loved them, but this just doesn't really work for me if I'm being honest. The best part is may the harmonies, but also I feel like it doesn't work too. There is also a rock and roll feeling to this, but I don't know.

Overall I have to give this a 7.5/10. This album, while less eventful than the previous album or the follow up its kind of important. I once read, and didn't realize, this is the first album with long songs, which Prince would use extensively on his next album (and other albums not necessarily to his benefit). But this really is the middle ground between DM and 1999. Ultimately the title cut and the other two tracks are a good enough reason for me to buy a cassette, Cd, vinyl and 8-track of this album. Now that being said Prince Roger Nelson will be missed but if there's anything we can do its to keep on keeping on. He wasn't one to really back track (well until more recent years) and musicians shouldn't either. So lets keep going and make Prince and the others proud.