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. 

World Percussion Christmas - Andrea Centazzo

So I decided to shake things up and throw a curve ball. The other albums were, and have been, a bit dry. I also don't want to run out of James Brown christmas albums just yet. This is a sort if bizarre idea for an album. I mean in reality it isn't that bizarre, I just wish there was more information about it. I guess it would make sense this guy would make this album, after all he is one Elektriktus. So without further ado, Andrea Centazzo.

1. Jingle Bells: This track features, marimba and Togo drums. I fucking love the marimba with a passion but am unaware of the Togo drums. But also, fuck this song. No really fuck it. The only time give heard a version I like is the short quote on Best Band You Never Heard In Your Life. And actually, I can really jive with what I'm hearing. Like honestly, this is the first time I can't really find something to nit pick for a christmas album. I have heard the song, but this is kind of honestly a breathe of fresh air. I really like these Togo drums and the marimba. There sounds like there is other instruments used, but it is very good. It gives me a synclavier vibe, but much more sophisticated. Which it should, it's 20 years after the release of Jazz from Hell.
2. Silent Night: I almost didn't recognize the track with the introduction. I like it. My only thing is I don't like how it repeated the first verse twice before going to the second. Maybe I spaced out for a second, but this is still much more enjoyable. I love the percussion and the different rhythms and it sounds great. It says that Bali sarongs, Indian drums and contemporary mallet keyboards where used in this track. I'm gonna have to buy some of these when I get rich :D. It does go a bit long, but it's forgivable.
3. Feliz Navidad: I don't jive with this tune. I think its kind of a stupid and annoying song, but maybe this version will give it fresh eyes for me. Or fresh whatever the phrase is. This has another great introduction and is probably my favorite version of the track. It says it uses samba drum ensemble and Latin marimbas... I don't care what it uses, this sounds freaking great. It's got a playful feeling to it and the rhythms are so fucking good.
4. White Christmas: There is a nice feeling here, though it doesn't feel all that new. The reason I say is this has kind of begin to run out of ideas. I mean not in a bad way, but it's not something I'm that excited about. Like there isn't anything making anything stand out thus far. This track is okay, and it's well enough, but I don't feel that rush I felt from the other preceding tracks you know. The instruments used are Mali drums, Javanese mallet keyboards, vibes and marimbas.
5. Sleigh Ride: I actually like this much more than the last track. While you can argue, it sounds all the same, but I really like way the melody is played on those contemporary mallet keyboards. I also like the African drums and what sounds like a midi bass. I really like when the melody speeds up and it reminds me of why I love when you use percussion effectively.
6. Holy Night: This features the Bell's ensemble. I have no fucking idea what that is, unless it's an ensemble of bells or an ensemble called the Bell's Ensemble. Either way this opens with chimes and rain, reminds me of Black Sabbath. I do like this version quite a bit, it feels like a lullaby. On Spotify this is titled the Rainy Version, but on Discogs it's titled Holy (Rainy) Night. I like it and it's solid.
7. Greensleeves: I happen to love this tune. There are a number of old traditional/public domain songs that I love. This one is one of my all time favorites, its a gorgeous melody I was excited to see it played on Trinidad steel drums and Caribbean percussion. This is fun and has a bit of a spy feeling to it. Honestly this is the best track here and reminds me a bit of Goldeneye 64.
8. Silver Bells:This Javanese  version uses gamelan. I was excited for it, I have an interest in gamelan, and how it works. There is a very peaceful track and I quite enjoy it. Damn, this thing is quite fun. There is a lullaby feeling. I can jive with this.
9. The Little Drummer Boy: The use of a Japanese Taiko drum ensemble and Kabuki instruments really work well for this track. I like the melody instruments and the textures work quite well. Giving it a surprising twist, you'd think it'd be more Arabian sounding or eastern. Though it does has a bit of a Macedonian feeling.... I think if I remember humanities class right. This goes a bit long, but it isn't terrible.
10. Silver Bells (African Version): Finally to close we get some Senegal drums and rattling kalimbas. Kalimbas are finger pianos, for those who don't know. Now to sound less pretentious, I don't know what senegal drums are by name. I know what they are but I had to double check. The African drum, and actually I enjoy this opening. It's setting up a groove in a similar way that Fela does. Except it isn't as explosive, loud or not percussive. This feels like it could be a cover almost, kind of. The non melody parts you know. Like just re arrange the lead with a saxophone and add other instruments and your there. It isn't half bad to be honest. I dig it.

Overall I have to give this album a 7.5/10. This was a lot of fun and kind of revitalized my hope for other christmas albums. Plus it will definitely survive past this review of the album, and I will revisit this in the future. Solid effort. I don't have more to say other than listen to this if you don't give a fuck about christmas music or you want an breathe of fresh air, or you like world music, or you are a percussionist.

Chicago '78 - Zappa

I wanted to fit in one last one before I had to do the Christmas reviews. This is one of the newest Zappa records to drop, I'll not acknowledge the existence of Zappetite, but this was released on November 4th, 2016 and was dropped alongside Little Dots and Meat Light. The album is the September 29th concert at the Uptown Theater in Chicago. Now I was excited to see this being released, it's a Chicago show and I live not far from there. While I've heard official releases from this band, the Fall '78 band is featured on Beat the Boots albums Saarbrücken 1978 and At the Circus, plus a number of various live tracks on different albums (On Stage and Tinsel Town) here and there and the Halloween album from 2003. But I still have hope, I mean look at the line up. Vinnie on drums, Denny on guitar and vocal, Ike on vocal and guitar, Arthur on bass guitar, Tommy and Peter both on keyboards and to wrap it up..... Ed Mann on percussion and rat. I mean that's a pretty solid line up of you ask me. Yeah, it maybe true I didn't like Saarbrücken, nor am I crazy about At the Circus or the Halloween album, but who knows. To be fair; Halloween does have a minor line up difference, No Ike, L. Shankar or Arthur, but still. I mean in reality most of this I've heard other versions from this period, so I'll have a general idea ahead of time what is being played. But I could always be surprised. 

1. Chicago Walk On: This opens with the Lather conversation, and you hear the introduction in the background. I'm wondering if they actually played this while they got on stage. I like the drums I'm hearing but I'm not sure what's live and what was before hand you know.
2. Twenty-One: At first I wondered if this is something along the lines of Thirteen. It wasn't until I revisited Halloween I realized, it's probably more in line with Ancient Arnaments. I mean it's basically the same track listing for the first 4 tracks. This is an instrumental track and I'm liking the vamp I'm hearing so far. The solo from this actually isn't half bad, I mean I'm digging what I'm hearing. So far I think this might have been a solid choice to use for a release and I'm glad and feeling confident. This sounds like it wouldn't have been out of place on Shut Up N Play Yer Guitar, any of them. The only complaint is it doesn't really go anywhere. But it is enjoyable.
3. Dancin' Fool: Ah Dancin' Fool, a track that was featured on the famous Sheik Yerbouti record. This is, more or less, the same as the album version. The deviations come from differences to side commentary and other little tiny things. The drums sound a bit different, but that's obvious, different drummer. The song has a bit of a different vibe to it, but it's still done the same way it is from the original album. Where a track like Uncle Remus - Mix Outtake revived my love of the song, I never was tired of this track so something like this doesn't do much for me. 
4. Easy Meat: I love this song, really I honestly do, it's just there isn't a version I think completely works... For me at least. The TTR version is great, it just goes on to long, and the extra sections definitely hurt the song for me. On Stage 5's version is also great but the song section isn't as strong as the original. So I can kind of assume this is sung by Ike and a bit slower than on the 80's versions of the song. There is a heaviness that I feel should be here, it kinda feels like a hard rock/heavy metal song. This is a solid version and I think the solo is so much better here than on the original album. The original just kind transitions into the orchestra part of Sink Trap then comes back and the guitar just doesn't stop, its like if (since hearing this live album, not the tracks original version) the Yo Mama solo drained you to the point where the pay off doesn't even register. Like you were done before it even gets to the good part. I wish the song was maybe faster and we got this type of solo on the original. Though I guess it could work faster then slow it down, to this tempo, for the vamp. I'm probably just being picky, this track is still overall really good (and flows better than the original I think). This is also a bit more hard rock (70's rock) vs heavy metal (or 80s rock). I'm an idiot, I can't believe I forgot about the best version of the song, the Crush All Boxes version. 
5. Honey, Don't You Want a Man Like Me?: A ZiNY cut, I fucking love this one. This is a great version of the song, though it's nothing I haven't heard already. I do like the drums on this one though. But sadly I don't have much more to say about it. My one complaint is Terry had a personality and Vinnie doesn't really. He's an amazing drummer and has a personality when he plays, but I can't imagine him singing about Punky Meadows. Though he didn't make seal calls for whatever reason. I miss Terry's shrieks and that makes this not as engaging. I do like Denny, Tommy and Ike but they don't do what Terry does with Patrick and the other members who were with the band while they were. It's like those two are the best friends in High School who have been away from each other for years and meet up again and just play off each other perfectly like no time has passed. I don't feel the same chemistry with this band's vocalists.
6. Keep It Greasy: I have heard the live version from On Stage 3, and it's more or less faithful to the album.... But no where near as good. Kinda like when a band is on their fourth decade and they play the songs they wrote on their first album, probably not as good. Hopefully this cut will either be different, or a solid enough version in its own right. Well, this version is like a slower version of the album version. Not significantly, just enough to where it's like why? It's also not as big or engaging. Like it doesn't suck me in and make me wanna play along or be a part of it, the same way Joe's version does. 
7. Village of the Sun: I don't think I've heard a version of this from this period. I do really like Napi's vocals on the Roxy album, and also on later versions from '74 (Token, On Stage 2). I'm figuring, based on my knowledge of his vocals, Ike will l be singing the song for the performance. Right before this was released, I re-stumbled upon the Saarbrucken 1978 track listing. Whrn I saw it I was like, "I don't remember at all this track on there". This is similar to the original and I'm glad they did it that way. This is a pretty solid version and Ike gives a great performance. There are parts that do feel a bit bare, but I still enjoy this overall rendition. The ad-libs also work quite well. Yeah there is five extra minutes in this version, but I'm not growing tired of the track. I really like the vamp in the track. The solo is nice, and there's this weird twang that I really like in the background.
8. The Meek Shall Inherit Nothing: I kind of have an idea of how this song will go, but that doesn't take away form the track. I do like the slide guitar on this, and this is a far more laid back version of the track. This doesn't really get me into is as much as the other album version, or even the SNL version, but it still works.
9. Bamboozled by Love: Again this feels a bit slower than the album version. I'm glad some of these weren't released until Vai joined because they are not heavy metal enough. This feels more like a blues number. Yeah I like the solo, but by the point it comes in I've kind of been checked out. Not like, I'm not paying attention, just I've been bored and am done with the song. The coda or ending is the most interesting part of the song.
10. Sy Borg: It'll be nice to hear a live version of this song, I haven't heard one yet... at least from my recollection. I remember reading it was originally an instrumental, I'm thinking something along the lines of Tush Tush Tush maybe. But wouldn't that be at the beginning of the concert then? I mean the lyrics to that are so much a part of the story, in the same way A Token of My Extreme's are, I can't imagine he used them. So it'll probably be a vamp with a solo or maybe different lyrics. Wow, I'm surprised this is more or less the album version. The only real difference is the slick and lush production of the album. And the percussion is very audible in this. The guitar on this track is really great and subdued too, or is that keyboards. I don't know, and it doesn't really matter, this track is worth a few listens alone. Really I've listened to this a few times since listening to the album, and posting the review. I love this cut and it's a lot easier to digest maybe than the album version. It doesn't have Sy talking, which I think is appropriate in context of the album, but not if I just wanna listen to the song.

Now on to disc 2. There are more songs here than on the Halloween album but I do also want to point out (including an introduction) 7 of the 17 tracks are on both of the albums. They're in common. But on the Saarbrucken album there are 12 tracks in common.

1. Little House I Used to Live In: During this period, from the boots I've heard, this is a stand out. I generally like this tune, but I really dig it during the late 70's live. My favorite being from the Poughkeepsie show from the 21st of September 1978 (8 days before this show). They should release that show at some point. I really like this introduction, and it makes me a bit excited for what to come. It grabs my attention and I'm like what I'm hearing. I really like the differences between the parts. The band is doing a really good job on this and I really enjoy the keyboard sounds on this. It's shit like this that makes me forget about Bamboozled and the other tracks that don't do much for me, well in the context of the album not in reality. I really like the changes and I really like the part where it goes into double time. It's been a while since I've heard the '78 version of this but I gotta say I'll be revisiting this. That vocal keyboard matching thing they George Duke did on Bebop Tango isn't bothering me here. I mean I could easily see myself being annoyed but I dig it. There is also a sort of progressive rock feeling I'm getting to this, but this feels far more interesting than a lot of those old records I heard loved and grew away from. I also really like the gospel organ sound they got in that one section. Really digging the jazzy feeling and Vinnie is doing a great job here, and impressing me. It doesn't even sound like he's trying.
2. Paoxysmal Splendor: I'ma take a shot in the dark and guess this is either a solo or an instrumental. Most likely a solo, though it could also be a talking track or an intro/audience participation. I really dig the Greggory name drop, didn't expect that. I also really enjoy the waltz or tango. The guitar reminds me a tad of Love is Strange. This is a fun track and I'm glad it's here. This is kinda like a proto '88 tour goof around you know where it's like they'd just throw in sounds and burps and what not and try to make each other laugh. I also like the Beautiful Guy quote, the bass line is great and the solo has nice overdrive. I don't think it's his best but I wonder if this is where the riff is derived from (the vamp). There's something he's doing on guitar I've heard somewhere before but I'm drawing a blank. I also love the keys sound on this track. This is probably the highlight and the boogie section's solo so makes up for the lack of one in the Beautiful Guy one. This actually kinda reminds me, his guitar, of Deep Purple. They also play Crew Slut in the track. I don't really know how to feel about this. It's like a gift from heaven. 
3. Yo Mama: This is actually on an album I plan to do next March, and the only other version I can recall (outside of one of the shows it was made up of) was from, I wanna say, '88. But regardless it'll be nice to hear a non overdubbed version and being a whole version of the song, not made up from different shows. Maybe that'll hurt it, who knows, but I think it'd be nice. The song section of it works and I enjoy what I'm listening to. I don't think its as good as the album version so far, but it's pretty faithful to it. Well with the exception Ike. The second that solo starts I get nervous, like it's so bare and he better do something great or I'll check out. I am not sure, but it sounded like he quoted Zoot Allures at one point. The solo is better than I expect it would be, but it's not like it really does anything. It sounds like he's quoting a few songs in other parts, I think it sounded better when the drums come in, along with the bass, but I don't know. I like that the drums are speeding up, but that doesn't particularly sell me on the live cut. I feel like if the solo was a bit more focused this would be phenomenal (before 8 minute mark maybe 7:30). The song kind of comes into focus and we get something really nice and I'm glad we eventually got here. Did it take a while.....yeah. But the pay off is worth it I guess. I mean it's a more grand pay off than Tupelo Honey. I like the ending of the track and it was good enough. I mean I'm not sure if I liked it enough to bold, but I don't know. That outro solo is great with the vocals. I'm glad this is here.
4. Magic Fingers: This is a track that I'm glad they brought back from the grave. It was originally on 200 Motels and I remember digging the Halloween version. I'm a bit surprised this is basically faithful to the original version, with differences to instruments and sounds. I'm not complaining, but I'm just a bit surprised. Plus they really sound like Flo & Eddie. Solid hard rock number. I really like the sort of kookiness of the ending and I like the Louie Louie quote
5. Don't Eat the Yellow Snow: There exists no version from the late 70's revival of this song, I care all that much for. In fact, though I love it, it never reached the highs it would during those 73 shows.  So I'm hoping it's just Yellow Snow and not the entire suite. Well fuck me, because we got all 18 fucking minutes. Also it's fucking 2:26 in the morning, not looking forward to being up another 34 minutes because of this track. I don't know what it is but I get bothered by the keyboards playing the marimba part. I mean this is superior to the On Stage #1 version, but I far appreciate the Crux the Biscuit live version and my favorite version Apostrophe. Like I honestly get very little out of this track. The one highlight for me, if I'm being honest, is the Chicago name drop in "unknown to the people on this area" part. I'm glad the audience participation isn't a poetry reading. And the voting comment did make me laugh, but I don't know. Part of the charm of the track for me is the commentary and his ad libs and jokes to the audience, in the live versions. This one has some nice little things that do make me laugh. The marimba works, but the keyboards in the St Alphonso into bother me and I'm not jiving at all with this version of St Al. There' only like two parts I like, the part where they repeat it before the "stole the margarine" line and that instrumental section following because they keys aren't so prominent. Father Oblivion is good enough, but I feel like something's missing. Napi does a really great version with his vocals. I don't know, they changed enough to make it this bands, but it just doesn't have that charm. The "domnius vo-bisque" section is okay enough. This includes Rollo, and while I dig it I don't dig the lyrics to the song. It kind of ruins the subtlety. I know, Frank and subtlety that's a joke right? But in the original you could tell he was jerking off, they didn't come out and say cock. They make it kind of obvious but don't say it. I don't know, it's just kinda like. Oh in case you're a fucking idiot, he's masturbating.
6. Strictly Genteel: I was really looking forward to this one too, and this is the encore. This was worth the wait, though it doesn't really differ from the On Stage #6 version. I do wish this was the closer though, but I do like the shorter versions of the following track anyway, so this should be a nice ending.
7. Black Napkins: Closing is an appropriate number, and a classic, Negro Nakins (in a Thing Fish vernacular). I guess this is shorter maybe because of the shitty version of Yellow Snow. This is a solid version of the track and doesn't over stay it's welcome. A nice closer.

Overall I have to give this album a 7/10. I mean I guess in theory, this isn't anything new. The earlier albums I mentioned  all have this so you're not really getting much new. I mean if you like this period it's solid, but I don't think I'll revisit this outside of the bold tracks. I will say there exist version of all the songs here I do enjoy listening to, it's just some of these aren't the ones I'd go to or really even like enough to revisit. I think the best comparison is to a film. A really good film pulls you in and you forget what's going on other than the Film. It's as if your a part of it, these songs for the most part don't do that. Some do. But most don't. One thing I also want to point out is of all the tracks released this year; all 153 (including alternate takes/versions) the best, outside of Meat Light, were tracks like Twenty-One, Little House, King Kong/Igor's Boogie, A Piece of Contemporary Music and the other longer instrumental tracks. Why not just put those in a compilation a llah On Stage. I mean I why release complete concerts if the material is 90 been heard in other shows. Maybe make Joes Solage an album of solos a llsh Shut Up/Guitar/Trance Fusion. Or make a new album with goodies weve never heard. 

The Stage - Avenged Sevenfold

This is new studio album from Avenged Sevenfold. It happens to be album number 7 and is their first for Capitol after a stint of 4 albums with Warner. This is also their first with new drummer Brooks Wackerman, brother of Chad Wackerman who drummed with Zappa for almost the entirety of the 80's (81-88) but then also did some overdub work from him I believe in 1993. Whatever he was Zappa's last drummer. I'm kinda glad they dropped in in October instead of December, though... the name is kinda... it's really stupid. Once I saw the credits I'm glad they have a nice variety of instruments that's probably a stupid thing to note but I think it works.

1. The Stage: So the first time I heard this I was not really excited. I saw the title and the single cover and though it was kinda dumb. Once I heard the song I didn't hate it, but I didn't like it either. I mean it isn't a bad song... but it felt like they were doing what they've already done before but not as effectively. Like where are the "chances" being taken and what not. I hear the melodic direction, and the aggression but I don't really feel the aggression or the punch. I really do like the ending though, with the nylon string guitar. Thought I feel like that could have been worked into the song better maybe. Like I don't know, it flows but not as well as it could have.... I don't know. The biggest fault though, imo, is the vocals. They don't really work with the delivery for this track. The opening reminded me of Not Ready to Die, played by Jason Freese, and the song portion kinda reminds me of Carry On or Flash of the Blade at first. The song isn't a travesty but I just don't jive with it the way I do with even Heretic. While Requiem is a song I still dig, and needed a dozen or so listens to appreciate.... I'm not getting anything here. The introduction should pump you up and take you there and it should only grow in its awesomeness. This just kinda doesn't go anywhere and the more I listen to this the less I feel a connection to it. Though I like the drums. The solo is pretty solid and I like how it slows down for a sort of feeling that I've heard on, Victim if memory serves. But again it's okay, but does nothing for me. And most insulting is I barely remember anything once it's over. Even right after I hear the album. I also wish the transition into the nylon string guitar was done a bit better maybe. 
2. Paradigm: This is pretty aggro, but again I'm finding error with the vocals. The feeling I get is there should be a swagger with the vocals in that intro, but I'm not quite feeling it. The drumming sounds great, and that growl sounds tasty but one of my initial impressions was "I feel like this needs more listens". The solo is pretty nice though, even though the first part doesn't do much. The second part has a punch and some power behind it, but it seems too buried in the mix for it to be fully aggro. I definitely think it should be turned up in the mix. 
3. Sunny Disposition: This introduction reminds me a bit of Waking the Fallen. I'm thinking Radiant Eclipse but heavier. The first time thought it seems a bit dizzying and I'm assuming this is intentional. The horns are a nice touch you wouldn't expect, though I feel strings could also add to the song at accenting the vocal line. There's also this Planets feeling to it a bit. Like it feels like a few different songs mixed together and blended to make this song that I don't know if it's a mess or if it's weird in a good way. I mean I get they wanted horns but not sure if they fit this track. It almost feels like ALPoH. It's kinda a jumble fuck. But worst of all it's too long. 
4. God Damn: What a bland song title. Whatever happened to Warmness on the Soul, Desecrate Through Reverence, Clairvoyant Disease, Lips of Deceit. While you may go, corny or lame, you can't deny those paint a picture in your head and make you think for a second. God Damn makes me go " okay, well I don't know if this'll be good but I don't care for the title". The song part is okay and the music isn't half bad. In fact the music during the chorus I've even warmed up to. I'm just not feeling these chorus lyrics, though as I've said I do like the harmonies and the sort of contrast to the verses music. It's lightens up, apposed to the aggression. And they just pulled on my nostalgic heart strings ah-lah, Desecrate Through Reverence/Heretic. Those fucking drums. I don't mind the solo, and I don't mind that Spanish Sidewinder section. But again this doesn't really do anything. 
5. Creating God: I can feel the weird feeling of this, and I like the four on the floor but I'm feeling like I've heard something like this somewhere else. This reminds me of a radio friendly type song, that while not really that weird people might go.... hey that's weird. I feel like, this'll be single. I'm calling it, this sounds like it was written for the radio. Especially the chorus, even though I think it's probably one of the weaker songs and isn't really challenging to me. I know I haven't read the lyrics to this song but the words I hear are having me scratch my head. Not in a I don't get it, but more of a I don't like this. The solo works, but I'm not feeling this one overall. The vocals are what kill it for me, the music is just okay, but the vocals kind of put it in this coffin. Though I guess that riff doesn't work to my savor. That's correct use of that right? Who cares.
6. Angels: This song, I don't know. I do like the eerie atmosphere to this one, it's kind of something I didn't expect and I'm glad they kinda keep in for the entire track. The solo is a nice solo, this could have used strings though. The second solo, played by the good old Papa Gates, is much more interesting I think than Syn's. I will say this track would benefit from that nylon string guitar at the ending more than the title track did. Though I'm not sure they would have worked with the next track as a segue. I want to point out the thing that kind of warms my heart a bit is that chorus, it sounds a bit like a mellotron is being used. I'm pretty sure they aren't using one, but it reminds me of one a bit. Like sampled strings, but a primitive one.
7. Simulation: So I do like the sound effects and the sort of electric piano sound that happens during the verses and the whole atmosphere that is created here. It sounds more like an organ, but whatever. It works for this type of album cover, well the intro at least. Now I feel like the two sections should flow better. Like the effects sound hold over into that drum roll for a few seconds before he starts talking. I think the whole drill sergeant thing doesn't really work that well, but they're going for chaotic. I'm not sure if this works though...... the idea is a cool idea and it kinda of reminds me of a variation of the Nightmare music video. Like maybe what they were saying but you couldn't hear because of the song. The nurse is actually Val, Matt's wife. I wanna point out the more I hear that part the more I cringe. I do think they achieved chaos in the song but I kind want more. I've recorded more chaotic stuff, though it's not complete yet, in my basement. They say that River James Sanders, who's Val and Matt's son, and Tennessee James Baker, who I assume is Zacky's son are backing vocalists on this track. I didn't hear their voices the first time though. I assume it might be mixed in though to the chaos. I guess the whole AI thing has to do with this track, whatever I'm not really digging into that bullshit. I'm more interested in the music and the profound nature of the lyrics. The most upsetting this is like nothing, I mean yeah the chaos sounds cool, but like I'm not feeling anything. I mean, to be honest, I'd much rather listen to Oxygen or For Adolphe Sax or I don't know something more chaotic. I will say though, after Val talks that solo is fucking tasty. Top notch and it is almost worth playing this song to get to it. Almost, but again, not completely. I mean I guess the evil prayer on Requiem is cheesy, but that song is not only bad ass but it works.
8. Higher: I don't think this works on spotify, you can't have interruptions in the middle of the songs. Like I feel like that completely ruined my impression of this song, given how it started. Fucking asshole commercials. I do like the song, but I didn't get the full impact until I picked up my CD copy. I did like the ideas going on and what was happening in the song, like the different flavors mixed in there. The piano and the multi tracked vocals work I think. I mean there is a bit where I'm like... eh, but for the most part I liked that introduction. Now the song starts and I'm not feeling that as much, I do like the sort of odd time to the riff. I can't pin the time signature, but it sounds like there is an extra 8th or 16th note. I like it. The chorus is nice, but first time thought it's too short. The vocals though, like they hurt my ears at parts. I like the sort of choir that is behind the prelude to the solo. I could be wrong, but did I correctly count 4 over 3. The choir that sound like its out of an 80's or 90's song. It kinda reminds me of Like A Prayer a bit. I don't really approve of the effect on his vocal, but I think it works. I like that piano that has a little part for just like two seconds. There are a lot of nice details in this song. It isn't prefect, but I like parts. And the piano towards the ending reminds me of Epic. It's a decent track {7/8}.
9. Roman Sky:  This opens promising, with a guitar that hark-ins to the ballad off the last album. So why are they fucking with his vocals. This feels like a shitty version of Crimson Day, or at least a version that doesn't click. I will say, the guitar is still pretty solid and I wonder what key or mode or scales he's using for this. But the strings are a bit irritating me, like the best part of the song is getting burried. And I guess as it progresses the instruments balance much better and the song unfolds into a solid track. But that first minute and a half or so is like a bit cluttered. The balance is all fucked. And I guess I could nit pick the balance with those strings are very fucking. Okay it's supposed to be gorgeous and heartfelt and pretty, and it feels generic. They are pretty, but it's not pulling on my heartstrings the same way Acid Rain does. It has it's moments, like during the solo, the arrangement works very well. In fact I hear some Malmsteen in the solo. But like I don't know, I don't think I can bold this track, there are to many moments it's off for me. And those two songs I compared this two, I actually went back and revisited them to hear why they work and it's because the lyrics are much better first, the vocals also are more effective. But you feel the emotion and the guitar doesn't come in and out it kind of plays it quite, until the solo. It's kinda like too much at once isn't good. Both of those ballads have phenomenal arrangements, this isn't really. Simple but effective, this is not simple and not effective.
10. Fermi Paradox: The drums introducing this song has a nice feeling to them and I like energy of this track. The intro also reminds me a bit of a not stripped version of something off Hail to the King. I still think the guitar should have more punch, but it works..... But I'll admit, the second the vocals started I made a fact that was like "did someone just shit down here". The vocals ruin this song, and the energy just dies. Like instantly, though I do like they guest guitar work from Yngwie. That's a joke by the way, but it sounds like something I could hear on one of his record. I like the vamp for the solo, and the solo itself works fine. Also I am aware of the Fermi Paradox, but I forgot what it was called. Like I have heard of it, I just didn't recall what it was called... if that makes any sense. The whole, we can logically assume this exists but if it does then why don't we have enough proof to suggest that it even could exist. Also I can't be the only one to cringe when I hear those "AMSR" vocal part. No, not good.
11. Exist: This albums sonic attempt at making a Save Me, or rather an epic closer kinda. I will say it's a pretty solid track that needed multiple listens, it's much more effective than Book of Souls.  longer cuts, and the composition is pretty nice. There are lots of sequences and classical touches and I think it's a well arranged track. There are parts in that intro where I feel it's up to the power of Save Me.The dual lead in the one descending riff is awesome. I also like the other descending riff, even though it also ascends. The horns reminds me a bit of Planets. Actually this could be a mix between Save Me and Planets. There is this sort of solo before the vocals section come in and it give me goosebumps. Loving that tone, and then I really love the electric "acoustic" guitar that leads introduces the vocals. I think the vocals are fine here, and this part in and of it's self is a great song. Kind reminds me a bit of Gunslinger. It's also a nice contrast and way more relaxed, and is a nice contrast of what happens later. Everybody sounds good here, though I am not crazy about the effect on Matt's voice. It doesn't ruin the vocals though, just a slight nit pick more than a real problem. I also love when the strings come in and I'm glad they had them come in... thought I'm not crazy about the drums at that part before the chorus. It kinda felt odd, or maybe off a bit. Like kinda oh lets put something rather than work I guess. I don't know. I really like the bass line in the track and everything works together to progress the song and the details are really nice. The transitions and developments into the solo are nice too, thought I don't think the solo is mixed loud enough, but that's just me. I do like the keyboard sequence here, the guitar also has a nice accent feeling. And I really like what's happening here. When I saw Neil deGrasse Tyson I kinda rolled my eyes. I was like wow, they would.... or anyone would really. I understand what he's saying works, but I don't think it sonically sounds that good. Like the way it is like it was over the phone in the background. Not really feeling that, but I think the words work I guess. The only thing is eventually there should be a part where Syn just fucking shreds. They probably kept it out to have the focus on the the words, but I don't know I kinda what that solo to add so there's something more to hear beyond listen 3 or 4. Also I mean I get what he's saying but I kind of disagree. Basically people are very shitty and self absorbed partially because we only see us. We need to realize how truly insignificant we actually are, and maybe then we'd "grow up". He uses bigger words to convey what he's saying, but I don't think people'd be less shitty if we did that. Maybe I'm misunderstanding that, maybe he's just saying he doesn't get caught up in the retardation that is us. But people have been around for how long? We still have many of the same problems like war, corruption/manipulation, intolerance, pride, ignorance, willingness to be ignorant among many others. So I doubt that'll ever change. If it somehow did, it would eventually crumble and we'd be fucked in the ass again, its only human. Well never be a Star Trek society unless you force us to be against our will. But this is a great tune and probably the best one here. The 15 minutes is justified. {8/10}

Overall I have to give this album a 7/10. My initial listen I was unsure if I liked, it was okay and I was satisfied. The one thing though is it didn't feel like Avenged. That's not a bad thing, but that's also not a really good thing. After a few listens, like enough to where I was like... "Okay, this is what I think" I realized something. I don't think I'm gonna be listening to this album by the time the next one comes out. Hell two months from this review I probably won't. There is something about it that just doesn't click for me. The other bands I've out grown almost completely, I like this more than them. But like, Brooks is a solid drummer, but I'm not sure he should have wrote with them. Though they kind of have to change their sound because they don't have The Rev anymore, and Arin's gone, so I don't know. I will applaud them for kind of throwing me off the trail of predicting what will happen next. So many bands make albums and I can listen to 10 seconds or 30 seconds and know what's gonna happen or have the basic idea. In fact, most of those bands you can listen to three songs and you've gotten more out of that than listening to the 11-15 tracks. I respect they aren't going back, or stripping down, they're pushing ahead. There's a lot of good ideas on this record, but like so close. I wonder if they were trying to do a more complex version of the last record. But they also made a less effective one, the tracks on that that are good still are good. I don't know, I think I'd rather revisit "We got it from Here.... Thank You 4 Your service." or for sure Blackstar and maybe untitled unmastered. I guess it's just depressing I bought two CDs this year, and one of them I only have to complete my collection. Ill probably do the next album by these guys but my stance on my fan hood has been shook. Maybe l'l do my favorite album of their next.

Tupelo Honey - Van Morrison

Today I finally sat down and decided to review, or finish, this album. I've heard songs and parts but here it is, front to back, in all its glory. This is the fifth studio effort by famed Irish songster George Ivan Morrison. This album was released in October 1971 and is the only album not on Spotify he's released. What the hell bro, there has to be a reason for that. Legal stuff most likely, but I like to think of it like this. Either the albums a hidden gem, or it's a piece of shit. There are also a number of notable musicians whom I know like Ronnie Montrose, Ted Templeman (who also produced this), Luis Gasca and Connie Kay.

1. Wild Night: I genuinely love this tune. The first time I heard it, I feel in love. This is one of those just, if you can't feel it I don't know. Remember Sir Duke, what's the line "You can tell right away from the letter A, When the People start to move. They can feel it all over". That could be incorrect, but this is one of those songs. The backing band is so damn amazing I kind of, I wish I could find players to be this nice tight and make it sound as if it was on the spot as this. It's kind of the perfect opening and its kind of a flawless track. Even when I get into the arrangement of the bass line and the guitar notes it still works quite well and I'm glad that it is what it is. The horns even accent what they're supposed to and add an extra texture that makes the song more interesting than just a straight forward rocker. I wouldn't and you shouldn't, change a thing about this. While I prefer my radio when I hear this, the guitar seems louder and the horns are a bit more subdued, I still think this works. Plus that saxophone solo is something that I'm glad wasn't a guitar solo, but could have been you know.
2. (Straight to Your Heart) Like a Cannonball: I like this title, and think it's rather funny. The song it self has a very country twang to it, but it's not straight country. John McFee (I checked he plays the pedal steel) has a sort of bar band sound to his guitar, but I like the added acoustic guitar and the sort of extra vocal harmony part. I really like the flutes in the track and it's nice. I wish the track was maybe a bit slower, not much but just a bit to sort of let you soak everything in possibly. I don't think it's the greatest track ever, but I do think it works and keeps me listening the whole time.
3. Old Old Woodstock: This track's refrain very much reminds me of Caravan. Not the one with the drum sola, but the one he did two albums prior. I do like the laid back feeling of this track, but I don't think its really does all THAT much for me on my initial listen. It doesn't really go anywhere, but it's not terrible.
4. Starting a New Life: This has a sort of nice country shuffle to it. I like the bouncing bass line, and the drums sound pretty solid. I also like the chord progression, I mean it isn't anything that crazy, but I like it. The harmonica sounds pretty good, not phenomenal, but it fits the tone of the track. There's something about this that appeals to me, kinda like the same way Country Dreamer (outside of the musicality) does. I know the idea of starting a new life with someone very special and being able to just be with the pulls a chord with me. But I don't know for sure. 
5. You're My Woman: This song has a nice vibe to it, but there is a feeling to it that reminds me of maybe Chicago, or something. Soft rock, that isn't a complaint just an observation. The only thing is the beginning of the song doesn't do much for me. Yeah I like the build and the tension that happens in the pre-chorus, but it still doesn't completely pay off for me. I mean I like the vibe, but I just don't think it really pays off so much. Plus it's kinda long, in the same way the following song is long.
6. Tupelo Honey: On paper, and lyrically, this look like a great tune. I've actually hear other versions and it is a great tune, sadly the thing about this is just...... I don't think it's the tune everyone says it is. At least based on the sole performance used on this album. To be honest, I couldn't even listen to the whole thing at first. It took multiple tries to even get a minute in.... Honestly. Once I heard it I liked it, but the reused Crazy Love melody hurts it a lot for me. I mean it's great tune, just no click for me. I prefer Crazy Love if I'm being honest. But for being as praised as it is..... I don't get it. Then again the only song that "doesn't fit" on Astral Weeks is my favorite, and only one I like. So.... I once read that Bob Dylan said this song has always existed and Morrison was the only who happened to have the song go through him, that's a load of bullshit. At no part in the performance do I feel it needs to be 6 minutes or do I feel elevated. Fuck, Wild Night is more natural and flowing than this track. I mean it does flow in one ear and out the other, but I don't get it. I just ain't diving his version bru. I mean as time has passed I've warmed up to it, even to where I can forgive the CL thing, but it's still not the master piece people say it is in my mind. Lyrically though, I do enjoy the imagery and I like the sax solo. It's more when he sings and what not where I can't get behind the track. The instrumental sections are gorgeous and I wish there was more moments like that. When the vocals come in something just isn't right. I guess it might not work as well if there was no words, but I just don't feel when he's singing. Maybe its a drop out or a mixing problem or editing problem more noticeable on the CD version, but I don't know. Also I feel the song could have ended at around the 4:30 mark and it could have slowed down or faded out but this feels like a live jam that lasts too long. You know those, where they keep going or ad libbing. I'm just not as sold on the song as some others I guess. Also once I played it on guitar I was like, this reminds me a lot of People Get Ready. But whateva... also I'm not sure if the organ, played by Ted, is all that necessary.
7. I Wanna Roo You (Scottish Derivative): This song makes me wanna do a country jig or whatever it's called. I'm actually surprised that this isn't a Dylan song, like if it was slowed down I could see it being on one of the early 70's albums, or one with The Band backing him. This isn't a terrible song, and I kinda like the change of pace. This isn't the best song ever, but it's well enough.
8. When That Evening Sun Goes Down: I really like the piano in the beginning, the kind of ragtime/honky-tonk. It's also nice that it's only 3 minutes long and not 6. This is a country number that kinda actually wouldn't sound out of place if played by The Stones. I mean, if you like Exile or Beggars you might like this track. I like the latter, I'ven't heard the entire former. Also I fucking love this title. 
9. Moonshine Whiskey: This is another driving country tune, that again isn't that bad and feels kind warm.This is a decent song, the only problem is it keeps going for almost 7 minutes. I do like this track, but really like what the fuck. This song could have so easily been edited to the three main sections being condensed to 4 or 5 minutes.

Overall I have to give this album a 7/10. I guess you could compare this to a Nashville Sky or a more country folk record. It isn't that, but there is a sort of secluded and more mature, less fiery feeling I am getting here. It's easy to listen to and comfortable, and that's not a bad thing. As if he's at peace with life. I mean, like Cat Stevens, I find their beliefs and song topics more interesting than the music itself. While I've grown more found of Stevens I've also grown more found of Morrison. But I like Cat more.

Even thought I felt as I do I still feel I should review the first string of records to at least Common One, or maybe up to Veedon Fleece and then some albums that I think are worth after that. But I can't imagine myself really reviewing anything post The Philosopher's Stone, or Back on Top.

Witchcraft Destroys Minds & Reaps Souls - Coven

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

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

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

Frank Zappa for President

Now I have been contemplating to do this since the day it was released, I kinda wanna do The Crux of the Biscuit too, but I figured what's the real point. But I also could do a quick and easy Zappa review for both of these, since I know exactly how I felt the first time I listened to them. So in the spirit of the election year we get this, a collection of tracks with somewhat political themes and what not. So, yeah.... Let's dig in. Also to do a decent review I spent probably more time than I need to listening to the other versions of the songs.

1. Overture to "Uncle Sam": Dated 1993, this is a Synclavier piece by Zappa. Okay so that means it'd fond it self around the time of Dance Me This or Civilization Phase III. Now I've yet to listen to either of those, completely, for the fact I'm not that big on the synclavier pieces. Some I like, like on Thing-Fish, but for the most part I'm just either in different or don't care for. When I listened to this, I have to be honest, I just though it was okay. I mean I liked it I guess, but I didn't love it. I was probably more like on a scale of 1 to 10 a 6, just over half but not much over. I think it would be better if he added something into it. Like maybe a guitar or some vocals or something else rather than just the synclavier and it's samples. All thought I guess I do still enjoy this, it's just I'd rather it be with real instruments. The biggest complaint is that it's 15 minutes long and kinda gets old a bit.
2. Brown Shoes Don't Make It (Remix): In 1970 Frank remixed a number of tracks from the Freak Out! album, some of which later appeared on MOFO. This is a similar affair, but differs in that Dick Kunc remixed it in 1969. Now this is still the album track from November 18th, 1966 but remixed. Now to do an accurate review I needed to revisit the original mix, and the Ryko mix to be able to compare and contrast. The biggest comparison I heard was that it was cleared up. On the original it sounds much more mixed together, for lack of better word. Like if your not paying attention I could see you losing track of what's what. But for the most part you can pick out the different instruments. Now on the Ryko version they added digital reverb and I think it kinda fucks with.... Just look it up its not hard to find hate for the Ryko mixes on a Zappa fansite. But you can also hear the drums much more pronounced at certain parts and there is other louder things mixed louder in certain parts. Now this does make it a bit harder to focus on the overall but whatever. The reverb can also distract you at certain parts, but whatever. Now this version it sounds pretty good. I mean I don't know if it's all that necessary since there's... I don't know. I do like it, but I don't really see the need to include this other than the story of the song. I mean what if they included at version from 1969 or 1968 live, that would be a year that hasn't been released yet. I know I didn't really describe the song, but I don't  want to go to into the song because of next year. 2017 is the 50th anniversary of Absolutely Free review, and because of that I plan to have the review out on June 26th. I also wanna point out I really love the freak out at the end and how it sounds in this remix, you can hear everything.
3. Amnerika (Vocal Version): Now this track, thanks to globalia, pointed out that it's the backing track to That Evil Prince on Thing-Fish or it's the music. I haven't heard that album in a long time, I'm feeling like it could be the same thing, or not, I don't know. I do know that Napoleon sings on this, and it was recorded somewhere from 1982 to 1984 (same time as Thing-Fish). The vocal version reminds me of an extension of The 'Torchum' Never Stops, the section with The Evil Prince. I guess it's nice, I could see some people hating this, but I happen to love Thing-Fish so it's a nice addition I guess.
4. "If I Was President...": The music is dated as 1985 and the spoken word, probably from an interview, is from 1990. I've actually heard the interview that this was taken from, I don't remember what channel or radio or whatever it's from but you can find it on YouTube. As much as I don't LOVE this, I feel like this is what the album probably should have been a mix of him talking on his views over his compositions. I mean he's an intelligent man and his view take the for front over the composition in this situation. You could go, that's against what his intentions for piece so and so was, but I think the synclavier pieces work best when there's something else going on to. Maybe they didn't do it because of the Eat the Question movie thing, but you know but what the fuck. The funny thing about it though is I've seen most of these interviews in the trailer for the movie.
5. When the Lie's So Big: This was taken from the March 25th, 1988 show at the Nassau Coliseum in New York. This track though, finds it's original album as Broadway The Hard Way. So I should touch on this, this is a song making fun of Pat Robertson, who was a televangelist who was very far right and he would later make an even bigger ass of himself. Look up his views on the ERA that he said when he ran for office in '92. Now I am not sure on the music front, if this was or wasn't more his vision of what it was to be. I mean it's welcome because it doesn't just sound like the exact same performance as the album version, which is kinda played straight. This has more changes and things that make it feel like it was the dick around that happened on songs from the band. I mean the message isn't really a dick around message, but it is a bit more fun to listen to than the original released version. This version is better at keeping my attention than the other version.
6. Medieval Ensemble: Another synclavier piece from 1985 and unlike the last sole instrumental piece on this, sits are over 6 minutes. I do find this piece a bit more interesting than the last, it's a bit more chaotic I'd say up front. I also like the way the melody is moving. Yes this eventually starts to get old, but I isn't as bad as say the opening.
7. America the Beautiful: Taken from the same show as Lie's So Big, this is a cover of the famous song, and it was previously featured on the AAA·FNR·AAA Birthday Bundle from 2008. Now that pisses me off a bit is they are the same fucking length, they don't really even differ at all. I dig the track, but like what the fuck guys, there's no other performance of the song. Okay now that that's over I can say, what I like. The '88 band, while his "best" I don't love everything they did. There's a lot of great shit, but not everything is as good as everything else. These the great performances, then there are the songs that have a certain charm to them. This song has that charm, for me at least and I also do like Bobby's vocals a lot. It's a nice way to end this and probably the best choice, though I'd prefer a different date or live recording. The solo also works in this song so that's a plus. 

Overall I have to give this album a 7/10. I mean it isn't terrible, no. Is there any cohesiveness, kinda. I mean I get the Presidential Year (kinda like how they released Understanding America in 2012) theme to it and the political message, though instrumental might not be the best for this type of album. Basically what it is... It's just a collection of tracks and I mean I guess you could go why? But I do enjoy it and I don't mind this album. That could be the fan boy speaking, probably, but I don't hate this album. It's not as bad as Road Tapes 3. If your a fan I'd check this out, if your not I don't know if this is the best first album for you. I mean it is easy to take, for the most part, but if you don't like it don't let it turn you off. So yeah, hopefully that makes sense. I'll probably end up doing Crux in 7 or so reviews.

Macho Man - Village People

I am almost half done with my reviews for these guys. They only released 8 albums (and one studio/live album) and I've already finished three (this being my fourth). This being the second album by New York's Disco legends the Village People. Released in February 1978, this would be followed by their biggest hit and most famous tune on the next album Crusin'. This album is notable for having the "classic" line up in full form. This album is an album that baffles me a bit, I don't get what two of them are supposed to be, be even more so this has one of the funniest songs to me, the title track. "Every man whats to be a macho man", I guess I'm not every man :D. But this is one of two album not on Spotify, so it took a few months of looking to finally acquire a copy, even thought I stumbled upon, purchased and gave a vinyl copy to my cousin as a joke. Then two months later or so, stumbled upon another.

1. Macho Man: This song not only has a hilarious promo video, its catchy as hell. Seriously, genuinely listen to the song and it'll be stuck in your head. That chorus is so fricken epic sounding, how could it not be. The breakdown section where it vaguely reminds me of Prince and Lady Cab Driver. This song is... Why do people like Y.M.C.A. and not this. It's so much better. It's so much cornier and this is pure cheese. Like really, watch the fucking music video and try not to laugh. But regardless of anything, I do dig this song. I think it's got a great rhythm, very fun to sing and you can dance to it. It's kinda what pop/dance music is supposed to be. It's also so fucking big, I mean I'm listening to it now and picking up on shit I didn't hear before, it's almost too much. But that "too much" also kind of makes it all that much... it earns it a place in my heart even more. Plus try not to laugh at those ad libs at the ending. It's solid and fun and worth a listen or ten, and really harmless.
2. I Am What I Am: This song flows from the last, and I think the segue is pretty nice. I mean I don't per say like this song, though maybe it could be cut a bit shorter, but that's not implying I hate it. I like the bass, but I also feel like this song feels a bit rushed. Like I almost feel like the track is sped up a bit. I think if it wasn't so fast it would maybe work better, but then again I don't really know. It could also be that there's a disconnect from the last track. I also feel I should mention this aspect of the song, this is a song that lots of homosexuals took to heart as a "I am what I am, why be ashamed". While Willis may have said it was written for anyone, not solely homosexuals, I don't think it matters. The message of a song is still in the mind of the listener. South Park did a great episode about this. The kids wrote a book to be as gross and fucked up as possible, and the adults though it to have deep messages and fit them to their views and perceptions. I mean that's the subtext or part of the subtext, people also find meaning in meaningless things, but I still think that's a point. Now stupid rant later, who really cares, You Are What You Is and you shouldn't be ashamed. I liked that sentiment, but this song.... I don't know I don't think it's as good as the last. I do really like the instrumental part of the song, I like the arrangement. It's overall I don't think this is as good I guess. 
3. Key West: The opening could remind you of the opener, but then they have this clavinet that I really dig. This song is pretty solid off the bat to be honest, I don't think it's great great but fun. Also I guess the location of the song is a big hot spot for gay people, back then. I don't know why but these ad libs are ridiculous, you could look at this as a proto-Go West. It's not quite there, but it's almost there. Much in the same way Village People wasn't, the track just missed the spot. All thought I do like the kind of variety in the song structure. I dig the saxophone and I like the bridge section of the song, it's pretty nice.
4. Medley: Just A Gigolo/I Ain't Got Nobody: If I remember incorrectly The Time did a cover of Just A Gigolo. I mean that isn't saying much of the famous Irving Berlin song, but I think of Morris Day when I hear this title. There is also a Bowie flick where he's in it and it's title Just A Gigolo from 1978. Now when this song opened I was a bit shocked, I could believe that it has a piano roll. Also I'm not sure if Victor is singing lead on this track. It doesn't really sound like him, but the disco feeling of this track isn't half bad to be honest. This really isn't half bad and it's kind of a great way to add variety to the record. The horns on this, while I mean I'm not blown away, I really am having fun and enjoying myself with it and that's all you can ask for this type of album. The songs work together great and I know they are sometimes done together, but who the fuck cares this just works. It's kinda great, in a laid back way (for the group at least).
5. Sodom and Gomorrah: I wonder if this is about anal sex? Or rather, gaynal sex..... ahahahahahahahah, get it. This continues that sort of sonic laid back, and change, over the rest of their catalog. I mean it isn't revolutionary and it tells the story in the bible of Sodom and Gomorrah. I'm a bit boggling, because I don't think on a record thats to appeal to the gay community, to have a bible song. :) I mean if I have children I'll definitely play this song for them in bible school or whatever, maybe I'll do a cover. This song is a bit of a mind fuck to be honest, like I really can't make heads or tails but I do like what I hear so hey it ain't half bad.

Overall I have to give this album a 7.5/10. This is so far, the most consistent and best over all record by the group. I mean if it wasn't so fun it'd probably be more of a 6.5, but it's fun and worth a listen. I'll definitely be revisiting this. Now I wanna say I do these Village People reviews because I think these guys are fun. I need to point out, the music is average overall but it's not trying to be that serious. There is tons of people who try to be fun, have an image, and be in general like able and they fail miserably. These guys have a charm to them that, yeah you can say they're gay (which I think only two actually were) but does that matter. I mean who the fuck cares, it's fun music and I feel like if someone was hung up on the "gayness" they're missing out. On another note, I once read a review that mentioned something about Liberal in the review of this album. I think it's time for next review Phil Ochs in Concert (not really, but maybe).