Complete & Unbelievable: The Otis Redding Dictionary of Soul

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

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

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

Lonely Teardrops - Jackie Wilson

This is the sophomore LP by soul legend, Mr Excitment himself, Jackie Wilson. I have a confession, I only ever heard of him because of the stupid Jackie Wilson Says track by Van Morrison. But hey, that caused me to look him up. Well that and the fact the Isley Brothers samples the "say you will" from Lonely Treadrops for Shout. But in the short number of months I've been a fan, I have listened to a huge chunk of his discography.I'd go as far as saying that I think he's phenomenal and really can make most anything great.

1. Lonely Teardrops: Opening we get a heavy fucking hitter. By that I mean a solid fucking track. I love this song and its so great to sing along with. Jackie's so fucking good here, he just transcends this track. While lyrically its somewhat shallow (or rather just not really realistic), he's just so good you don't notice. A doo-wop classic, a doo-wop masterpiece. 
2. Each Time (I Love You More): This is not as powerful as the opener, but none the less it's a solid doo-wop tune. With some great vintage 30's or 40's sound choir I could imagine in a Christmas song. Plus another great singing performance from Jackie. Also I'm kind of a sucker for that piano progression. While some I think are good, but more in the just because I'm a sucker for doo-wop, this is a solid and nice track. Like I can't think of any that have a chorus behind the singer that harken Christmas record (old school stuff as mentioned earlier).
3. That's Why (I Love You So): A much more lively song than the last. I really like this progression, it's got some nice horns and some pretty solid performance all around. And it's about two minutes long so it doesn't overstay it's welcome. While I love How Sweet It Is To Be Loved By You by my hero Marvin Gaye, it's a bit long. This is great and sweet and simple and the perfect length.
4. In The Blue of the Evening: I had to laugh a bit, the second this started I was like this is very old school Sinatra feeling. Well I looked it up and it was originally by the Tommy Dorsey Orchestra with some vocals from Frank Sinatra back in August 1942. This is actually a really great tune and I want to check out the original afterwords. A great crooner tune and really nice vocal jazz number. A shame I don't see it more often when I listen to vocal jazz albums, there are some standards that I don't think are as good as this tune. Who knows, maybe it is and I just didn't look hard enough. I like this arrangement a lot. Also I should mention that organ and saxophone...... top notch. There are the songs I love to sing along to.
5. The Joke (Is Not on Me): The song has great performances from the baking vocals, and has a nice swing to it. Actually the structure reminds me of maybe a rewrite of Quarter to Three. The thing is this is a bit less "exciting", that don't mean it's bad or worse (though I perfer Quarter to Three). This has a great guitar solo in the tune and this album is surprising me with it's variety. Not just in the songs, but the styles and takes. 
6. Someone to Need Me (As I Need You): Classic doo-wop and you know it is more than welcome. I love the, dare I say (cuz I might be wrong in my phrasing or word), tremolo strings. I mean it's a doo-wop tune, and it's a really good one. I don't think I can say much more than that, other then fucking great arrangement. They really made this thing sound big.
7. You Better Know It: This is a pretty solid soul tune, while it sounds like any other Isley Brother/insert soul artist from this time period, I still enjoy this. It's fun up beat and harmless. It isn't cheesy like some other songs (Another Saturday Night - PS I love that song) it's just nice you know. This also kind of reminds me of Tutti Fruti. I still dig this tune though.
8. By the Light of the Silvery Moon: The horns here are muted, and it give this that vocal jazz feeling. Like the other kind or one of the other kind. I could see this song being in a musical and the chorus sounds really good with him. Like really they compliment him. There are times I listen to the chorus and I don't like it, Ray Conniff Singers *cough*, but they really work good here. This is a fun song, incas I didn't make that clear. Also that band that comes in and plays the tune behind him.... nice :) PLus I love that accordion thing at the ending.
9. Singing A Song: That intro made me feel lik this was taken from a musical. Actually I could see this being in a musical if I'm being honest. I you're not snapping along to this song.... I don't even know. It's pretty fast, but the little calls of the instruments and the whole thing. Pretty tasty. I think my favorite part is the chorus where the strings come in. Damn this things great. It's really well constructed and I just wanna listen to the strings.... damn.
10. Love Is All: See, how can you hate him? listen to the way he sings. This is very soothing and I feel like Ray Conniff would be infinitely better with mister Wilson.
11. We Have Love: I don't know why, I just love these numbers. I also think it's perfect not every song is like this, but these are the stand outs to me a bit. Like there is something in this type of soul where it touches my soul. This is also very well put together and just great.
12. Hush-A-Bye: This is kind of an appropriate closer to the album. It's soft and very smoothe and has a very old feeling to it. Like that Sintra feeling as mentioned earlier. This feels like it's the ending and I don't really know what more to say than that. It's good.

Overall I have to give this album by Jackie Wilson an 8/10. This is great, really check it out. It goes by fast, and there is enough of a variety to keep you interested. Plus once you start to dig his vocals, he's really good bru. To be completely honest I'd have this entire album on my iPod because these are all songs I'll revisit outside of the album. Really there is more substance here than on most rock or metal albums I've been revisiting that I loved years ago, or ones that I've heard recently. To be honest I could see this being even higher rated in the future. Oh also hats of to mister Dick Jacobs for his great orchestration and direction. This whole thing is just so fun and great check it out.

The Soulful Moods of Marvin Gaye

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

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

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

Hey America - James Brown

To celebrate the month that brings us the day we celebrate the birth of Jesus Christ, I decided to make December permanently Christmas month. That doesn't mean I'm going to do tons every year, but they have to be related to the holiday to be reviewed. This album, a pseudo-holiday record by James Brown, follows last years Santa Dog. This also happens to be studio record number 34, if math is correct, and was released during a period where some of his best material (IMO) was being recorded and released. This isn't a new record to me, i actually heard this thing last October. After being blown away by how, not a piece of complete shit it was, I knew I must review and spread it. Most Holiday albums are horse shit, no really they are. They are the same 12 or 15 songs and they are boring as shit. Seriously, I can't stand Christmas music. In fact the songs I like are Auld Lang Syne, What Child is This and Oh Come Emmanuel. I might be forgetting some, but my point is very few songs I like. I mean I tolerate some tracks, but tolerate and enjoy are two different things. Maybe this'll become a new holiday classic, after my amazing review. Also January will be mostly reviews I did this month but put off because of the theme.

1. Hello America: Opening the album we get this, a very funky and pretty intense song for a Christmas album. Like really, this is a solid song, in it's own right. That is a reoccurring theme on this album, songs that are genuinely good songs. Like I'd totally dig this if it was on another album, it's a solid track that's pretty tight. Nice string, that part when they crescendos makes this song so much tougher. The horns here are also pretty great, and that funky drummer.... damn what an opening. This is one of those, not you lame ass covers album feeling. I love how it just takes you there, it doesn't hid anything. This actually could be a blacksplotation theme, but the movie might have to take place at Christmas. And I don't think I need to comment on the Godfather of Funk. He's great as usual.
2. A Lonely Little Boy Around One Little Christmas Toy:  That sure paints a picture. For me I imagine the boy comes from a poor family, why the could only afford one toy. Maybe he's an orphan and at the orphanage he only gets a small toy. Regardless of the story in the song, that title is a very powerful title. There is a really Christmas, jazz feeling to the organ here. The atmosphere really feels like a Christmas LP. Like I feel like if Brown wasn't singing, and the strings were out then Jimmy Smith might come in and start playing God Rest Yet Merry Men. I also feel like this song, if a little more intense would just fucking rip your heart out. While I like the kind of subdued feeling of this track, that track would be up there with Feed The Birds for most tear jerking songs but it is not quite there. I could totally see this being there though. This is another really solid track, though I wish it was more emotional. It's almost as if the album was recorded in one day, one long day, and this was the last song. That may not be true, but I kind of feel like this song should hit me harder.
3. Go Power At Christmas Time: Finally, a good action sequence for us this Christmas. If you stripped this song of the extra instruments I could see this being an Aerosmith track. Maybe like a James Brown cover. This is a nice rocking track, thought I don't think the vibes/xylo/whatever-ophone isn't really necessary. The ending really reminds me of a better Blues Brothers.
4. Christmas is Love: I thought Real is Love? That way Love Is Real? So Christmas must be Real, and Real must be is Christmas. The feeling of this song is one that you could talk over, or rap rather. I mean there is just something that I feel like I could tell a story over this rhythm. Maybe something along the lines of what he did on My Rapp. This song is really alive and it feels tight, thought the transition on the version I heard isn't that great. I mean the flow of the song was kind of chopped off. There is a very rushed feeling to the horns in this section. I feel like this song would be far better if it was written tighter, or with better resolution (?). The section changes are too abrupt, they don't just flow into each other. This is a good song outside of that, but for me personally it kind of puts the rest of the track out of wack. I do still like the song thought, just a little hard to "grasp", because of the in ability to really focus on the music. The reason is the one I said earlier.
5. Santa Clause is Definitely Here to Stay: Opening side 2 we get the very heartwarming tale of Santa, becoming all our regular Saturday night things. There is something that really does melt my heart, even though the lyrics may not be the greatest. The music is so damn good, it's almost impossible to be cynical towards. There is no fabricated truths to what I said. This really does just get me on that gut feeling. This is the feeling I wanted to get from track 2.
6. My Rapp: This is a pretty solid track, that really just consists of 6 minutes of just rambling, there is barley any singing. Just a few bursts here and there. But still, this is really a load more entertaining than say any Christmas record. The only complaint is, it goes a little long.
7. I'm Your Christmas Friend, Don't Be Hungry: I don't really get this one. For the rest I can at least picture something or imagine the logic..... But this one. I can probably do a reviews length description of what I think this title could mean. I can only gather he's giving to the less fortunate, which helps them to eat. That's the only one that makes sense. This feels like a subdued version of Sex Machine or I Feel Good. I mean it's still exciting, I think the thing is he wasn't to see sincere. But I feel like he should be getting up and jumping around. Here he feels like he's barley moving. This 
8. Merry Christmas My Baby and a Very, Very Happy New Year: This is the last track on James' third (if I counted right) Christmas record. This was also his last he released, and its a shame. But closing this we get one of the closer. This have a very vocal jazz feeling to the song. I close my eyes and see thing being played in a bar, with the subtraction of the strings. It's an appropriate ending to the album.

Overall I have to give this album a 7.7/10. All joking aside, check this out. This could be my favorite Christmas related music thing I've ever heard. This is fairly funky, and really easy to take. You don't have to like funk, or really even James Brown to like this. I think it's also kind of a novelty to it with Brown doing all original Christmas tunes. I know I'll play these JB Christmas records for my kids when they are growing up, as I will play them Yellow Submarine. Plus..... what's not to love about a soul-filled funky Christmas. You celebrates it your way, I celebrate it in my way. That's the beauty of the holidays, it's not one of those "My Way or the Highway" type deals. So Let's All Have A James Brown Christmas this year, by listening to this under-appreciated little record. 

HITNRUN Phase One - Prince

This is the newest album by Prince. It follows his two simultaneous albums release of last year by 3 weeks short of a year to the day, or so. Now both of those were ok/nothing special (AOA) and kinda shit/ok/boring/nothing new/shit (PE). This album, based off the art work, looked like it could be a sequel to the two, and when I saw the track listing I was indifferent. One of the best song of his I've heard of his since the 90's, Fallinlove2nite, was on this. But at the same time it pissed me off a little it was here. Not only that but 3 tracks here were released as singles, one being released prior to his last two records. Long story short based off the track listing it looks like this is a compilation put together in the style of Circle In The Rounds and Directions but in a more condensed 2 years period. Actually a better comparison might be Water Babies. Yeah I'm going with Water Babies. Well except the tracks aren't released on someone who plays on the tracks album, and they weren't written by someone other than the main artist. All though they do first appear on the artist who wrote them, their album. Whatever, I'm just passing the time. So while I type this, waiting to listen to this album, I don't have High Hopes. Also I feel I should finish the reviews for those two albums, but one is just..... I'll do this first.

1. Million $ Show: This track features Judith Hill. This song opens with something that I'm pretty sure is taken from Darlin Nikki, the back-masked part. Then it pays a clip from 1999 (the intro) before playing a clip from Let's Go Crazy and then the song starts. This sonically would be snug on Art Official Age. The best part is probably the strings, which I'm sure is sampled from Purple Rain. Though I did watch a video of them recording strings for the album, which did sound neat. They could have just rerecorded the string part. 
2. Shut This Down: While this song sounds like a hip-hop song from the 2000's, I have to give it to him. I loved that segue. It reminds me of the segue on Sign O The Times from the title track to Playing In The Sunshine. This also sounds like Lap Dance, or TC's Cherry Bomb. This isn't really that good, but it's not terrible. I do like the electro sounds here, just. This is probably best described as a new updated version/sequel to Housequake. The ending isn't anything spectacular. It's a voice transition. Sorry the segue I was thinking of is Playin In The Sunshine into Housequake.
3. Ain't About To Stop: Feat. Rita Ora. Now I don't care for Rita and the only reason I anticipated listening to her second album was for the Prince collab. Seriously, and I guess this is the track. I previewed the track and upon first browse the thing that stuck out like a store thumb was the vocal contribution for the Purple One. Serious, he didn't sound that good in his co-lead with Ora. Now this sounds like it'd be better fit here, because Rita barley is audible on the copy I am listening to. I like the whole eastern sounds, but at the same times I'm not huge on the whole ETF self titled electronic stuff. Or the sounds that would fit better on a Disturbed album than on a Prince album. Now I give him props, and remember hearing a preview in the "Album Release Party" from last September, but you know. I didn't even really retain anything form that. Now the best part is something that sounds like it's playing a variation of Lady Cab Driver or maybe.... I'll go with LCD.
4. Like A Mack: This track features Curly Fryz. This has more of a hip-hop feeling, but I don't.... I kinda feel like Nicki Minaj would be good on this track. Yeah I just said that, Nicki would sound "good" on a Prince track. The best part is another part that sounds like it is sampled from something else. It's pissing me off that the highlight of tracks are the parts that almost don't fit the rest of the atmosphere. When The Purple One is sing/raping it reminds me of Flight of the Conchords. And even Curly's second rap reminded me, the music, of Prince of Parties. This seriously could be a remix of Sugar Lumps and Prince of Parties in one. Plus saxophones, because everyone know the 80's is hot now.
5. This Could B Us: This is also, like what they did for FunknRoll, a remix of the track off AOA. I really don't even think I should count this towards the score. Really, I'm being serious. It was cool on the two albums at once, two different version of the same track. Kinda like a Japanese Bonus track, or remix exclusive. But it's with every copy of the album. This on the other hand, I didn't even remember caring for this song in the first place. The remix, I care even less about.
6. Fallinlove2nite: I can't hate this song. It appeals to my weakness of 90's pop. I don't know why but if done right, and 90's.... I love it. The cheesier the better, but this.. this isn't cheesy. I kinda feel like this is what this whole album is supposed to be sonic ally, just different experiments. And this is the best song he's done since at least The Rainbow Children. I love the atmosphere, the feeling, the only difference here is I don't here Zoey on this track vs the single. Which I prefer her on the track. The single edit is one of my favorite songs of all time, sadly the lack of Zoe surprisingly hurts the track. 
7. X's Face: Another chopped and screwed feeling song. Which I haven't heard him do this that good. I like it on some A$AP Rocky track but usually I don't like it. I really, there's a rap, then monkey sounds. I would feel better if I just left this as this. No more to be said here. Also it sounds like Left Brain produced this on the older OF stuff.
8. HardRockLover: A single I never heard, not wanted to. But the intro to this, it got my attention. While not the best track, this reminds me a lot of FunknRoll when it picks up. There are also parts that remind me of When Doves Cry in his delivery.
9. Mr. Nelson: This technically could be a left over from AOA. This features Lianna La Havas. From the beginning of this track is sounds like a remix of Clouds. This isn't that bad of a remix if it is, and I loved that whole eastern scale. But I mean, I'd prefer this released as a stand alone single, or on a remix album.
10. 1000 X's & 0's: Recordings of this exist, with Rosie Gaines from 1992 and then with Nona Gaye (Marvin's daughter) from 1993. While neither were released, it still is a left over form the 90's. Honestly, again another song that'd be a snug fit on the last album. Almost sounds like it's a leftover.
11. June: A decent closer. But again, it really amounts to nothing special.

Overall I have to give this album a 6/10. I get the call backs to previous music, but The Resident's 2008 album Bunny Boy had the music much better integrated into it than this. And he literally samples the tracks. The Next Day also, recalling old songs and styles, is a better example of what he should have done vs remixing and sampling past material. I know its not a huge part of the album, just pisses me off. I know im dwelling on that, but I feel... Ill explain why later. In reality I'm not buying this on CD the 15th, not until it's like 5 dollars. And it'd just be to have it for my collection of Prince album's not because I like it. Did I enjoy it more than PlectrumElectrum, yes, did I enjoy it more than Art Official Age..... No, but its only short behind in terms of decimal point percentages. I guess the best part (and also worst part) is it's only 37 minutes, and as fast as it goes by I forget even hearing it. If this truley is "Phase One", I'm not looking forward to "Phase Two". To get a review done correctly I need to hear the album a few times. But to be honest, I'm only waiting to hear the CD version. To see if my copy is inferior. But then again, "Tidal is CD quality music" so here's the review.

The Weird World Of Blow Fly

This is the debut album by original dirty rapper Blow Fly, possibly better known by the decent few in the world as Clarence Reed. Now his whole discography, prior to about 1984-ish is weird. By that some sites say that Butterfly came out in 1973, which was when it's phonographic copyright is dated, but some say it's from 1976. Even odder his official site says it's from 1981, which production wise and everything else wise I don't believe for a second. This album has been said to be from 1971, butg his site says 1973. I already mentioned this on the On T.V. review, but a debut does one of two things. It either establishes you, and gives you footing on the ground. The first is you'll always have to live up to the album, 36 Chambers, the second is you will always be improving until you reach you're sound, Iron Maiden and Killers. Now this review is going to be done during the Super Bowl, I don't care for sports and don't care who knows it. So with that said I decided to do this because I've been listening to this album a ton lately. I didn't finish it during, but I did most of it during.

1. Intro: This track is also known as Weird World. This opens with a groove and the groove is played at the end of each track while he announces the next track upcoming. There is a line he usese "guys and girls" that he used in Rap Dirty.
2. My Baby Keeps Farting In My Face: This is a spoof of the B.J. Thomas classic Raindrops Keep Fallin' On My Head. This is actually a funny song that, well think about it. The lyrics kind of give what the songs about.
3. Hold On It's Running: This is a spoof of Hold On! I'm a Coming by Sam & Dave. This makes me laugh because he's sings about his penis. I mean it isn't that amazing of a concept but it makes me laugh.
4. Hole Man: This is a spoof of Soul Man by Sam & Dave from 1967. I think that this is the original also. I prefer this to the original. This is a classic that would appear on re-recordings and other times in his discography.
5. The Eating Song (Yum-Yum): This is one of two Otis spoofs. This is a spoof of The Happy Song (Dum-Dum) from 1968. This is another song that I enjoy the original, but Blow's version is the best. And honestly, the eating he's talking about... well I can "dig it".
6. Shitting On The Dock Of The Bay: This is a spoof of (Sittin' On) The Dock Of The Bay by Otis Reeding. This, according to Henry Stone was the song that Blowfly played for him and he told him to record it and come up with other track. And you know, I love this track. He took one of the most introspective songs (while I'm listening to it I always do that) and most heartfelt tracks I can think of and turned into into a track about turds floating away.
7. To-To-To-To-To (The Fart Song): This is a spoof of Um, Um, Um, Um, Um by Major Lance from 1963. This is a funner version of the song. And you know, it perfectly compliments it's previous track. At the end of this track he talks about the players on the album, except he uses other names.
8. I Don't Want No Woman To Give Me Nothing: This is a spoof of I Don't Want Nobody To Give Me Nothing by the Godfather of soul James Brown from 1969. This is a song about "getting it" yourself. And this track closes side 1.
9. The Eater: This opens the second side, and starts the "second show". This is a spoof of The Cheater by Bob Kuban and the In-Men from 1966. But the track opens with a reprise of Weird World theme song.
10. Spermy Night In Georgia: This is a spoof of Rainy Night In Georgia by Brook Benton. This was originally by Tony Joe White though. I think this idea is kinda hilarious.
11. Odd Balls: This is the only original track I think that's on this album. On the CD reissue he even says so before the track this is an original. For the sole original this is probably one of the best albums here. Even if you look past the lyrics this is a pretty solid track, and the way he sings I like a lot. The best part is the "prechorus" part towards the intro. And then is followed by that oh so great intro theme.
12. Baby Let Me Do It To You: This is a spoof of a track of the same name by Tyrone Davis from 1967. This song is okay, if there are any tracks I can say I've not huge on it's maybe this one.
13. It's A Faggot's World: This is a spoof of It's A Man's Man's Man's World by James Brown from 1966. Progressively I've learned to love the original, I finally get why it's so good. Thought I prefer the 1970 Oliver Nelson arranged version from Soul On Top I still love the song. That opening line just makes me laugh, especially since there is laughter in the background. This song isn't limited to "faggots" thought, it also talks about "bulldaggers".
14. A Child's Dick: This is a spoof of With A Child's Heart by Stevie Wonder and written by Ray Charles (I believe).Even thought the title, at least now a days, brings to mind pedophilia... this is about a guy with a small penis. It's funny because if this inded did come out in 1973 MJ did a version that year of the original song. It's kinda like a prediction of Michael's future controversies... Just saying.
15. The Sperm Is Gone: This is a spoof of The Thrill Is Gone by B.B. King from 1969. This was originally by Roy Hawkins from 1951 though. Go Little Beaver Go! This happens to be, right next to Lucille, my favorite BB track. So this cover makes me laugh when I hear it.
16. Outro: On the behalf of Cunt Man, Pussy Willar, Dickhead and Blowfly himself they wish to see you again...

Overall I have to give this album a 7.5/10. I noted in the Blowfly's Butterfly review that I didn't like that repeating theme throughout so much, but it's grown on me. I mean, in reality there isn't a bad track here. Some of his albums have tracks that aren't good. There isn't one track here that I think is bad.

The Gold Experience - O(+>

Wow it's been over two years since I did a review of The Purple One. This is the 17th studio album by Prince, first to be with the Love Symbol title, released in September 1995. Thought this follows the album released in July 1995 titled Symbolic Beginnings, with recording from 1977ish from the 94 East band. Then you had November 1994's The Black Album (note The Gold Exp was originally named the Gold Album) which was originally intended for release in December 1987, so in reality his last album before this was August 1994's Come. That album is just..... Not very good. But you know, I've already heard this thing too, and sadly it lives up to the follow up for Come.

1. P. Control: Pussy Control, for a title like that you know of expect it to be a good track, but sadly, it doesn't reach any expectation of mine. This song opens with a woman talking in Spanish (?) but Prince raps in this track, and honestly I like the International Lover reference, but still this track would fit snugly on the Graffiti Bridge soundtrack. This track reminds me a ton of Tick Tick Bang.
2. NPG Operator (Segue 1): This I guess sets the theme or tone or concept for the album. I guess after she says the word "come" a sample from the song Come appears until the end of the track.
3. Endorphinmachine: This has the energy (esp the end of this track) of Let's Go Crazy, but doesn't hit that high. I do like the rhythm on breakdown part. Other than that part and Prince's scream there isn't anything that sets this apart and makes it great. I also wish that peaceful part would last longer.
4. Shhh: This track, unlike most of the album, dates to June 1992 (but was rerecorded in 1994) because of it's original use for Tevin Campbell. The little kid who dances around and sings Round And Round. That was a song that kind of pissed me off because it was kind of annoying. This is a very appropriate title for this track. It's a kind of slow jam that it very 90's to me. Thought I do like when it picks up and kind of plays harmony notes together right before the solo comes in
5. We March: This is one of two co-written tracks on this album. It was co-penned with Nona Gaye, you know Marvin's daughter. This song's intro sounds a ton like a later Queen song. Up until the GB sound comes in. You know the 1990 soundtrack album (hint)
6. NPG Operator (Segue 2): wow The Dawn, it covers everything a young boy can ask for, courtship, sex, commitment, fetishes, loneliness, vindication, love and hate. The segues are there to go to different "experiences" or "themes" for group of songs.
7. The Most Beautiful Woman In The World: This was originally released as a single in February 1994, 19 months before this album was released. It was released on an Ep as The Beautiful Experience in May 1994. Thats kind of just laziness to reuse a almost two year old track for an album in my opinion. The other thing is that this is another clunker for me. I don't know why but it just.... doesn't work. So to reuse it a year and a half later is just kind of pointless to me. This is seriously the 90's version of The Most Beautiful Girl (In The Room) by Flight Of The Conchords. Wonder if they were spoofing this song?
8. Dolphin: This is another uneventful track :( Actually I'm waiting to turn on "Sabrina, The Teenage Witch" and this to be in a scene.... well period, anywhere.
9. NPG Operator (Segue 3): This track goes into the Now experience which also contains Irresistible Bitch, Housequake, and Sexy M.F. but according the the Operator that was then, this is NOW!
10. Now: This song is pretty much in the "experience" I got from P. Control. I don't think that should have been the intro track. Honestly, I would have rearranged the tracks a little to make the concept more clear, but whatever. I like the reggae, Rastaman voice.
11. NPG Operator (Segue 4): Welcome to the beautiful experience, why the hell is track seven not in there. But anyway this covers courtship, sex and commitment
12. 319: This is another track that I just can't get into really. Maybe if it was a blues song
13. NPG Operator (Segue 5): This is saying to enter a different experience, Ok
14. Shy: This track is pretty nice, and relaxing, but I'm getting a folksy feeling from this track
15. Billy Jack Bitch: This track was co-written with Michael B. Nelson. This also features an uncredited backing vocal from Lenny Kravitz and honestly the chorus is kinda annoying an too much like Delirious for me to give the time of day to. It's also a little too long for me.
16. Eye Hate You: This is a very 90's song. It's got a cool Zappa-esque solo to the end, but still it's just okay first time through. Also it is listed with the eye symbol
17. NPG Operator (Segue 6): This is supposed to be the computer going haywire. And guess what, I entered the Gold Experience.
18. Gold: Not great, but a good way to end this album. This is a kind of ballad, but you know the strings on this remind me of tons of other tracks from 90's/00's like this.

Overall I have to give this album a 6/10. Wanna know how you can kind of tell it's kinda weak, Christgau gave it an "A". He's an idiot, but regardless I give Prince props for making a very cohesive album, but it's also not very adventurous or exciting. It works, but for me, I didn't really enjoy this album that much.

Station to Station - David Bowie

FINALLY, HERES A NEW REVIEW. This is the 10th studio album by one of my favorites, David Bowie. This is the album where he was at the height of his cocaine addiction. This is the album before the legendary Bowie/Eno Berlin Trilogy. This album was produced by Bowie and Harry Maslin. I have noticed an almost universal love for this album I like the album too, but not as much as everyone else does. It has grown on me 

1. Station to Station: This song is one of my favorite Bowie songs and one of, in my opinion, the best songs ever made. This is, in theory, kind of like Bowie's own Stairway. But this song kicks the crap out of Stairway in everything, except a complex guitar solo. At the end of the day though, you don't need to have a Jimmy Page solo to be a good solo. Look at Coffee & TV by blur. That solo fits the song, and this solo fits this song. This song is kind of a build up. It starts with a 1 or 2 minute intro of what sounds like trains chugging. I love the way the piano sounds when it kind of breaks the train off. Then after that it goes into a guitar riff that replicates, more or less, the rhythm of the train in the beginning. Then when the vocals come in this guitar arpeggios? is playing "The return of the Thin White Duke, Throwing darts in lovers eyes". I love that line of the song. The lyrics of this song are just so sick. This is one of the fastest 10 minutes of my life. The cream of the crop comes thought at about 5:15ish when there is a drum interlude for about a second or so and then "Once there were mountains". I love that part. I can't tell you how much I love it. It's a completely different song after that point. It's almost like they were written as two different songs squashed together, but it worked perfect. Kind of like Funeral For A Friend/Love Lies Bleeding. The former ended in the same key as the latter started in, so he put them together. "The European Cannon is here". Damn, this is an amazing song! I just love the lyrics; but one of my favorites, and stand out for me, is "Have you sought fortune evasive and shy". I could take that more than one way. But my way of interpreting that specific line is, have you gone after fame evasive and trying to hide and sneak around people. This is nothing short of epic. I think they double tracked his vocals, but one is higher pitched. So rather than reverb it's like two different people singing. I love they way that people do this trick. And David was able to sing different enough to make it sound right. The guitar riff is kind if like a horse Gallup, at the "Have you sought fortune and fame". The bass is pretty sick to play too. I can play this song, I love jamming and playing along with it. I could go on forever about this song, but I should probably stop. {100/10}
2. Golden Years: This is a good song. Not great, but it's a quality song. This is just an odd song. It has a weird feeling to it. I know it's kind of like a song that is like a ballad, but it's just somewhat weird. Maybe it's weird chords, but I love the idea of this song. Like, a ballad with "indian chords". I know they didn't use "indian chords", but the idea of making a pretty song with odd sounds. I looked it up, it's F# to E. that's awesome. {8.1/10}
3. Word On A Wing: This is a pretty romantic song. Kind of like some of the romantic songs on Young Americans. I actually could almost see this song being on that album. According to he VH1 Storytellers he said this was written as kind of a way to cope with the darkest time of his life. There is also a theme of religion in this song he touches upon. This is a pretty touching song. You can kind of tell there is some emotions that go into this song. I didn't like it much at first, but with more listens its become a song I love to hear. This is a song I would check out if you haven't heard it before. I also like the choir thing at the ending. {9.2/10}
4. TVC 15: This is supposedly inspired when David Bowie saw Iggy Pop's wife get eaten by a TV. I don't know what that is supposed to mean, but this song is a decent song. I don't really know much about what to say. I could see, in an odd way, this being a song you can dance too. I like the "dance hall?" flavor in the beginning. I think that's the right word. The chorus part I'd just sick. It feels pretty epic and big. I also like the sax there. It's harder to hear, but if you listen you can hear it. 
5. Stay: This is another song that is a little different. Not what I expected. I do like the chorus. This is a song that reminds me of Young Americans. This is a pretty damn good song. I like the way he sings in the chorus. I also like the solo. It's more of like a guitar fill. It's not overly complex. It somewhat reminds me of, at parts, of Georgie's playing. That's probably my favorite part. 
6. Wild Is The Wind: Though I love the dozen or so Nina Simone songs I've heard, especially Save Me, I think David does it better. This is a pretty romantic song. I like that this is the ending. It fits the album perfect. It's like the book closer. This feels like a song where you'd take the woman under your sheets and just make sweet love to her. I like the acoustic guitar a lot also. Excluding YA album this is probably the most romantic he gets. I also kind of laugh at the way some of the words sound funny. Then I remember Nina's songs. I love where it starts to pick up. The sound of acoustic guitar on this song is my favorite sound. Like the "distortion?". That's not the right word, but I hope you get the point ;)

Overall I have  to give this album a 8.5/10. All the songs on this album are quality songs. No single song on this album isn't good, but they aren't like the songs on Ziggy or Space Oddity or even Diamond Dogs. The album though, I think, isn't mind blowing. As time has gone on, and this album has sat with me, I like it more and more. But you know, I know this is an important period in his career, but that doesn't make a good album. Also, I'ven't heard all of Low or Lodger yet, so I can't judge them yet. All these songs are fun to sing alone with, and the lyrics aren't that hard to remember. If you think about it Space Oddity had its parts where it was psychedelic and it's parts where it would fit on a glam album. This album is kind of like that. 

Addition 7/28/13: This album, with more listens is a damn great album. That's why I'll award it a 9/10. And it is one of my favorite Bowie albums, and is definatly the slickest album I've ever heard. I wouldn't be surprised if that 9 turns to a 10 by the end of the year. Damn! David also said something, which I could never really think of how to say it or what it was, but said this is a "dark album". Look at this Richard Corey was everyone's idol and they loved him. But he obviously was troubled and had some darkness there. Lots of times everyone's heroes have more troubles than we think. Comedians usually have some type of problem, not all, but lots historically have. 

The Black Album - Prince

This is the legendary unreleased, until six years after its original intended 1987 release, and widely bootlegged by Prince. It was supposed to follow Sign "O" the Times, which came in March of 1987. There are different reasons that it has been scrapped in 1987. One was that when he experimented with Ecstasy and had a bad trip. Which I guess some one said later that actually did happen. Well for whatever reason he did it, I don't know exactly what to understand about why. All I know is that it was supposed to be studio album number 10 and ended up number 16.  This is also been called The Funk Bible and has some type of theme that goes into it. I also did a review of 1999. The album was finally released in 1994

1. Le Grind: This song starts out fine. I am getting a good feeling from it. I could see this being from the 80's. This actually reminds me of 1999, sound wise.
2. Cindy C.: There is some sax in this song. Honestly, this song didn't keep my attention. It kind of seemed like a 1999 outtake. 
3. Dead On It: This song sounds like an 80's hip hop song. I think it's actually kind of funny, with the way that is sounds and is. I could see like some 80's rapper spitting over this. N.W.A. would be too cool for this, ha.
4. When 2 R In Love: This is kind of a corny Prince song. It's a love song and it's isn't that bad. It is actually on Lovesexy.
5. Bob George: I could see this song being rapped over. He does swear in this song. And I think he is supposed to be rapping in this song. This song is actually pretty funny. I is ripping on himself, ripping on Prince. This is just a silly song, and it is pretty good. The music kind of, at parts, reminds me of The Rugrats.
6. Superfunkycalifragisexy: This song reminds me of a mix of Red Hot Chili Peppers 1999 Californication with the song Supercalifragilisticexpialidocious from the Disney Musical Marry Poppins. Or maybe any of the 80's songs by Red Hot Chili Peppers.
7. 2 Nigs United 4 West Compton: This song starts out with him talking. Then the song goes into a like this funky instrumental. This is a solid instrumental, and it is easy to funk and jam out to. The one thing it though, it's 7 minutes long.
8. Rockhard In A Funky Place: This is the last song on the album. It actually wasn't as bad as I thought. This song is a good way to end the album. I think that it is pretty funky and I love the name, it's kind of funny.

Overall I have to give this a 7.2/10. The biggest problem with this is that the songs are, at times, too long and repetitive. That was my biggest problem with 1999. The shortest song on this album is 3:59 and the longest is 7:01. The rest of the songs are within that 5-6 minute range. I didn't think that it was amazing, but I still though some songs were funny and some were cool. I'll probably revisit this some time when I just want to listen to something funny and a little different.