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.

Revolver - The Beatles

Fifty years ago today, the seventh Beatle studio album was released in the UK. This is the often looked at as the sequel, or part two, of Rubber Soul. While I can sort of see that now, I still think it's great in its own right. None the less this was the last album they toured for, and only played I believe one song or two off the record (the rest required too much studio trickery to do live). I can't really think of much more to say about the record, other than lets review this thing.

1. Taxman: Opening the album, we get George's ode to Tax Collectors. A pretty  funny song, and I love the guitar and beat to the song.  I love the little double time parts Ringo plays and I love the backing "oh Mr heath" (or whatever they say). The vocals on this are great, and I think this a pretty strong track that packs a punch. This has a tasty solo and I still like it quite a bit. 
2. Eleanor Rigby: When I first heard 1, the compilation that introduced me to the band after Across the Universe, I skipped this song. The reason was because I was seriously afraid of it. Now when I listen to it I think if all the times I heard it playing video games, bit I also hear a song that has some gorgeous string arrangements. It's a very sad and lonely sing, for a very sad and lonely woman. If my ears are correct there's viola, violin, cello and maybe contrabass (could be wrong, but hopefully my ears are right). While it's kinda repetitive, I still think it's a really cool idea for a really cool song. #ExperimentationIsKey
3. I'm Only Sleeping: This has a very dream like quality to it, very laid back and stream of consciousness feeling. By that I feel like, even with the backmasking (used correctly this time) add to the dream quality. I also love that acoustic guitar in the track, I also love the bass pops. This is a solid tune and one of my favorites off the record. I also love the weird noises, which were backmasked as mentioned earlier. 
4. Love You To: The second song on the record to be written by George. This song has a very raga influenced sound to it. It opens with some sitar and could actually add to the dream like feeling from the last track. I really like the rhythms on this track a lot, and like the vocal effects on this track. I doubt its only sitar, but there is some great sounds on this track. I'd love to hear a isolated version of each instrument for this track. I know sitars can have that sustain, or are supposed to rather. I also love the percussion on this. I also dig the double time at the ending g, or at least the pick up in tenpo at the ending. 
5. Here, There and Everywhere: This is a sweet Paul McCartney tune. You can tell because its very pop like, and he's singing it. The guitar on this is so sweet and the harmonies are so fucking great. There's a dream like quality to this, but its more of a romantic dream feeling. Like what it's like to be in love and I love the arrangement here. I could easily see this being played on strings and horns but work quite well without them. Finger snaps a plus. 
6. Yellow Submarine: I don't really feel I need to talk about this song, but I will. I really like the acoustic guitar on this track. It was written by Macca for Ringo and I love the sound effects. While I feel like, oh its this song, I still get kicks on the occasional listen. Plus, damn they really did a great job with all the effects on this thing. Honestly, listen to the non guitar, bass, drums or vocals (Ringo/harmonies) in the track. I wonder how long that took to do. 
7. She Said She Said: This song has a bit of a punch off the bat and it has some nice acid rock guitar on it. I also really like the bands tone on the track, we get some great sounds that make it a bit more trippy, and the bass sounds great. Plus that's some solid drumming from Ringo. The vocals work well here, and I like the part that changes. I like this but I have to be in the mood for it I guess. Also the ending where it kinda speeds up a bit, I really dig that. 
8. Good Day Sunshine: This is sunshine pop, I guess. I like the upbeat feeling of this, but for whatever reason it isn't as sunny as I feel it should be. Like if its sunshine shouldn't it be super bubble gummy. All though I love the piano work on this track. I like how the drums add a bit more punctuation to the vocals. I also really like the harmonies especially at the ending and I like the hand claps. And I appreciate that sort of loop at the end, that's really short. 
9. And Your Bird Can Sing: This is another track in the vein of She Said She Said, all though it's more fun to listen to. Again a killer bass line and some great drums. Though in the mix they seem to be a bit more buried. I like the hand claps, they are a nice touch. And I love the riff to the track a lot. I love the bass tone though, its like an electrified upright bass without the finger hits as audible. It's nice and fast and works quite well here. 
10. For No One: This is a bit of a baroque pop number. I really like the harpsichord on the track and its a gorgeous song that I could very easily cry to. I have heard this song a million times but that trumpet still gets me, I know its coming but I still love it. Paul feels very much like he's singing a Paul song. I think the only thing that could have made this possibly better is maybe strings towards the ending. It's still a solid track though. 
11. Doctor Robert: I like this song, but I also feel like its kinda filler. I mean there are a number of songs that give you what this song gives you on the album. I still like the whole Beach Boys thing in the middle, but I don't fully see the point of it I guess. But what that said its still a solid acid rock tune. And I do dig the bass and organ during that one part. I also want to point out, that guitar is weird. I mean throughout but still. Kudos for getting that in a pop record. 
12. I Want to Tell You: Another George tune, but I still dig it. This is more in the vein of say Good Day Sunshine. It's a pleasant track. I like the ending fade out, but I've kind of described what I like about it elsewhere. It's a fun song
13. Got to Get You Into My Life: This is a great time, great bass line and great horn section featured. I could almost see this, if done slightly differently, being on a Motown album. Maybe something like Away We A Go-Go. This has a fun feeling and while it's kinda bare for how large it could be, I think it works. I also love the guitar tone on this thing. It's great. The ending is also great. 
14. Tomorrow Never Knows: opening with a sitar drone, followed by what sounds like a drum loop with some snare. I really like the drums on this, but I'm pretty sure it's a loop. Like outside of the vocals, I'm pretty sure everything is tape manipulations. Now that's not bad, there's a great solo that is backmasked and the song keeps you interested. I mean some sounds do repeat, but I'd still pick this any day over.... Well a lot of stuff to be honest. I also bet this was fun to do when recording it, considering how this was the first time they played with tape really. I also like the thumb tack/honky rink piano at the ending. I never heard, or remember hearing, that before. Great ending and great prelude for what was to come next. 

Overall i have to give this album a 8.8/10. This is a Beatles record, so its inherently great. Well not always, but you know what I mean. They were lucky enough to not really make a terrible record, even when people fucked with the music. But this is a great, exciting record with a lot of interesting sounds and ideas. While I don't think it's perfect or mindblowing, I do like what's on the record and recommend it along with all the other Beatle records. 

Freak Out! - The Mothers of Invention

Today marks the 50th anniversary of one of my favorite, and one of the most influential to me personally, release #1 by Zappa. This also happens to be the debut album by The Mothers of Invention, bestowed upon the unworthy Earth on June the 27th, 1966. Where to start, where to start.... Well, I don't really know? I think this is one of the greatest records ever made, and should be on the lists for guitarists to listen to, and for fans of music in general. In fact I'd go as far as the only reason for it to not be on a top 100+ list is only if you Rolling Suck, or you've never heard it prior to compiling it to the list. It also happens to be quite funny, and is not super serious (well at some parts). All and all its just a really a great rhythm & blues record. I can go on and on forever about the history but why do that. I wanted to note for this review that i will not be using the CD, because that's the most common version of the album (the '87 remix/'95 Rykodisk versions). I will be using the original vinyl mixes (Disc one of MOFO), and also my vinyl copy of the album. Why? Well, why not do the original version for the anniversary.

1. Hungry Freaks, Daddy: Opening the album we get this, this rocker that just takes you there. With the help of Elliott's lead and the other Ray's tamborine, but it's the song in general. Something nice about this is it has something to say and it says it,  being pretty funny along the way (kinda). I think the lyrics are straight and the point I don't really think this could have opened better with what's present. Plus that solo, damn Winged Eel Fingerling.... 
2. I Ain't Go No Heart: An instant classic, I love this song so much. This is a bit less punchy, like it doesn't feel like a rock song with a punch as much as a rhythm and blues number. This has a timpani and feels very large, again we get some great playing and this song is so crafted, and sounds so great. I love the middle eight and it's so fucking large. I'm serious you could easily turn this into a big band television/orchestral piece. Also that ending......... he's a bumber every summer.
3. Who Are The Brain Police?: A complete change of tone. The first two tracks where upbeat, fast and exciting. Upbeat as in not downers sonically, this couldn't be any more opposite. This sounds as if you were on a bad acid trip and your senses were slowed down. There are moments, during the verses before the refrain, of the Umpalumpa song. The thing is, that came out 5 years after this. This also is pretty trippy, as mentioned, and I think (as much as it sounds like I'm sucking his dick) a really nice contrast from the first two. The sound isn't boring, and overall it sounds like a nice change of pace really. I can't every begin to tell you how much I love the freak out in this thing and it's such a fucking great song.
4. Go Cry On Somebody Else's Shoulder: A doo-wop classic, sung by Ray Collins. This is a solid tune, and does a great job of replicating the sound and style. This isn't quite as silly sound ling as say, Oh in the Sky, but its a got some boy soprano from Roy. This tune also works and feels like its fit in a movie from the 50s very snugly. Great tune that really "is very greasy". The song progresses, though it's probably an inside joke, it contains one of my favorite lyrics about khakis. And the song becomes more silly after that but it's still done pretty straight for the style. Also fuck, Eugene that's some fucking fire piano playing.
5. Motherly Love: This is rather funny. I could be misreading this, but I feel like when you hear Motherly Love its like (and as the lyrics hint) love from a Mom. But the lyrics also hint at it being "love" from a Mother. Thus is a solid R&B number, and just rocks. This also has some funny little sounds here and there and some nice playing, as with the rest of the record. But it's solid bro.
6. How Could I Be Such a Fool: This is a song that's grown on me oh so much. It's sort of weird, where the others thus far rocked or were kind of shallow this song musically is sad. Like I feel like Zappa could be making a joke, but this song is so fucking good. Like if he wasn't a cynic I feel like this could be a great break up song. The arrangement..... Fucking Amazing, and it comes and goes so fast. I feel like it is like a relationship, grasp it and get what you can and give what you can to it while its still here. This might be one of best songs here to be honest. Also Carol Kaye plays 12 string guitar on this track.
7. Wowie Zowie: This is a fun little ditty that could very easily be a children's song. I feel like he was going for that too with some of the lyrics. But then, I mean it's bizarre.... I still love it. The xylophone makes it more playful but it still has the that great hook. 
8. You Didn't Try to Call Me: This is another huge song that is phenomenally put together. Pet Sounds is a masterpiece, fuck that noise everything here kills that fucking notion. This song is a great and I really don't have much to say other than this is hilarious, but sonically it's great.
9. Any Way the Wind Blows: Another break up song, another classic. This song is very memorable and has that fun Wowie Zowie feeling but is a bit more serious maybe. You know the whole gauntlet of what this album puts you thought, why can't all music be this compelling, fun, exciting, scary and interesting. Also there's a neat background to this story in the liner notes of the original Lp
10. I'm Not Satisfied: Is it wrong to find this track funny. While it isn't as mellow dramatic as the lyrics, well extreme, to ITIGKM this sonically sounds like a "depressed" teenager. Don't get me wrong, it's a great tune, it's just it fits so well with this shallow, one dimensional character. Like really, I can't help but laugh at this song. The music is so big and so large, as with all the other tracks.
11. You're Probably Wondering Why I'm Here: This title is a bit misleading. but it's such a weird song. Like really, it's got that kooky feeling to it but I also feel like it might be a love song. But then again, most love songs aren't really that deep, so maybe it's just the satire :) I love the music and the lyrics have me rolling on the floor and I can so fucking quote this. The call and response, in the Zappa's dead pan. Plus I caught that Caravan reference.
12. Trouble Every Day: One of the best blues song ever. Seriously; not only does the music have balls and kick ass, the message is equal to that of the music. Actually the lyrics might be more relevant today than back then, at the very least are still relevant today. This really is s song to aspire to pull off if your a musician who isn't just in it for quick doe, but rather the are, craft and power of music. Really, I'm serious, flawless.
13. Help, I'm A Rock: On the vinyl this and the following track were the two sections of one track, but for the sake of the way the thing is why not. This is a bizarre track, which I don't really know how to describe. I know the rhythm section is really doing a great job keeping the beat but the voices sound like they're freaking out. This also has some kind a funny stuff, but it feel a bit like an experiment. There is a section that changes but I believe it to be the In Memorium of Edgar Varese but yeah, hear it yourself, but I personally love it.
14. It Can't Happen Here: Another quotable tune, that is just all kind of wonderful. I love it and it makes sense that it follows what just happened. Also this is an all a capella tune. Well that's at least for most of it, there's this piece spliced in there..... it's fucking great. Feels sort of improvised. I also think parts of the next track, or parts of this track, are in the next track. But they mention Suzy.
15. The Return of the Son of Monster Magnet: "Suzy, Suzy Creamcheese. What's gotten into ya darling" what a way to end the record, that voice introduction then go straight into the Varése quote with the lion or whatever it's called. Love the drum beat in that beginning and this is the sound of chaos. I really think you need to hear it yourself, also it's nice to hear it not so reverby as on the Freak Out! cds. I love sounds and how stuff works and Zappa obviously know how to do dat shit. The thing picks up pace and starts to sound like white noise almost. As the song progresses it becomes complete chaos until it becomes a sort of reprise of It Can't Happen Here then going into a sort of Mr. Bungle/Were Only In It For The Money/Lumpy Gravy thing for the last four or so minutes. It's really something to hear, not only does it make me smile, but I love every second.

Overall I have to give this a 11/10. I didn't highlight anything because there are kind of all my favorite songs. Actually upon re-visitation I might like this more than Abbey Road. Even if you think his humor is stupid, his writing is to silly, or his music is to complex to swallow; I am under the belief there is still something here for you to find and take home. From the novelty to the political messages to the blues rockers and doo-wop tracks. From the avant-garde experiments and musique concrete compositions to the down right and instantly quotable song. No matter your taste, no matter your style, there will be something for you to take from this 1966 classic double album. And to be honest, these songs are so damn catchy I can't imagine you not coming away with something you sing. I mean I can't stress that enough. This is the perfect starting point to get into Frank's enormous body of work, and its also one of his best. Also if I didn't make it clear, check the lyrics out, it'll be worth it trust me.

LISTEN TO THIS RECORD, I couldn't fit it in the Albums to hear before you die with the amount of characters in the Blogger label section.