Mona Bone Jakon - Cat Stevens

So I've been super busy and haven't had time to do reviews. So I figured I'd do an album I could knock out pretty fast. So I picked the third studio album by beloved singer/songwriter Cat Stevens. Released on April 24th 1970, this was recorded after he almost died because he contracted TB. No really, look it up, he was in a hospital for like a year I believe, and he wrote songs there.
Also as a side note, Who Can I Be Now? [1974-1976] is fucking great.

1. Lady d'Arbanville: This opens the album, with a completely different Cat Stevens. A much more mature and grown up version. sort of dirge, there is a Spanish feeling to the song. I really like the percussion in the track and this is one of his best. The song is very bare and it really has a close feeling, there is a driving force with the percussion that I love and the two guitars sound fucking great together. I love the organ, I wanna say, that accents the guitar later on in the song and how it progressively gets louder. I think it's a pipe organ. This really is a fucking great tune and it you just feel the feeling in it. I also dig the double tracked vocals, and it just takes you there you know.
2. Maybe Your Right: This feels like a bit more of a busy version of say, If You Wanna Sing Out. Now I dig the piano in the track, and I think this is a solid tune none the less, it's just I feel there's a lot happening and there's stuff that can distract maybe. It's not like it adds to it though, I think it kinda is just there. I do like that piano roll though, fucking nice sounding. I do like the brushes used and I like the strings. While this is decent enough, I feel like it's a deep cut more than a stand out.
3. Pop Star: From what I've read, this is a satire about the triviality of celebrity and what not. I can get with that, I mean fuck everyone. Now because I'm not fucking retarded, I know satire isn't usually funny and it more points out the short comings of people. Based on the lyrics, I guess I can say it's satirical. I like the song, though it kinda reminds me a bit of Six String Orchestra, especially the part where the band comes in and plays. I also wanna say, Fuck! that double bass... I love it. This is a solid tune, thought I wish maybe it was a different take. Like it doesn't feel as confident(?). There something missing from keeping this phenomenal you know, but I'm thinking it's probably the fact this is the first time they've done this.
4. I Think I See the Light: The second this starts I go, White Stripes? This so could be a White Stripes song, you know a piano or more novelty try songs. Not to say this is a novelty song, but that's to get in your mind. I mean this is way more interesting and has a ton more going on than one of theirs would have, but it's pretty great. I also like the motif that plays as an instrumental during the choruses. I also gotta say, great organ solo. It's a solid track.
5. Trouble: A soft song, also one of my favorite songs he's ever written. Elliott Smith did a great cover of this, but I gotta go with the original. So I guess this song is written about death, and pushing it away. I could see that, there is a very somber feeling to this track. The harmonies in the background are great, and I love they mostly guitar and vocals. The double bass and drums are there, but they aren't as prominent, I wanna say.
6. Mona Bone Jakon: Slang for a hard on, I really like the percussion in this track. There is some type of bongo or animal skin thing being played. And there sounds like he might be hitting his guitar. This song is kinda filler, and it's a bit disorienting, but I still can dig it.
7. I Wish, I Wish: This song is just okay, I mean it isn't anything new but there is a bit of a different feeling to it. I do think the highlight though is the solo that is either double tracked or a duel lead. It's pretty great. The piano also sound pretty great, this has a nice energy to it.
8. Katmandu: Fun fact, that flute was played by Peter Gabriel. There is a great relaxing, sort of Moonshadow feeling to this song. That flute is really great by the way, but I think this is a pretty romantic sounding track. I think this is about the town or city, but I could just as easily see this being a love song. I also love the atmosphere. It's pretty beautiful and one of his best I think.
9. Time: This is an introduction to the next track, and I really like the sort of Pink Floyd vibe to the track. Like maybe a slightly less progressive version of something like Dogs. Like the acoustic part or something like that. I do dig this though and I love how it's so short and sweet. Plus that ending, damn.
10. Fill My Eyes: While I wish the chords held over into this track from the last, this is a great second part to it. Maybe it's just my copy but it didn't do that well with it. I mean it worked, but not perfect. But that aside, this is another solid tune Cats. I love when the piano comes in, thought I wish it didin't leave as quick as it came. I would have possibly rearranged the track, but that's me.
11. Lilywhite: Closing the album is a ballad, that to be honest isn't anything you haven't heard earlier in the tracklisting. I mean the strings really work well here, but it isn't anything that crazy. But that being said, I gotta say, this still works. I love the feeling of the strings and how they play and could almost be floating. The vocals are a great and I think I'm out of things to say :D. But It's solid. The best part tough, is the ending with the string arrangement by it's self. It kinda reminds me of minimalism a bit. With the droning one.

Overall I have to give this album an 8/10. This is a solid record, and I think you should check it out. Really good singer/songwriter tunes and it's not a boring listen. It kinda moves pretty fast and has memorable songs. It's pretty damn good if I do say so myself.

Foreigner - Cat Stevens

Okay, so recently I've been on a Cat Stevens kick. I honestly don't know why, I'm not a fan outside of tracks here and there and the whole spiritual seeking aspect of some of his music. Now I don't plan on listening to anything Yusef before his pop music return, outside of A is for Allah (I'm not Muslim, and I  honestly wouldn't get anything out if it other than a curious listen). So when it came to picking a review I knew I had to do the album with one of the best A side long tracks ever. This album, number seven, was released on July 25th, 1973 and recorded the prior March. So I guess he was really moved by "black music" and because he was an outside attempting to make this music he called it Foreigner (but also because he was in tax exile). This album is also notable for having a number of musicians I am suprised to see on a record by this guy, Phil Upchurch, Bernard Purdie and Patti Austin.

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

Overall I have to give this album a 7/10. I like what he's going for here, it's just that it doesn't work that well outside of the title track for me. There are moments, but a lot of the rest of the record is just okay. There is a possibility of a review for Mona Bone Jakon, Tea for the Tillerman, Teaser and the Firecat, Catch Bull at Four and maybe Izitso. I am looking at the first one listed as the most likely candidate. If you wanna check this out, go ahead. For sure check out the first track though.

Here Come The Warm Jets - Brian Eno

Here's #3. Not my third favorite, but the third album for this reviews thingy. There is something about Brian that mesmerizes me. Maybe that he "invented" Ambient music, or at least the "rules" for it. This thing, when I first heard it, mesmerized me. I think it could be a favorite of mine. Only time will tell, but this thing is great. Now, I mentioned something about this album in my John Lennon/Plastic Ono Band album review. I still want to hear (No Pussyfooting) because I love that word, since no one seems to know what it means (except me). And I use that term a ton, because of reference to the album. I've done so decent research on this "PeeNo" guy, and well he's worked with Fripp and just about everyone else.

1. Needles In The Camel's Eye: This song starts the album. This thing grabbed my attention. This sounds like a glam song. When I hear it I imagine Davey and Mick singing Starman together. Or at least something along the lines of that. This is a good song, but it is definitely not the best. Which is funny, since this track pulled me into the album. The keys on this are awesome. And the vocals are pretty sick too. The harmonies are tight. Not Abbey Road tight, but tight enough.
2. The Paw Paw Negro Blowtorch: Brian sings that is like he is eccentric. This is a weird song. This isn't as strange as the next track though. The solo in the song is pretty much a squeak  that if you can't tolerate sounds, it would drive you nuts. The sound reminds me of them oiling up a squeak Duck and then squeaking the fuck out of it.
3. Baby's On Fire: This song, more so than the last, has weirder vocals. I could see this being an 80's New Wave song. If you listen to this is it actually, pretty much, a stereotypical 80's New Wave song. Supposedly this song talks about starting a baby on fire. That's what I read somewhere. If so, then it's obviously tongue and cheek. That's probably, somewhat, the way MGMT got their influence for their songs Brian Eno. The solo in this song is pretty long. It's not bad, but it might drag a little if you're reviewing it.
4. Cindy Tells Me: This next song reminds me a little of Grease. I don't know why exactly, but it just kind of does. I could see this being a number that didn't make the cut. You know Danny singing about a girl named Cindy?. I hope that makes sense. Well anyway, this is one of my favorite tracks for the fact that it's so different than the last track. It has a whole different vibe to it. The chorus is pretty sick
5. Driving Me Backwards: The way that the vocals are on this track reminds me of Pink Floyd. The song in particular I'm thinking of is 1975's Welcome to the Machine. The music to it almost seems like it could be a Pink Floyd song. It's kind of a darker song. I could see someone being afraid if they heard this. The whole piano part reminds me a little of the synths on that Floyd song too
6. On Some Faraway Beach: The beginning of this song reminds me of Still The Same. You know off Stranger in Town. That's one of my favorite albums, and I hold it close to me. This song is an instrumental (mostly) and the instrumental, towards the middle more, reminds me a fuck load of Low. That's the first of the Berlin Trilogy by David Bowie and Brian Eno helped a lot. The singing on this song even reminds me of Bowie. Kind of like an outer space type of singing. Then, the piano at the end, DAMN!!! It's so sick. It's kind of like the ending of Epic, but not as epic. But it's still really sick.
7. Blank Frank: This song reminds me a little of Magic Bus, but there are parts in there where is sounds like lasers are about to explode. There is maracas in the background that reminds me of the intro to The Who's 1968 track. And I think I hear a little tape loops, I might be wrong, but I would be surprised since this is Eno. There is also a little hint of like Bowie but if he had Jean Genie with Raw Power distorted guitars.
8. Dead Finks Don't Talk: The vocals on this track reminds me so much of David in his Glam Era. I could see this being on any album between The Man Who Sold The World to Diamond Dogs. The right around the 3 minute mark actually, more specifically, reminds me of Golden Years. Either that or the whole vibe from Station to Station album. And I love the ugly ending that is an awesome intro flow into the next track. I like the distortion on the guitar in the solo. The fuzz.
9. Some Of Them Are Old: This song is awesome. This reminds me of The Beach Boys. Like Pet Sounds era. This is a pretty epic song to be in the ending. This also reminds me of Memory Of A Free Festival's organ in the beginning. The harmony vocals is the Beach Boys idea. There is like a fuzzed kazoo sound towards the end. This is a pretty dreamy song.
10. Here Come The Warm Jets: The first thing I have to say is I do not support what this title is in reference too. I don't really know for sure if you do, but I don't. This is kind of an instrumental continuation of the last track. It's a pretty exciting ending for the album. I think when the drums start to come in it's pretty sick. And vocals start to come in.

Overall I have to give this a 8.6/10. When I was younger I had the idea for a concept album where every song would be a different genre. I realized that would be boring to hear, and too inconsistent. Well, God Only Knows how, but Brian pulls this feat off on this album. I don't think I will ever be able to understand how he was album to do this. You know what, since I'm gonna be 18 in July, why not do a bunch of, or at least more, of my favorite albums too, but instead this is older albums. So nothing from after I was born. That's July 21st 1995. I think that I could use some old time music to help me out, you know. I still have a shit load of stuff I need to hear by Eno, but yeah. Then I'll have to do one month for my favorite album covers. But anyway, the next review is an album that the band has even, basically, disowned the album. It's from the 1960's, and it's the most this band has ever experimented.