Metal Magic - Pantera

I planned on doing this New Years Eve, but I feel God had other plans. I don't really want to talk about it, because I know it's for the best, but my grandfather died on New Years Eve. I was there when he died, and he was surrounded by family, I couldn't ask for anything better. So I will still review this, just not the intended date. In honor of the recently release (December 4th, 2015) Pantera compilation 1990-2001 and the fact they won't pretty much don't acknowledge that they came out with albums before Cowboys, I decide to only review their 80's albums. After that I'll do the 90's, I may do all of their albums up to Reinventing the Steel, but not until the first four records have published reviews. In fact I think the only reason any knows this cover anymore is if they are a die hard, or have seen it on a list of worst cover. The other possible outcome being that they, like me, stumbled upon it one way or another. Oh by the way, don't say this isn't Pantera because the only member who was on Cowboys that wasn't on this is Phil. That's because Terry Glaze is on vocals for the his one. This album was released on their own label Metal Magic Records on June 10th, 1983. So 7 years prior to Cowboys. Also this was on the 20 terrible debuts by great artists list from rolling stone... So chances are its fucking good :)

1. Ride My Rocket: Opening with a title, that with this cover, is cheesy as hell. Opening the album we get what sounds like people cheering, then it progressively gets turned into a loop and hypnotic. I could almost see this being on a Hawkwind record. I can't imagine the song, but the main riff reminds me a tad of Detroit Rock City. When the song plays it isn't terrible, just kind of forgettable and generic. But I can tolerate it.
2. I'll Be Alright: I'm so damn close to making a Kenny Logins joke. I'm going to be 100% honest right now, this reminds me of Judas Priest. But one of the good songs by them. There a a lot of forgettable songs of their's from the 80's that seem to appear on greatest hits, songs like Delivering The Goods or Unity. Both terrible songs, this is more in line with the heavy hitters.
3. Tell Me If You Want It: "Tell Me if you need it. I'll be walking outside the door, around you I'll confide it". This is so 80's it isn't even funny. That isn't a bad thing, I just can totally see this being of it's time. Although, Diamond is really killing this solo. Nice to hear something that uses the same distortion as Cemetery Gates this early.
4. Latest Lover: This is pretty generic 80's I could almost mix this up for a number of bands. I don't know.
5. Biggest Part of Me: The beginning has synths that remind me of something I can't pin down. But this song turns into a pretty generic power ballad. Also maybe if the album was an Ep this would go over better.
6. Metal Magic: Do I like the title track, yes. To be completely honest, it makes sense this is how theyd sound. This is hair metal, but there are hints of like Priest in this. This was the first track i heard alone, and you know, I liked it. Honestly, outside of the vocals, this could be a priest song. I do like that Halloween-esque horror film vocal thing and its got tasty distortion on this. If I'm being honest, lots of glam metal/hair metal groups look and sound faggy. They just sound weak and don't deserve the Metal title. But this, while yeah it kind of is, its not half bad. I won't listen to it outside of maybe to remember because I forgot about it, but its not terrible. 
7. Widow Maker: I really don't know what to say other than, Priest track. Also terrible name for a song.
8. Nothin' On (But the Radio): I have to say, me personally, I think this is the stupidest fucking title ever. It bothers me a bit. What the fuck am I listen to, there is this beat in the beginning. It almost sounds like it's a joke, then it goes into a rendition of Hearbreakerby Pat Benetar. Shockingly, this chorus is more 80's than anything I've heard her.
9. Sad Lover: Ah, what could be better than hearing Diamond Darrell playing guitar on two song with the word Lover in the title, and it having a very ordinary word in front of it. To be honest that song came and went. Also I feel it takes too long with the fake ending and then how it comes back.
10. Rock  Out!: "With you cock out, like who this kid, it's just something I've seen Prince do. Its true. No matter what, I'm showing up Who gives a flying floating fuck What people say, or think? Cause end of the day, start of the day they all said we wouldn't get here anyway You blink, and Wolf Gang's in this bitch...". 

Overall I have to give this album a 4/10. Is it their best, no. Is it a piece of shit, no. I still think it's worth checking out where they started. I hate when people do stupid shit and try to cover up their past. We deserve to hear it if you released it. Even if it's an hour of you shitting, you released it. Let us hear it. There was a episode of South Park and it brought up an interesting point. Once you put out art and it touches people it not longer is yours, it's everyone's. It's for anyone to enjoy and have and hold and used for their own use. Hiding this and covering it up is like cover up all the embarrassing parts of history because no one wants to admit it. I'm also of the belief, if you are truly a fan of something you will be able to critically analyze and understand why you don't like certain parts of their career, or story or whatever it may be. At the end of this confusing pointless paragraph, this is pretty generic but if you like 80's glam metal or Pantera then just check it out. If you want to just hear it for shitts and giggles, then there's that choice too. But I've heard far worse music than this.

Just Like You (Deluxe Edition) - Falling In Reverse

Today is the 29th, so this could be my last review done before the New Year. I still have a few I'd like to get done before the 1st, but still. I have all the ones I did pre-2016 scheduled to post from the 1st to the Xst (or Xth) depending on how many I get done. This has been worked on and off since February, so it's kind of long. This is the third album by Falling in Reverse. It follows their second album, which almost sounds like a different band, Fashionably Late. I'm gonna be completely honest right now; while I didn't care for majority of the tracks, on the second album, there were some gems.  But anyway, Ronnie announced he was gonna make this a sequel to Dying Is Your Latest Fashion, which was already done with The Drug In Me Is You in certain aspects. Well not really, but you know it's good to know he's leaving his rapping to his solo career and getting to more straight forward music. The bad thing about it is he has to be doing this to appease the fans. Never do that, never do anything for anyone but yourself (or band depending on your group). Zappa put it best, paraphrased, "I make music for me. If you happen to like it cool, but I do it for me". After leaving Escape the Fate, Max Green eventually joined this group for about a year or so and is probably on this album. Now I think the last album had potential on it in its set up, execution and some of the overall ideas on the record musically. The thing is the experiments, far more often than not, were all things that I don't like. Had they incorporated things I do enjoy or liked, I probably would have given it a 8 or 9. Sadly I can find something to complain about right off the bat, that being the cover and the song titles. While I wanted to give this album time to digest, I kinda felt the same my first time through it as I did every other time. Well..... The first time I may have liked it more than I did after multiple listens. Well here we go.

1. Chemical Prisoner: While I thought this was an interesting title, to be honest this made me nervous. I only later remembered why, in part. I knew I didn't expect it to be as good as what it's [the album] the sequel to, but you never know. The reason for the title, I don't know *cough* Chemical Love. After a few listens to this track I still get the same feeling I got it the first time. I thought it sounded cool but I had this type of "unsure feeling" I would lose interest over time. That or I would dig the track and eventually find it wasn't as good as it sounded the first time. So basically I figured it wasn't as good as the initial listen gave me and sound. And I was right. But I do like the intro, and I think its a good track if is looked as a sort or trying to recapture what was once there. Do I like when People back track, not really. I think this isn't terrible, and after just finishing the review for Hate Me I can say this (this is the far superior).
2. God, If You Are Above...: This is the first single from the album. You know, to be honest, this really sounds like a song off DIYLF. Damn, even the solo on this song sounds like something Montey would play. The only thing that doesn't really sound like it would be the electronic breakdown. Though that's only because it's more updated and current sounding here. With this as the lead single, I thought this has potential to be a great album. I do like how he is getting back to a more, insightful or deep thoughtful person. This track is about a topic that is rather serious vs him talking about "Gucci Shoes" or whatever he was talking about Alone. I still think this is a solid track, it hasn't lost any of it's punch or power for me. I mean it isn't like heart breaking or genius, but there is a little more here than just, as mentioned earlier, stupid shallow bull shit. Point to Ronnie. This is how the other guy should be writting. Not making Let Me Be.... it hurts to even think of that track.
3. Sexy Drug: This is a dumb name for a song. This song is also kind of stupid. I mean after that last track this just kind of seems pointless. But you know what... fuck it. I can give him a free pass, at least there was something of substance. Let him indulge himself a bit. I do hope their next record is all God, If You Are Aboves and what not.
4. Just Like You: This track is well...... I really don't know. I mean yes while it isn't a Game Over its still planets apart from Drug In Me Is You or even the more superior Dragging Bodies Up A Hill. I think the best possible description of this song I can give you is the not good mid 2000's Weezer meets Ronnie. Enough said I think, though it should be noted if this is a "make fun of the audience I'm self aware" or a "I'll do what style of music you want but your an asshole" I'm not laughing. Sorry but those jokes don't work on me unless your from the 60s or 70s or Zappa. If I could forget this I'd be happy. Also I doubt its the later in the what the song is supposed to be. It's not often you come out and say someone is an asshole  when trying to outsmart or out whit someone. In reality its more of a redemption by way of justifying his actions by pointing out your just as capable or just as shitty a person.... Because your a person. While, if that is the "deeper meaning", I think he's did a terrible job at it. It ended up sounding like an angry 15 year old wrote this making fun of people because he was so cleaver. The only take away is maybe the fact that he doesn't care is true and he'll go back to doing what he want, not stupid fucking fan service.
5. Guillotine IV (The Final Chapter): This is possibly the angriest song I've heard by Ronnie. The thing I don't like is the electronic part during the chorus. Do artists in Post-Hardcore have a pre-rec where it says, use trendy sounds in electronic music. It's kinda buried but you can still hear it. I mean it may grow on me but who knows. I can honestly say now no it hasn't gotten better. I mean there are parts that I still am not nuts about, the vocals in the "chorus" or "hook" but it's not terrible. It's kind of grown on me. But that could be because of the whole... What am I comparing it too.
6. Stay Away: I like the vocals in beat with the rhythm. While it's not straight up, I can't think of the word, I like how it's more beat vs a over the rhythm. Kind of like The Jazz Party Hat Discharge, that type of singing. This song is okay, but not amazing.
7. Wait and See: This intro reminds me of Imagine Dragon's one song that was big. And you know to be honest, I'll just skip this if I ever revisit this track. This sounds like it was left off the last album. I do have to laugh a bit, there are parts that sound kind of dumb, but I'm sure the message is more than what I"m just hearing. But parts remind me a bit of Weird Al.
8. The Bitter End: off the bat not digging the title.  It reminds me of one of my old favorite up and coming bands lackBay ideTay.  The ending of that last song and this one kind of blended together. But really, this song is to similar to that other song to like (the other bands song). This is a pretty generic song for the band (the old band). I do like the strings in the song though, they add something to it.
9. My Hearts to Blame: When they segued into each other I thought at first this was a remix of the last track. I guess Ronnie is doing what he likes, the electronic stuff, but I don't really feel that. I mean really, there isn't anything here for me to take away. It's not terrible, but I really feel indifferent. It's not bad, but it's not good to my ears.
10. Get Me Out: Oh my gosh, what is this. This sounds like an song written with I'm Not A Vampire state of mind. But where that song wasn't terrible, but not really great, this is kind of dumb. I mean at least he's writing pop.... right? Skip. This is very much one of those, or maybe a mix of that and Goodbye Grateful.
11. Die For You: "Darling only for you, I Would". This is more of a Goodbye Graceful re-write. I mean it's okay, but I'm not insane about it or in love with it. I like the As I Lay Dying section towards the middle but yeah, I mean outside of that there isn't much I'd want to return to.
12. Brother: The only real surprise on the album after I heard the singles. I mean those didn't surprise me, but I had an idea of what to expect after those. This track, while all three records have ended with a ballad thus far, including the ETF debut, this still took me by surprise. This is a different type of ballad. Where Drifter was country, The Day I Left The Womb was kinda acoustic rocky and emo, and The Westerner is the angry grown up version of TDILTW. This track is a piano ballad. And to be completely honest I think it's by far the best track on the entire album. This also seems honest. 

Now on to the deluxe edition tracks, two tracks which I had to wait to hear because they weren't uploaded to Spotify and I didn't feel like buying the album (considering how I feel). And while I didn't mind the wait, I miss not hearing it. 

1. My Apocalypse II: I was slightly irritated that there was Guillotine IV and then the lazily titled My Apocalypse II. If it was G4 and the G5 as a bonus maybe its OK but regardless its like he's trying to make this a sequel but it just isn't as good. But now that I'm done being pissy, I have to say this is a sequel. This is part two of a track, one of my favorites, of one of my favorite albums of the 2000's. Possibly the best album in the whole ETF/FIR cannon and any other projects that anyone in the groups have touched ever. And where the original still kicks ass after a few dozen listens, this sequel immediately doesn't pull me in. The thing that killed it is an over use of auto-tune, and also the programming. It's way to electronic, where the original I don't even think has any electronics. I mean I remember being blown away as a 15/16 year old hearing how awesome he utilized auto tune on The Westerner and how it just added to his voice. Made it resonate and helped sound better. There is sounds like he isn't using it to add, but instead he is relying on it. The first few listens that really got to me. But after hearing this and revisiting it I was like.... the real problem is not the vocals, though they do bug me at parts in the chorus, it's the lack of a memorable solo. That is a huge part of this songs equation, and instead of making something memorable it sounds like a mix of the others solos. It's almost like if you were to make a Star Wars 7. And this is your version of the sequel to Jedi. And in doing so you take and add and mix a bunch of elements from the Phantom Menace to Revenge of the Sith cannon (or incorporate those movies in to your movie). Ronnie didn't write G2 or G3 but he still basically uses all three as his template for the song. And while I like Jar-Jar, it's like he replaced Boba Fett's sick ass voice that's bad ass as fuck, with a Jar-Jar......... or a lame guy who tried to do that voice but couldn't. I hope that makes sense, it does in my head. I mean Jacky does a great job at copy and pasting parts of the solos into his solo, it's just it's copy and pasted.
2. Pray: I feel like this sounds like an outtake from the last album reworked to fit on this album. Also this literally sounds like the boring rock music that you'd hear on the radio. I know I'll never return to the bonus tracks, also I know that the only decent part is that there is like a water drop sound. It's a lesser version of Brother, I guess. It's like a ballad of sorts, but misses that mark in it touching me. I mean moments sound like old ETF, but the magic is just missing you know. And even after revisiting this after a few months I was still like... what the fuck ever.

Overall I have to give this a 5/10. You know, to be honest, this isn't that great of a sequel to DIYLF. That was obviously the best thing that Ronnie has, well the There's No Sympathy For The Dead Ep was pretty great and that's excluding the tracks the reappeared on the album, oh and thee demo is great too..... what was I saying? I'm kidding, but the point is I don't think that trying to redo the past is a good thing. While I didn't like a lot of the sophomore effort I still respect him for doing what he wanted to do.  And to be honest at least that album was more engaging. While I remember cringing, at least it was a style change. This album while it's better in terms of enjoyablilty, it's not better in terms of musicality. There was only one left hook and that was the closer. Why you gotta do this to me. The sad truth is why relive the glory days. Why not accept them and move forward. Needless to say its still better than Ungrateful and ETF combine. Also he seems to be turning into Kanye in that instead of looking in for inspiration or looking out, he wants to be funny or cool and fucks it up along the way. The thing really after spending time thinking about it Ronnie Radke  can't recapture the past. He needs to move forward and maybe find a happy middle ground in between the style, and lyrics, of Dying and TNSFTD and mix it with the madcap experiments of Fashionably Late. While people reading this next sentence will most likely disagree I want to say this. Even though just about every experiment didn't click with my ears I bet there is a young boy who heard that record and went "shit, I need to push the boundaries of what's possible" or "you can do this?". And .maybe he can open the minds of people who will become this generations Paul & John or Tyler & Perry and so on. This album can't quite claim any trophy, other than sounding bland. It's just so irritating that there is so much potential with what he does, it's just he doesn't reach it. I think my cousin put it best, while Jacky can shred he just doesn't have the melodies that Monty had (Thought his 2013 solo record isn't half bad). I think each year I'll devote a month to finishing up old reviews I need to complete. I kinda did that with that 2015 month in September and that Halloween Month the other month. 

If some how Ronnie would ever see this I want to say, please keep making music the way you want (or your band). Don't let people and criticism put you down. Don't back track. In a world where ETF is long gone and lots of music is becoming uninteresting (not all, just some) the world needs people to continue on with what they like believe and love. Music is art, art is an expression, don't let others cloud your vision. Maybe one day Fashionably Late will be a classic, maybe it won't. But I sure as hell know this album won't be. 

Hate Me - Escape The Fate

To keep on keeping on, since I've completed recording this year, I'll do this review. This is the fifth, fourth with Craig Mabbit, studio album by Escape the Fate. While I don't expect this to be much of anything, I could always be surprised. I downloaded that track, the free one, the day it came out and I liked it. It got me kind of excited to hear what was on the album. Then I remembered something, that last time they announced an album with the Ungrateful title track it was a pretty solid track. The second single was pretty good here, but then the album came out and...... well there's a reason the review isn't done yet. I don't really like listening to it. And then I saw the titles for the songs here...... Please Please Please let me be wrong with my preconceived notions, please the be foolish notions. This is also notable for being the first album without Monte Money, here being replaced by Kevin "Thrasher" Gruft. So, at this point, the only original member to be in the group is Robert Ortiz (the drummer).

1. Just A Memory: Released first track to drop, this wasn't half bad. I mean I liked the over all sound of it and it was pretty good at getting me to at least listen to the record.  But as mentioned eariler, the first to drop from the last album was similar. Upon finally listening to this on the day of the albums, day after to be exact, release I noticed stuff I hadn't before. I noticed the fact that this isn't really that good of a song. In fact, there wasn't anything here for me to even get excited about. I was a fool to have any hope for the new album. Does that mean the songs a piece of shit, not, it just means its initial veil has been lifted. I mean it's a rocker, has some nice screams and growls. This is not half bad, but I think the thing bugs me is the "unforgivable" line. This has these electronics that remind me of Born of Osiris, and the solo sounds like Monte. But the solo doesn't really feel like him. It almost sounds like it was sped up, or made faster. Like it comes, and goes. There is nothing to savor or remember.
2. Live For Today: Die once I hear this album.  ahaha. No this is link one of the weaker songs on This War is Ours, but done in an annoying rendition. There are also harkens, I think that's the right word, to Gorgeous Nightmare. But like..... I heard this once, then a second time for the review. I wanted so badly to just skip this track. It's too, poppy. Where's the grit, or balls. Maybe albums like Symbolic, Scum, Scar Slighted and other heavy records have tainted my outlook on this. But then why does DIYLF and TWIO still hold up pretty well in my mind.
3. Remember Every Scar: This is another title I'm not digging. I mean don't get me wrong, most of these titles are kinda lame, but some at least don't bother me. This and track 1 (and any I mention later) do.  Okay, seriously, Coldplay came to mind with the intro. Like if these guys did a Punk Goes Coldplay song. I can't begin to tell how much this breaks my heart. 
4. Breaking Me Down: Nice two songs with Break in the title, looking forward to what's ahead. There was a reason I forgot this song the first time through, it's so generic. There isn't a single moment on this that is worth remembering. 
5. Alive: "At last, now its time to look away. When you have to, sit through someone like this today. Don't worry yourself, it will be over soon. Music can get this bad, and then your day'll be in ruin. So always remember, to listen with you heart and ears, and not with your penis. Fuck Nostalgia". That's a 10/10 right. I wrote that for you guys, why, because the lyrics are better than anything going on in this track. That intro reminds me a bit of something from Guitar Hero. Don't quite remember, but don't care enough to check at this point. This is another song that's okay, not that I'll care to remember it.
6. Get Up, Get Out: I never knew they went Reggae. This hurts. There was a point in time I was under the belief that there were only two good bands, I liked, on Epitaph. Well, that theory is no longer relevant.
7. Hate Me: This is too close a title to that of Waif Me. Bonus points if you get the reference. But this  track happens to be the title track. I don't know why, but whenever I see "hate" in a title it kind of looks stupid to me. The only exception is if you like incorporated it into a cool title, but Hate Me. There isn't any way you can think of that as a cool song title. Throw this on the not intrested pile.
8. Les Enfants Terribles: I don't like when people use french for titles or anything that reminds me of infants or Le Mes. Also Enfants looks like Elephants and Infants combine, or misspelling Elphants. This is kind of lame. I mean I really can't dig much deeper than that.
9. I Won't Break: Before I started typing I misread this as I Won't Back Down. I do misread titles often, or names, but once I hear the correct pronunciation I'm usually okay. But that bummed me out a bit, like a "ha-ha fuck you, let's remind you of a better movie in our movie" type deal. That could have just been me, but still. That distortion, made me cringe. Hey, when did I start listening to Marlyin Manson?
10. Let Me Be: "Let Me Be, Let Me Be. Stop putting me through this travesty. The only fucking answer's, Let Me Be eeeeeeeeee!". This song, the song on the album not my rewrite, is a piece of crap. This is now the worst song the group has put out to date. I didn't think that was possible, but it Alone, has reached a new low. I'm going to be straight right now, that stupid joke I made to that song, Alone, yeah that song. That has m more redeemable moments than this one. Let that sink in for a minute.  I can't think of any song that is more of a nail in the coffin. Drifter gave Falling In Reverse a country twang, and it was nice. This is shit country. Like bullshit, listen to me on the radio, horse shit shit shit shit. I can't believe I consider, at any point, Self Titled record to be a sell out. This folks is the definition of a sell out.

Overall I have to give this album a 3/10. I contemplated reviewing the bonus tracks, but based on the last two deluxe editions (Ungrateful and Just Like You) and seeing the bonus tracks I decided not to. And when I listend to the remixes.... If you want to know what I'd give them I'd give them a {2/10}. There was no fucking point, plus they weren't that interesting. But back to the album at hand. This album, much like JLY and Ungrateful, just isn't that good. I mean this album is like a watered down Ungrateful. And while JLY has it's moments, this has none. The moments that shined on that are toned down here and the moments of lame, stupid and pointlessness are now complete garbage. This album has made it official ...... I am no longer a fan of the band. They have now put out more albums I dislike than material I do like. I mean seriously I get no enjoyment out of this record. As much as I'd like to think it's me being depressed or something that's my fault....... but I still feel a rush when I listen to Journey to the Center of the Mind and,maybe a better example in this case, DIYLF. Those are exciting, fun, awesome records and songs.... this..... this is not......

I also like to note, you can argue, they are changing their style.... but they really aren't. They're just tampering with their formula, not their style.

Bat Out of Hell - Meat Loaf

A review that's pretty much been done since November, I finally decided to finish this for the new year (12/28/15). This is the first solo album by famous American showman Meat Loaf. Though this is his first solo record, it isn't his first appearance on record. He first appeared as half of a duo, with Cheryl "Stoney" Murphy, in 1971 under the name Stoney & Meat Loaf. After that, in 1974, he was in the LA production of Rocky Horror Show and that Cast produced my favorite version of the show (which I reviewed here). Then in 1975 he was the only one from the 1974 cast to be in the movie, or Picture Show rather. Well Curry was in the original cast, so I didn't include him. Now I do know more information about Meat, and some history about the songs, but that's not the focus now. The focus is, as always, on the music. So.... lets talk that instead. This 1977 classic rock classic features songs, all of them, written by Steinman and produced by Mr. Rundgren. On top of that, this album also happens to have some great musical talent playing here. The list of players including Todd Rundgren, Roy Bittan, Max Weinberg and Edgar Winter. I want to say something fast before starting the review. Jim Steinman wrote these songs. Every song on the album was written by him, and Meat Loaf doesn't have any writing credits. Just remember that. Okay cool

1. Bat Out of Hell: This opens the album, and its pretty solid. I have listened to this half a dozen or so times. I've concluded it is, in simplest terms, 9 minutes other peoples music hodgepodged into one "epic". This mixing and matching can work but when you get to the down and dirty the mixing and matching is of popular 70's sounds. The intro starts with piano arpeggios. Which, being played by Roy, reminds me of Bruce. Then the song goes into a progressive rock feeling before reminding me of a mix of You Ain't Seen Nothin' Yet, Jimi Hendrix's guitar playing or an arena rock guitarists and yeah. The the song goes into a little piece that I can sing another song over, I can't recall that though off the top of my head. Followed by a very Bruce part reminiscent of Thunder Road, it could almost be a variation. I'm serious, sing the words to the rhythm, it works. This then goes to the chorus which is not the epic chorus I wanted. Look at that damn cover, you need to feel the rush, you need to be able to play this while you drive off a cliff at 150 mph to your impending death and feel no regrets other than I feel the music. With the build up, the pay off for the whole "I couldn't take it any longer" part of Paradise is the level of epic this song needs, but it doesn't reach. Then it further drains its epic-ocity by using Brian May-esque guitar fills. I mean even towards the end it reminds me of the style parody, or homage, that the Flight of the Conchords did with Love is Your Weapon of choice. While I enjoy the song, enough to have it on my iPod, I think there are far better songs that contain just about every part of what makes up this song. Also the vocals sound like they were stole from In The Jungle at the fade. Like the ending of the song (the harmonies). Also i checked and that sings old as shit. I mean yes, I do enjoy the track and I think it's a great opener to drive or speed too. But without the thrill of the speed and the rush of doing something wrong, it looses some of it's magic. But most of the album is like that, you need that danger to add too it. I feel like that was intentional though. And yes, those moments it's great, it's fucking great.
2. You Took the Words Right Out of My Mouth (One Hot Summer Night): This is another epic sort of title, I can imagine a story, hell a movie based off the title. The track starts off with talking back and forth. Now it may seem a bit drawn out and boring in the intro, but trust me. It isn't as indulgent, though if this were an art movie that'd totally be the opening credits over a black screen, as Steinman's 1981 follow up Bad For Good track Love and Death and an American Guitar. That's the little intro but the for the length of an entire track, which clocks in at 2:38. This track, were presented with here, only lasts 45 seconds and features Steinman and a woman named Marica McClain. It's kinda dumb, but the guy wanted I guess. I jusr feel its so out of place on this record. Its almost as if they threw in some artsy bull crap to make it more sophisticated. I mean, if what they were saying made some damn sense I might be mode compassionate. This song reminds me, in the beginning of maybe The River-era Bruce and the verses remind me of Christmas, and maybe Born in the U.S.A. a bit. Like maybe if it is an outtake from that period that was scrapped. Either that or Darkness-era. But then again this has too much instrumentation going on... Well maybe not. I don't know.... I have to think about it, but I do know it's on one of the lesser albums. This song screams Christmas though. I'm completely serious, it even has a sleigh-bell played very prominently though the song. There is also, with the backing vocals, a very clear Ronettes/Wall of Sound inspiration. I mean, this isn't bad, it's just not that great. I don't think I'd care if that title wasn't so memorable. 
3. Heaven Can Wait: This would be cool, but I don't really agree. Also I've seen tons of titles or things saying "Heaven Can wait" and that usually mean "its my cop out to commit this sin". That has nothing to do with my enjoyment of the song, its just a pet peeve of mine. I do enjoy the parts where you can tell Roy is playing. While this isn't overtly Christmas, the feeling I get is a very "standard" type song. Like this song has a feeling that if it was written 50 years earlier or 40 years it'd be a vocal jazz standard. I feel like if I dug into the notes of this song, it's be pretty interesting, but I don't do that because I'm not a fucking theory genius and don't claim to be. Maybe one day I'll revisit this and add more, but this song is a nice song to follow the last song.
4. All Revved Up With No Where to Go: This is a pretty sick title, if your into bikers and biking and all that jazz. I'm not in any way a Harley Rider, though Ghost Rider is pretty bad ass (comic book/movie/song). There is really something holding this back from me really being able to even focus on this song. The fact being, it screams Bruce Springsteen. I could almost swear Clarence is playing that saxophone. I mean seriously this could be a cover of Badlands. After all, this song is pretty similar to it. There is only one section of the pre-chorus where I could maybe say Bruce wouldn't do that there, but this track is very indebted to Darkness On the Edge of Town/The River era Bruce. Then there is a middle section, I wanna call the middle eight, where it sounds like a Rocky Horror track. That Rocky Horror section is easily the better part. This goes back to the main part before closing in a similar to the way Rose Tint My World ends.
5. Two Out of Three Ain't Bad: This track escaped me for the longest time. I eventually looked it up, read it, and well it still didn't click. It wasn't until I came back right be for the review and just listened for the hell of it that it clicked. This is a sad song, the woman is the one rejecting him. In Paradise he kinda lies, I am figuring he just isn't sure and might think he's in love but isn't really, but he's kinda the bad guy in that situation. I think this is the only track where he's the victim, now I could be wrong.... But I'd like to this this is the only one like that. But this song is more of a Heaven Can Wait instead of a Bat Out of Hell. Actually the best comparsion might be either All Revved Up or You Took the Words Right Out. A decent track.
6. Paradise By The Dashboard Lights: One of the best songs ever, and one of the funniest. Not funny in the way Weird Al is, funny in the way that God Only Knows is. That's not a funny song, but it's funny that it is a perfect encapsulation (?) of young people (or a young person rather) in love, and how it's kind of unsure and foolish (so to say). I look at this song as when the dreamer turns into a horny college kid (they're 17 in the song but still, maybe late high school). This song is about two people about to have sex, and the lead up to it. The girl doesn't want to until she knows he loves her, and that he will love her "forever". If he believes that he does okay, but I'd say he probably is more on the horny side considering he said, instead of an answer ("Let me sleep on it" and he'll "tell her in the morning"). But regardless he eventually say he does, but after the sex he "prays" for the "end of time". The best part is he wants the end of time so he can "end his time with you". Then there is other stuff that kind of adds to it, and there's more stuff to pick a part at the end of the song, but that's not what I want to focus on in that paragraph. Now the music just gives this little story an amazing epicness that makes it even better. Rosalita is funny in that it has to be true, I can't imagine that Bruce wrote that out of the blue and wasn't inspired by any real life events. This song is a very real life event, loosing your virginity.... kinda, most have lost it young in High School or can somewhat relate to that love vs lust of teenage years. Rosalita also plays like an epic play in it's own right, because of the changes, thought this changes more. This musical mini opera is on par, probably better, than A Quick One's title track. And the thing is it's changes styles from the straight forward piano heavy rock & roll that with different production wouldn't sound out of place in the 50's, to the soulful breaks in the songs beginning. Hell it even gets more 50's sounding after that, even adding doo-wop inspired vox. This is followed by a quick little interlude that has some funk guitar, before going into a baseball narration (done by Phil Rizzuto), over a straight up funk rhythm section, telling us just how far he's getting. Before being stopped by something that reminds me of Rocky Horror, where the girl (sung by Ellen Folley) needs reassurance, as mentioned earlier. Meat Loaf's reply, "Let me Sleep On it", has a more doo-wop (sorta). If it was at a slower pace i could see it being a bluesy or doo-wopy section. The ending goes back to that rock and roll style. But to be completely honest I love this track. One last thing, this is one of those rare tracks my parents used to listen to when I was younger, and usually those have somewhat nostalgic liking for me, this track transcends that and I like it on its own merits. And I still haven't gotten sick of it after 15 or so years of listening to it, another is Just Like Heaven. Also listen to this driving and feel the rush of that build up, and its pay off, before " I couldn't take it any long" damn is that powerful. It makes me want to get a Hog to ride just do that part. I looked at this before I posted it and was like, damn. The reason is because the lenght of this review (everything) could at least be doubled if I kept adding to this to get it perfect. And then I  could add even more to it. This song is just so damn good, please please please please listen to it with open mind. Please! {11/10}.
7. For Crying Out Loud: Closing the album is this and its title is rather humors. But that isn't really a huge part of this, or play are part in what I have to say. I think this is a solid track, the introduction has this very pretty melodic vocal, piano part that really is just heavenly (not heavenly but like Ear Candy to me). That whole entire first section is pretty solid. Then the song ends and strings come in and it becomes a bit of a Don't Cry For Me Argentina. But other instruments coming in take me out of that frame of mind a bit. This is a very epic guns blazing, hell raising ending. If this album opens with a motorcylce ride, then the album ends with an epic Thelma and Louise "cliff jump". This song just feels like the ending. After that string section that later adds in rock instruments it goes back to a more soft ending that would totally be the Don't Cry For Me section. Alone the arrangement here is pretty gorgeous. I mean if you get the right singer to sing this it'd bring anyone to tears. While I don't think Loaf is the singer to bring me to tears, I think you'd need someone with a personality to sing it that way. I'd love to hear an orchestral cover of this track. Like if the London Symphony Orchestra or one of those did this, that'd be awesome.

Overall I have to give this album a 7/10. No song do I think Loaf does a bad job, its more what he's given to work with. The biggest flaw is how epic this is supposed to be, yet how not epic I feel listening to it. The songs borrow from other songs so heavily its crazy how people now haven't nit picked it to death. Serioulsy, my biggest problem, and really only problem, is the songwriting. Now positive talk about the album. Paradise is the definitive, in my mind, rock opera. I love Tommy, and Quadrophenia, but that one song is more epic than anything Pete has ever done. Even though there is only one song here I can say is cherished and well never go anywhere, its already proven that to me. I'd give this a listen, and if you like it, look at why rather then just blindly listening. I kinda wanna review Rocky Horror, but if I did I'd review my favorite version (PS not the film soundtrack). It's between the original London Cast and the Roxy Cast. The film version is the worst in my opinion, in part because of one of the "loves of my life".... Damnit Janet!

Paper Gods - Duran Duran

To continue reviews reviewed last month, but not posted for Christams is the 2015 return of one of my favorite 80's bands. This is the fourteenth studio album by one of the UK's finest Duran Duran. I already reviewed Rio, and have others in the work but I figured do this while I'm on a roll. Ok, so I can't really what I was expecting from this album. Their last few records ranged from great/solid (All You Need Is Now) to kind crap (Red Carpet Massacre) to I've yet to hear this record (Astronaut). None the less their albums from 1981's Self Titled album to 1986's Notorious had some of the best new wave/new romantic/synth pop songs ever written/conceived/preformed/composed ect. in my opinion. And even after that they had more songs that are good, or great vs the albums worth of amazing tracks they had prior. So here we are LP 14, first in 5 years and they are now a quartet. Though Andy did leave in 2006 so that's almost a decade ago.... whatever. I was excited to hear this because of some of the features. Mark Ronson comes back to produced, as he did for the last album, and Nile Rogders does also. He's even featured on a track. He also produced Notorious for them back in the day. But over all I was excited to hear this. I mean the interesting, to me at least, features on Déjà-Vu ended up helping to make that a solid record. Why not help this record?

1. Paper Gods: This track features some vocals from Mr Hudson. I recognized his name but I wasn't sure from where. The when I looked I saw he was on 808s and Heartbreaks and Watch The Throne. Starting out vocally, something that is very doowop inspired. Well maybe not doo-wop, more R&B of The Supremes and what not. That is until it goes into the electronics that make sense that this guy was on 808s. I actually don't think this is half bad. It brings out the same side of me that likes Déjà-Vu. I mean it isn't the best song I've ever heard, but it's a shit load better than anything on The Book of Souls. PS I just sat through that storm of uninteresting shit. I feel like this is a song I'll revisit. But the ending, it's very nice and heavenly. Not quite the majesty I wish it could be, but hey it's pretty. I feel like if I was to want to run someone over, I could play this and I'd be relaxed and forget why I was mad. Solid ending, or outro rather. This is how you justify a 6 minute track, cough. When I come back months later, I really dig that bass line. I really like how the tone is and it just feels.... right. Like this is what I think these guys would be doing in today's day and age. The bridge is pretty eerie, and while not crazy eerie, it works for the song. Just again, maybe a little long at 7 minutes (but not too bad). {7/10}.
2. Last Night In The City: This track has an appearance from Canada's own Kiesza. You know from The Usual Suspects :). I'm smiling, Yes! And hey, this damn, how is this so happy. I don't know if I'm just high for feeling nothing from the last album, but this is really good. Much better than I'd anticipated. This track stays pretty close to the sonicousity of the last track, sounds like it'd be on the same album, but it sounds different enough to not sound like it's a repeat of the first track. This song feels like it might be a good intro to get you excited, but I like how it wasn't the first. Again, I'm not in love with this track, but I do like this and like the vibe. It's happy, not sad or depressed. When that guitar comes in it just causes a big grin on my face. It's like..... A sort of updated version of something you love. Fresh, but it doesn't ruin it for me.
3. You Kill Me with Silence: Eh, please don't do this to me. You were doing so well, we were falling in love. And while it doesn't go the rap route, the music isn't all that great. Though the pre-choruses remind me of the Golden Eye music. And the chorus, while not that amazing, I don't know. I've heard far worse later career albums this year alone. I think that'll take another listen or two. I really, would rather not acknowledge this tracks existence. I mean this is not a travesty, but it's just.... if it's an experiment it didn't go over so well. The chorus section isn't half bad, but the verses.... oh no! I like the textures in that chorus part though, relaxing and pretty. You know what that sole "do do do do" thing reminds me of a bit, Boys-N-The-Hood. The ending is pretty cool, with the wahs and wahs. I can figure a better name, but I'd rather be more specific.
4. Pressure Off: This track features one Janelle Monáe and one Nile Rodgers. This reminds me of a remix of a song with Nile. Like maybe Notorious, at least in the beginning. And while it may not reach the highs of the essentials on that album, it doesn't fall short in vain. I could see the chorus's "oh oh oh" being a problem, but right now I'm not worrying. I could easily see this being written with that era mentality in mind. This is one of those song that just is happy. I mean does it have the substance, maybe not.... I'm not looking to deep into it, but this does have the ability to give you what this band is best at. As Spotify radio says "Dance Floor Anthem".
5. Face for Today: This intro reminds me of a more orchestrated version of Perfect Day, their cover from Thank You. While I need to check, this sounds like it could have been the best song on RCM. No, this isn't terrible, but I just am not feeling this. I mean the vocals and harmonies are nice. But really outside of the actual non-electronic parts of this are the only things I'd salvage from the track. Which I think the only real thing is the vocals here.
6. Danceophodia: This is the track I was very much so looking forward to hear. A vocal appearance from one Lindsay Lohan. I don't know why but she's almost always been my celebrity crush, and when there were others, she out lived those. I can go on and on about her but lets leave it at I was excited to hear what was in store. Well I guess the only other girl I could say shaped my taste in women more than her is April O'Neil (the pornstar) or Princess Leia. That is kind of irrelevant, but I just though I should note that. So it was cool to hear she was doing something somewhere I would possibly like her music. This isn't that bad of a song it is a very, pastiche 80's synth pop song. Like I feel like it's something that Natalie Portman's Shaved Head may have done. I'm serious, those backing vocals in the chorus alone could be the backing vocalist(s) from Beard Lust. Lohan has a voice over, and it sounds so phoned in. The only way it could be funnier is if Carlos Estévez was doing it. Seriously, I am not even kind of feeling here, you'd get the same effect if you got a librarian to do it. This really doesn't sound like they were taking that seriously, which is what I hope is what it's supposed to be. Because this would be like an outtake of an outtake of a song that probably shouldn't see the light of day. Also even when she's talking, usually it's like "it's her", but here it's like "she sounds like she is trying to be sexy, and forgot or fried her brain to the point where she no long knows how to be sexy". That was kind of mean but this song shouldn't exist..... or it could be on RCM. :D
7. What Are The Chances?: This has John Frusciante playing guitar on this. That intro reminds me of something that in the very beginning, pre-guiar, reminds me of The Weeknd on like maybe HoB or maybe The Fall. Then once the guitar comes in it sort of reminds me of something I can't quite pin down. I've been thinking about it, but I can't quite finger it. Now once you get to the actual song, there are echoes of The Chauffeur in this track. At least in the beginning, before the programmed drums come in. There is also a hint of 2010's Scorpions. It even has a fitting Scorpions' ballad solo. The only thing that doesn't make this a straight up track by them is the strings and programming. And Simon. I like the strings, and this could be like The Force Awakens. A new updated version of A New Hope and Empire Strike Back, with some Return of the Jedi thrown in and a hint of the prequels. This kind of sounds a bit like a mess, but it evokes that Bittersweet Sympathy feeling and that Chauffeur emotion. I really can't hate it. Damn you nostalgia, you ruined me again. I could also see this being based on Bitter Sweet Symphony.
8. Sunset Garage: Being the "unmemorable" track it is to me, when I  listen to it I enjoy myself. This song is kind of cheesy. I mean it sounds like something that the 80's would synthesize to be a 50's or 60's throw back. It's not that bad, and it's a pretty happy song. I dig the surf vibe and the jangle pop (?) feeling I'm getting. It's kind of cute. Also that main "riff" reminds me so much of Macho Mani's line "Wanna feel my body, body. Wanna touch somebody". So that gets a smile too. Maybe it's a little long, like I could do it being shorter by about 45 second. But you know, it's not terrible.
9. Change The Skyline: This track features a Jonas Bjerre. He is in a group that I recognized, thought don't care for at all, Apparatjik with Guy Berryman from Coldplay and Magne Furuholmen from A-ha. I can see the appeal of this, but that digital compressed bass sound isn't really something I'm digging. I mean, this song sounds like it's all over the place. I think if they spent more time it'd flow better. I like the little flairs and things and beeps. But I wish it was better constructed.
10. Butterfly Girl: The second of three appearance from John Frusciante. This intro really reminds me of INXS's I Need You Tonight. Which of course is a great song, but still. It played the VH1 Classic add from when I used to watch that channel back when I was in Middle School (07-08). This song, on it's own.... I am not really feeling anything outside of maybe a bit of "not hate" because of the very Pump Up The Jams vocal feeling. The backing vocals sound like they'd fit in that style of song. Overall it's kind of a filler. Nice solo too, it doesn't really work here. maybe if this was a different song, it's work. But it sticks out like a sore thumb sadly.
11. Only In Dreams: This is one of my favorite songs on this album. The strings here are very tasteful and work. They set an atmosphere, and the world is beginning in this song. The backing vocals work here too. I like the verses, the main music part. The funky vibe and atmosphere. This might be a better finale than penultimate. This is a pretty simple song, but it works and is effective. I like it, and I hope you do too.
12. The Universe Alone: This is the third and final appearance of John Frusciante. This works as a closer though, but I don't know how much it works since the last track is similar. There are bell sounds that make this feel like a finale, but still. This has echoes of Chauffeur. The song starts and it feels like Duran Duran. I mean I really don't have a lot to say about this track. It's good, just maybe not as good since it follows a song pretty similar to it before this.

Overall I have to give this album a 7/10. Off the bat it's better than the last album, 2 albums ago. This is more electro-poppy. I feel like this should replace the existence of Red Carpet Massacre. I will buy this on CD, no if ands or buts. Easily the best album I've heard this year since The Powers That B. Not really, but this is one of the better records of 2015. Also my favorite of the year was TPTB. I like this, but you know hopefully they dive head first into another style for their next release. Have guts, balls and then even if you fail you tried.

Beauty Behind the Madness - The Weeknd

This is the sophomore album by Abel Tesfaye. This follows the very disappointing Kiss Land, which had two songs that I liked (and it was just like). But the thing is I have to be completely honest. That song, Earned It, that just came out I loved it. I honestly think that is the best song he's done yet. I can't believe that how gorgeous the strings are and how good it sounds. I was excited to see he added Often, I love it. I also like the title, though not huge on the cover. When the track listing came out I didn't feel any more excited really. The only thing I was pumped for was an official album for Often and that Lana Del Rey track.

1. Real Life: The first time I heard this I though it'd be perfect as a 90's song. I dig it, its a solid track. I mean it's not a 10, but at least a 7. Even though I think it's kinda cheesy sounding. I mean I like the guitar in the intro, and the fuzz. The strings then come in and you get a different direction feeling. On all prior releases most of the instruments were sampled or in the background. This is more in the forefront. This is a good track, that I think is pretty nice chorus. I like the harmonies on this and it gives this feeling of new. I was glad, and still am glad this is on here. This gives your a very hopeful feeling for whats to come. And lyrically there isn't anything that rubs me the wrong way.
2. Losers: This track features Labrinth. This is a solid track. The piano reminds me of How Come U Don't Call Me Anymore. This song has the best part as the sole piano (well mostly sole) and vocals. I like the transition and the resolution into the chorus, but the chorus is not as great as I want. The whole off feeling is neat, and the horns make it have this New Orleans feeling.... maybe. But It's just a bit too off. The breakdown/bridge I could do without. I like that it's there, but I could personally do without it. The part where it bothers me the least is at the ending, but I think the ending isn't anything that is blowing me away. I feel like this should have more emotion and "soul".
3. Tell Your Friends: this track features someone named Carlos and was produced by five people, one of them being Kanye. I'm going to be 100% honest, that intro reminds me of Lil B. Either that or Bound 2. But the song, well the lyrics are a lot more understandable and basically that, plus the chorus of the song...................... The song is kind of ruined. I like how he did something different, but still. I don't like this. And that distortion at the ending, sounds like a talk box fucked a vocoder.... Not digging it.
4. Often: I actually really like this song, and it is better than anything on Kiss Land. Though it doesn't hold up as well as Enemy, for me. And about its inclusion; even though it's been out for over a year, I can let it pass. As long as there are great deep cuts, this will be a solid record. Some of the lyrics aren't very good. For whatever reason, when the album was released, I began to loose interest in this song. The lyrics here are kind of dumb, but they don't ruin the song for me.
5. The Hills: I was surprised by this song, I liked it. I still don't think that it is on par with Earned It. But you know, idk. Then, thought I kinda feel like this should effect the music aspect..... I don't like the lyrics. Maybe I've grown up, and grown out of the shallowness of lyrics like "I want to leave the Friendzone", thought I never really gave two fucks. There was a shallowness on Houses that appealed to me, not knowing it was shallowness. I still do enjoy Houses, but this is like that with the pointlessness of Kiss Land. By the time this reviews going up I am tired of this song. Like to the point of not liking it at all. Like to paint a better picture, when I hear this song now I get irritated and just want to change the station.
6. Acquainted: I don't know what to make of this track, maybe it's the last track or the loss of interest, but I don't think this is anything that I'll remember. I don't really care though to remember this track. It's not like, I want to remember this.
7. Can't Feel My Face: A very poppy song, that isn't half bad. In all honesty its one of the better songs of the year, I have heard. It's probably the best new one I've heard on the radio for sure. I mean, is this song played a lot and lost some of its enjoy-ability a bit.... Yes. Do I still like this song, 
8. Shamless: or a theme to the ShowTime television show of the same name. :) not really, but the second this starts I get nervous. That acoustic guitar, and this style don't really often go over well with me. This really goes in one ear and out the other.
9. Earn It (Fifty Shades of Grey): I am a little pissed that this is on the album, so I'm not counting it towards the score. To me, this will always be a b-side from the 50 Shades of Grey album. The track is an 8 but it doesn't count towards the score, because of it. I mean there was tons of things they could have done, a remix (N.W.A.'s Straight Outta Compton had 2 remixes of songs from N.W.A. and the Posse). They could had also done a rerecording, tons of people from David Bowie to Steve Reich to Reel Big Fish. Thought I doubt the end product would be better than  the original, but you never know. The only difference is there's an intro that is 30 or 40 seconds and it ultimately amounts to nothing. But I should talk about the beautiful string arrangement, the awesome vocal performance of Abel and the chamber pop vibe. While I loved this at first, I've progressively fallen out of love with it. It's still one of the best here, its just.... Not the same as it once was. The thrill is gone, if you will. 
10. In The Night: This has a MJ feeling.It's fun, but again I'll forget this by the time the tracks over. I'm not being a dick I just don't find this interesting enough to remember.
11. As You Are: As a Friend? As you want me to be? What about if it's as a memory? This kind of reminds me of a track off KissLand.
12. Dark Times: This track features Ed Sheeran. And honestly, this is another decent track. I mean I enjoy it, but again........ much like the other tracks after I listen to it I can't remember any of it. :(
13. Prisoner: This track features Lana Del Rey. And I like it, I don't LOVE it but it's a solid track. I read some where someone said Lana's verses gave them chills.... Yeah, I'm not remotely feeling that. The closest to chills is that, oh this movie will scare you shitless.... And then you feel the feeling like your about to shit yourself.... Before, nothing. But I understand this song, the chorus kinda hands the meaning to you on a silver platter. I feel like it's so watered down. I like South Park, I've been watching it a lot lately. I've come to notice the best episodes are the ones where they don't tell you what it's making fun of. You know from the story or plot instead pf them handing it to you. There's a difference between explaining the problem, or making it easier to understand, vs telling people what it is. Like the movie, I read about it while I was watching it and I was like, the whole Terrence and Phillip thing I didn't pick up on.... that was until he devil explained it. Then someone else did and if you don't get the joke by the end of the movie you never will. This just feels very watered down to appeal to people who have "shallow" forms of "depression". I mean why not let people understand on their own rather than basically spelling out your depressed. 
14. Angel: "come and save me tooonight". This song isn't that bad, its a nice ending. "It took me by surprise, I must say when I found out" Vinnie Colaiuta was drumming on this album the time I did that one "day". When I listen to this album its kind of like the end of an era. I'll probably repeat myself after this but this truly is the " last straw" that was me in High School and me now. This song could somewhat symbolize the death of the old me, and my music marks the birth of the more mature me. I probably sound high, but its almost like a dirge. While I wish the dirge was better, it kind of can't be too good or else I would still live in "what if". This truly is, the last Weeknd record I'll probably ever hear and last I'll review (in terms of release date, I'm still doing the prior releases).

Overall I have to give this a 5/10. If I'm being honest this is much better than Kiss Land and of the five releases he's put out this is his 4th best. The thing is I lost hope in him with the last LP. The singles on here revitalized my faith in his music. And the thing is its not like I put grew his music. I still like tracks off the mixtapes, but honestly, that's the best material he's put out. Anything prior to his studio debut is really still petty solid. I don't think he's gonna be able to recapture that excitement for me. Maybe it could be nostalgic reasons, but I still love the mixtapes, they did after all play (and were on play) a huge part in (and during) my senior year. I don't know, at least there was ambition here. I feel this will be my last hurrah with my High School " hero". It's what I imagine to be going to a party with the cool kids, then realizing "wait..... These people have no personality, why am I spending time with these jerks? They aren't cool, they are just shallow and dull people". In all honesty, if I'm being objective, the lyrics are what kills the album (though the songs don't help). Well not kill so much as hurt its from being better. The music is good to decent, but the words.... Thumbs down. I also need to say I'm not any better, or any worse off, than anyone else. I'm white, middle class, I have it pretty good. So I'm not saying I'm any more depressed or in touch with real emotions than anyone else. Now back to the lyrics. I feel they way they are presented he's tortured, depressed, doesn't want to be a star. The type that drinks to repress their emotions of self loathing, which whatever if he doesn't want to be. (I'm in no way qualified to diagnose anyone with anything, by the way). But outside of the substance abuse, I have the whole self loathing thing in common. I can't say if he truly feels that way, because I'm not Abel. But the way he presents his pain, through his lyrics, its someone who thinks he's depressed. Someone who thinks he hates himself, not someone who truly hates himself, not someone who feels the self loathing to its worst. Not someone who has bursts of crippling depression and has to learn to deal with it. I feel like there are tons of movies where it seems to be hip to do the self loathing/depressed writer or entertainer. It's almost like people are too afraid to do "exploitation" films about anything else. And these have become the newest form of exploitation.... Here is the best illustration I can give. If you hate the fame, don't go along with it. Don't do stupid shit that promotes your album. In fact don't even promote music, just drop it. If you really are that depressed, and your aware of this drinking thing not helping, why drink? I feel like a lot of this isn't a hurt person as much as a hurt character, or a person who believes they hurt, when in reality its because they didn't get the newest iPhone... Catch my drift. 

A Head Full of Dreams - Coldplay

This review was scheduled to be posted when it was. It was completed last month on the 11th. I had to put if off for the Christmas thing though. This is the seventh studio album by pop group Coldplay. This follows May 2014's Ghost Stories, which I didn't care much for, and the November 2014 Ghost Stories Live, which was better at some parts. It was announced in Dec 2014 that this is considered, by Chris Martin, as the "final chapter" hinting this may be their final album. Now I first got into them with Mylo Xyloto and tracks on A Rush of Blood to the Head and Parachutes. The first songs I ever liked by them, or that I remember liking, was Violet Hill because I heard it in Guitar Hero. But all that aside, this may be their last record, and even thought I heard the single, saw the feature, and artwork.... I decided a year ago to do this when it was announced..... So lets suck it up like a man. Also..... Why the fuck would Merry Clayton (the singer on Gimme Shelter) come on this this album....................... WHY!!!!!!!!!!

1. A Head Full of Dreams: This opens with a sort of, oh shit I don't think this will be good beginning. But it isn't as horrible as I thought it'd be. While I can tell this will grow thing by the end of the song, it's a disco feeling. The same feeling that Adventure of a Lifetime has. Not really anything special, but I'll forget it before the songs even over. And it ends on the Xyloto chorus vocals. Where it was fun there, this sounds like.............................................................. If you don't have anything to say.
2. Birds: This isn't a bad song, sounds like an outtake from Mm-I-Low. But seriously, there isn't a second in this song that is really worth remembering. You can get this exact same thing, maybe a bit more fun, on the aforementioned album.
3. Hymn for the Weekend: Wait.... Abel's still alive, he just dropped that new album a few months ago (one that will have it's review posted tomorrow). And Beyoncé lends some vocals here. I had to laugh, someone commented somewhere it's MX part two. I thought to myself "just because of Tove Lo? Isn't that jumping the gun a bit". Then I noticed Bey would be on two tracks..... And while I genuinely have a place for that album in my heart, and do like it, This might be like over kill. And when I heard this track, alone. The song opens with bird sounds, and the second I heard a Bey choir fade in I went.... no. Then a sort of gospel hip hop thing piano came in and I went.... No. Then Chris sang over the piano and I cringed. I'll be the bigger person and never bring this track up again. Cute bird calls thought.... there's a positive. Guess what, this song has officially made me cringe as much as the Let's Marvin.... nope, I won't even bring it up. That track that shan't be named. I don't care if I'd maybe nail you Megan, that track never happened. Oh Fuck this hurts.
4. Everglow: "Hello, I've waited here for you Everglow"? No that's not right. Right? Ahahahaha, this song is very reminiscent of Paradise's intro. The quieter part. The second I heard this I was like Mylo. There might actually be a better comparison, I kinda feel like this could be a rewrite of a song off that album. I thought, maybe the closer. The closer on that album was far more interesting though. There was changes throughout that atmosphere. There was a feeling of an ending, almost like a book ending. This song, it is not really as well written for them to be writing this at this point. They have been making professional music, releasing albums on a major label basis, now for 15 years. This song is just not "good enough" for my tastes, if you catch my drift. It's not that it's not good enough for me, it's that this sound be a far more interesting, better written song. In context of the album....... this is a much better track. I actually don't want to skip the track. I'm not fighting myself from yelling at the top of my lungs. Does that mean it's good or works.... no, but by comparison it isn't as bad. Thought this song is too long, why can't it just end. If it is about Goop I give less than zero fucks. Want to know how much I care, I was debating if I should have even typed that at all. Like really, that's what was going through my mind during the album sit through for this song. Your shitting, Goop sings on this....................... Why? You know who, don't even answer me... I don't give a fuck.
5. Adventure of a Lifetime: The first time I saw this title, considering it may be their last record, I thought "oh no". The reason being, they would make a bull shit song about "this has been the adventure of a lifetime, being in the band". And while it may be true, it may be a real sentiment..... I kinda feel like it's the same thing as writing a song about missing your loved ones while you tour, or life on tour. That has been mastered by Turn the Page. You won't be able to top that, why try. Unless it's from a new angle. But this could just be me being a dick, and this was the first single to drop so I decided to check it out. When the song started out with the guitar I started to get nervous. Then when it started going into disco, I was like it's not that bad. But the coffin was buried and thrown 12 feet under (double the normal 6 feet by the way, just saying to let you know I know) after he started singing. This song not only isn't exciting, or fun. This is like bullshit disco. I mean I dig some of the even stupider disco tracks, but this has like backing vocals and this radio feeling that just.... I hurts a bit. Also RAM not only tops this, it should be embarrassed this song exists. I'll return when the albums out, but I doubt my feelings will change. Also, I can't begin to explain how irritated I was when I found out Merry sang on this track..... What the fuck. I didn't even hear her. By the way this is December 11th, and as of today I want to shoot any radio playing this song. Also if I hear "Che Fowe Loddah" ever again I will punch someone. Talk about a fucking annoying loop.
6. Fun: This track is Tove Lo, or the Habits song. I like her best for what she does in concert..... but that's for another time. At this point I better just stop and wait. Chris get out of here, I don't want to hear you I wanna hear Ebba. Also while the song isn't terrible, it doesn't bother me, I'll forget it after it's over. There was literally not point in here being a featured guest on this track. She doesn't nothing different than any of the other "guests", but she gets a feature credit for singing backing vocals/harmonies. I wonder why they'd do that ?
7. Kaleidoscope: Hey a hefty number of guests, Coleman Barks on narration, Khatia Buniatishvili on piano forte and last but most important my favorite president Barak Obama. The intro to the song isn't terrible, and I'm a bit surprised they even know that style of music, or technique rather exists. I didn't even pick out the Obomb part. That was literally the best song, and it's 1:52. It is followed by a song that's loop got old before Martin starts singing.
8. Army of One: The only "Army of" anything I get behind is Sam Rami's classic 1993 film. Yes that loop gets old one second in. This is also pretty neat... it's 6 fucking minutes long. Yes there is a hidden track, but still. The hidden track being X Marks the Spot, let's just say I can till this second half will be worth the wait. Also I feel the need to point this out. It was announced that, a month before the release of the album, this would contain a hidden track. I'm not being an asshole or picky but think about this..... It's a hidden track, that you announced, and made known before the record was even out for people to find it themselves. Just think about that, also it's a fucking piece of horse shit.
9. Amazing Day: "Oh it's an amazing day, I'm glad I spent it with you. Such an amazing day, you just keep me hanging on. You just keep me hanging on." That's all there is to say really.
10. Colour Stream: Another minute long intro, or segue. Why not have this be the hidden track and the hidden track actually be a track..... it's ambient, but lots of parts have ambient parts here. That literally amounted to nothing.
11. Up&Up: With some vocals from Beyoncé and Merry Clayton, now the second time for both of them on the record. It also features Noel Gallagher on guitar (I think Oasis kind of suck), Annabelle Wallis on vocals (I don't know who that is, I prefer Anna Bell Peaks) and last but not least Moses Martin on tambourine (how cute). Good ending, Thumbs up. If they really think this is a fitting finale, they haven't really learned anything. Kind of generic for my taste. To be honest, if I had kids I'd include them in my music. Even if they were too young to comprehend, I'd love to have them be a part of my passion. So in that respect I may have been a little harsh.

Overall I have to give this album a 2/10. Yeah, that's the lowest score I've ever given ever on the blog. Why..... well they didn't do what they should have. There was nothing that felt like and ending to this album. Not once did it feel like that. It felt like "Well let's snort coke and jump on a trend. On a some what related noted, this was a quick and easy review to do. I thought, before this was released, this Christmas thing will be good. It'll give me time to dissect the and take it in. Then I heard it..... It took like not even full listens to each song for me to complete this. While I did listen front to back, every second... It wasn't necessary for me to do that. That's not good, unless it's a loop of something like that. This is not a loop, even though it plays like one. This kind of sucks and for a finale it, while different and a tad ambitious venturing into different styles, there is nothing to get you excited at all. Point is, for a grand finale it isn't anything more than return to an album a lot of fans didn't like. So there is nothing GRAND about this. Is it better than Ghost Stories.......... Not really. I never cringed during that album, I thought it was fucking stupid, but never once cringed. What I took away from this album is Merry Clayton if you are alive and if I ever get famous I'll give you actual music to work with and not complete and utter shit.