For Alto - Anthony Braxton

As of late I've been listening to/downloading a lot of albums that are vinyl only/out of print/impossible to find unless your a rich mother fucker. Plus I believe, that if a collector makes more of the album then what than what the artist makes, its justified to not pay the middle man. Id rather pay $200 to the man himself, than a collector. Among these album, one of the artists is this guy. So i decided to finish this up, because fuck why not. This is one of the first records by Chicago avant/free jazz/free improvisation saxophonist and composer Anthony Braxton. How can you be so vague, and not have a specific number you ask. Well various sites have various dates ranging from 1968-1971 as the release date. Wikipedia alone has the first three years on different pages. It seems it's more likely 1970, but who knows. I know that it was recorded in February 1969 and is the second one recorded so its likely its the second album. But there is no definite proof you know. I found out about this record through one John Zorn, in a documentary he mentioned this record by name. I had to hear it, it was an influence on him. For years this record was mysterious, I couldn't find any zips/rars and I didn't want to by a vinyl I might not like. Even after I got a copy it took a year to listen to it, this is one of those "will it live up to my expectations" records. The first time I heard a note was Christmas Eve 2015. Now it only took me two fucking years to even listen to anymore or do a review of this. Also I believe that I should mention the passing of John Wetton (bassist/vocalist on such great albums as Larks' Tongues in Aspic, Here Come the Warm Jets, Return to Fantasy, Starless and Bible Black, Red among others I still very much so need to listen to.)

1. Dedicated to Multi-Instrumentalist Jack Gell: Opening the record we have a 42 second long track, and it starts off well. I mean my hopes were high for this, but this opens quite promising. There are some cool things and it has a cool vibe to it. 
2. To Composer John Cage: I like the intensity he gives this playing on the song. There are some things that remind me a bit of Ornette's playing, and also maybe Brötz. The only problem I see though is that fact this is solo saxophone and there are no overdubs and it's 72 minutes long. So far I have enjoyed and don't find problem in what I'm hearing, but I don't know if that will last the full 72 minutes. I did smile when I heard him breathing. There are some neat playing though on this cut. Plus at 9 minutes, it's a bit long.
3. To Artist Murry dePillars: This is a bit of a nice change of pace. While yeah we get the also saxophone again, we hear him hitting the saxophone valves and it's much softer and relaxing than the last. I think this is more effective in what it's trying to do than the last cut was in trying to be punchy. I like the trills and I like the part where it gets very intense and loud to the point of over taking the track. I also am a bit impressed with how he goes back and forth so easily. I mean It might not be that impressive, but I still think it works quite well. Almost as is it's a clam person talking to a pissed off person or trying to talk him down. 
4. To Pianist Cecil Taylor: I have to make a confession..... I am aware of Cecil. There are some solid moments on The World of Cecil Taylor, but I'm not really a fan. Yeah I mean I have only heard tracks here and there outside of that album and Jazz Composer's Orchestra but I find, when given a full front to back listen, those albums to not keep my interest. Plus I can say there exist albums that do what those two did but much better, anything Alexander van Shlippenbach or Fred Van Hove and Brötz and then for the JCO listen to The Black Saint and the Sinner Lady. But I digress, I like the introduction. Feelin' jazzy, but as the track continues I yern for more flavors outside of just saxophone, or one take alto. I mean add some tenor, baritone, bass, soprano, sopranino (I probably spelled that wrong), fuck even a bass clarinet would be a nice change of pace. This is okay, but isn't nothing more than just that.
5. Dedicated to Ann and Peter Allen: This is pretty chill and I could see this being very effective i there was chimes or other things that add to this feeling of blowing in the wind or floating feeling. It is a weak, as in not forceful, cut and could use that. Actually I could almost imagine this being changed into having some gamelan stuff. To be fair it works as is, but it's 13 minutes long and it's atmosphere is a bit lost by the ending. I do like the clicks of the instrument as if it's like a percussive instrument, but why didn't he use that or other tricks like that more often. Like this could have been edited together or shortened to be made a bit better.

Now on to vinyl 2. Now to be fair I did have to take a break after the first side of the record. The reason being I know I would be far harsher if I didn't and I wouldn't be able to focus as easily.

1. Dedicated to Susan Axelrod: This isn't that distant from the last track, it's just louder and more audible. I mean I like it but it again goes a bit too long. There are some interesting ideas here and there and what not, but I don't know. There is some nice fluttering but again I just kind of want this to end so I can finish the review.
2. To My Friend Kenny McKenny: I like some of the squeaks at the beginning and they kind of make it be like, well there's 30 minutes left, let's just power though.
3. Dedicated to Multi-Instrumentalist Leroy Jenkins: Leroy was a violinist, the most common instrument I've seen his playing for what I'm going to say, who played on a number of records with Braxton's. There is a part in the beginning that reminds me of a spy song maybe, but like the outline or rough draft. There was actually a part that reminded me of We Are Number One, and I did laugh a bit. After a while this 19 minute long track just kind of overstays its welcome. I mean there again are neat ideas, but it feels more like sketches than anything else.

Overall I have to give this a 5/10. I enjoyed this, just there is too much and not enough variety. Now I've heard some of Braxton's other work, and I've heard the different types of jazz. Now of everything I've heard of those categories, this is kind of looked at very highly and I have to disagree. The most important thing about music, unless it's breaking a rule or theoretical music (4:33), is it has to keep you entertained. It's like a movie, if you are bored while you watch its usually not very good. Now a number of things can be subjective, maybe your not into this or that, but overall you can kinda say if something is good or bad. This was just too long, too samey and didn't keep my interest. Maybe if he overdubbed or used different saxes or something, but what we have just isn't anything mind blowing to me. Maybe that's because I've heard this but done much better and much more intense and engaging. I can see how the idea of it is mind blowing to people, and still can be to this day, but I just am not fazed by it I guess.  Maybe part if the reason I gravitate towards Bailey is because he's a guitarist and I go, "Fuck How'd he do that" or originally "You can do that?". Saxophone players should listen to this, and then anything by John Zorn Pre-Spillane. Well this and really anything in the field of free and avant jazz with odd sax playing. I guess I can sum up what I said fast, if you want to have a solo instrument record this this it needs variety of to be short. Not a double albums worth. If this was a single record it would have been much more tolerable for me. If you want to hear this type of thing done right listen to Payan.

Sail Away - Randy Newman

So I am using this month to finish up some albums that can be finished either fast, or are in various stages of completion and are..... Basically I'm cleaning out my draft folder on the site. That doesn't mean I'm shitting out reviews, I am just doing ones I know I don't need to spend as much time on or i have spent the time and just need to type it out. The album I picked first is this. This is the only, besides possibly Trouble in Paradise, Randy Newman record I'll ever review. The reason being I like the title track and Political Science.  That's really the only reason, I guess that and to give this maybe another chance, considering how much I love PS. And honestly, that the only reason to do this review. Oh yeah this is album number 4th studio album.

1. Sail Away: For this record, I feel this to be a great tone setter and terrific open to the record. It's got that wit, and the cynic inside me loves the tone. So basically this song's story is a slave trader talks to the slaves, on the boat, about how great America will be and all the great things that lie ahead. The one thing he decided to leave out, is the fact they won't get any of those opportunities because they are slaves. Kinda dark, he doesn't have an aside or anything, he just withholds that part. It makes you think a bit, I wonder if they actually did that to make the slaves less irritable or more willing to submit. I don't know, and you probably don't either (we weren't there). But still, if a song can make you think, and not about something stupid, Damn! Man I wish I came up with that. The strings on this thing are great and it just feels American, it feels like it could fit in as a Nationalist type song, though it's not really. I don't know, I just know I love it. Also Ray Charles actually did a solid more gospel inspired cover of this tune, which I'm not sure if I prefer to this version, off his 1975 record Renaissance. If I do a review of that I'll go into more detail about the song, on the Ray side of things. 
2. Lonely at the Top: Hahaha, this was written for Sinatra. I do quite like the creeping feeling of this song. There is also a cabaret feeling to the song, if I'm not mistaken. I think this works, unlike that one song... *cough* Who Needs the Young *cough*. I wish I had more to say, but I do quite like this track and think it works for what it is. Plus this is some what smarter than some of the other songs Sinatra would sing. And it doesn't seem that pityful. I mean I like No One Cares and other tracks like that, but look at that cover.
3. He Gives Us All His Love: Originally written for a movie, and I don't think the joke works unless you have the back story. Unlike God's Song or Sail Away this is not as clear what its about. In the movie they were saying this and it was kind of point out the foolishness of believing. I don't really know how to explain it without you looking it up or making it sound like I don't believe in God. I do, but I love this song. It has a very strong standard feeling and I think it should be. While the lyrics are simple its kind of supposed to be. 
4. Last Night I Had a Dream: There is a slide guitar, played by Ry Cooder, present. This is a solid song, but his vocals remind me of what I think he's funny to laugh at. But this is an odd enough rocker that I think if someone else did it it'd be fucking phenomenal. Maybe someone with a larger range of vocals. Really everything else works here. I love the guitar ton, the building feeling and the anticipation I feel in my blood when the song builds to the chorus. This is also a rocker.
5. Simon Smith and the Amazing Dancing Bear: This song is about a guy who, by use of dancing bear. There's more to the story, but I feel like this has a sort of fun feeling to the song. The piano playing is very impressive and I like the changes in rhythm. While its not as grand as I could picture it, or rearrange it in my head, it is solid. I'm not completely sold on the track, but I do enjoy it. I really think the worst part of the song is the vocals, there's a part at the end that hurts my ears. Also I guess its a bit of a let down that there aren't other instruments like horns or woodwinds and strings. That would certainly add to the track. 
6. Old Man: I assume this is about an old man or his old man. I think ths song is a pretty sad song, and I has to have some personal meaning to it. There is something in the inflection if his voice where it sounds like a child singing to his father who is on his death bed. Honestly I could see this being a Sinatra, the string arrangement is beautiful enough to be on In the Wee Small Hours or another of his best records/ballads. There is something's very touching about this and the sole piano and vocals for one verse then the next having strings makes it more effective. I read somewhere he said after his father passed, years later, he revisited this song and pictured his father. Its funny because I hvemmave written songs where they either came true or they were more insightful of my ownself than I could have imagined. 
7. Political Science: Quick, straightforward and to the point, possibly Newman's best song. Really, another hit to Americas ego. This is how good Rednecks should be, but it isn't. This song makes me laugh more and more with each listen. There is a sort of Toy Story feeling tie this track, but I like this a lot. I cove the brushes and the horns that are in the background. A favorite part of mine is the Australia part. This really is a phenomenal track and the ending gets big and just works so fucking well. Great, funny, and on point.
8. Burn On: and on and on and on and on and on. This is a very piano oriented in the beginning and it has this weird cabaret feeling to it. Then the other instruments come in and I really like the um pa feeling I'm getting form the arrangement. The string/woodwind/brass arrangement on this is spectacular. Honestly I can't find flaw in it. It really is a fucking great track and I think his vocals even work well for this track. This is a pretty silly feeling song but I am pretty sure there is a son what deeper meaning. Maybe it was a topical song about Cleveland like Baltimore. 
9. Memo to My Son: I am surprised that I would love this thing, but I do. There is a sort of country vibe to this track. I can't exactly point my finger on what to call it but I do quite like it. It has a sort of honky tank piano and a rocking back and forth feeling. Like I could see this being in a movie from the 70s, maybe in a sort of flashback sequence. Or it could be the theme to a TV show about a single dad who has a son. It has a sort of sentimental feeling too it. I don't have a really reason why but I just can. There is also for whatever reason, Eagles pop in my head.
10. Dayton, Ohio - 1903: You know, this title pisses me off. It's not a bad song, it's actually quite sad, but it's also a sort of predecessor to Baltimore. This is a very mellow song and it kind of reminds me of Short People if it was depressed. I don think its that great, but it aint half bad. I could see it being in a movie or something when its someone pondering something maybe. He isn't the greatest player but he is far better than I. 
11. You Can Leave Your Hat On: I never liked this title, that's not saying the sing it self is bad. Just my feelings of the title. There is a sleezy feeling to this song, but I kind of like that. I like guitar in this and the sort of bar band feeling with the piano. Like a sort of piano blues feeling to it. Though I woukdnt say its exactly like Eddie Boyd or someone like that. Its nice and it is not half bad. I like guitar on the track or whatever is playing that sort of motif in the verses. The bass? I don't know for certain but the only real complaint is it goes a bit long for what actually happens in the song and looking at the length of the other tracks. 
12. God's Song (That's Why I Love Mankind): Funny idea, but I guess I feel like this is pretty dark. Its kind of like God does these horrific things to us, but we still love him. I understand that its probably pointing out people are foolish but I think its worth pondering. I also think the music is perfect for this and its a great opposition to the opening. The opening was much more cheerful and hopeful, in feeling not message. This is just a dreary and kind of straight forward song. Like it is kind of fucked to imagine like God just doing stuff to fuck with us because he doesn't actually care. I mean I myself don't think people should find value in themselves to the point if them being above someone else, but there is a part of me that makes me feel like yeah. I don't really think God owes us anything. That's a bit of a way off front the song. But the music is phenominal and his singing works very well. A great track that grows with each listen. 

Overall I have to give this album a 8/10. I don't care for Randy, his albums are structured in a similar way and his music is very samey. There are some songs here that are okay, but most are average or boring elsewhere in his discography. But the upon meditation, and the cynicisizing (?) of my heart I kind of grew to love this. It's far from the greatest thing ever, but I laugh at it and contemplate what it talks about. It's funny, it's satire, it good. The only negative is these aren't really the definitive versions of some of these songs for me. But the template here is great, and the songs are all solid and have high potential to be re-imagined. I know most of these have been redone or covered in the last 40-50 odd years, but still. This album is great and its got solid song writing, but there are other versions of the songs far more realized. I hope that nukes sense, but ill say this. If I can make something as good as this ill be happy you know. So, yeah, as we all know, Randy Newman's the best. Also as a side note, I think I might do a De La Soul review. I mean I was disappointed by The Chronic and Reasonable Doubt, so maybe their debut will fill that void. But hopefully up next was a surprise favorite of mine from last year. I was not expecting to dig it as much as I did and continue to. 

Christmas with Tammy

What better a way than to close out the year with my main girl Tammy. While Ill never be one of her husbands, sad I know, I can still admire her and her music. So I wanted to say that while I am not expecting much out of this album, I still think it is a fitting ending you know.

1. Silent Night, Holy Night: This is an ok version of the song, it isn't anything new but I like it. It give you that warm feeling that you are supposed to get from the song. It makes me want to look at a fire and makes me think of christmas. Plus I like that organ. The harmonies and the echo sounds quite good.
2. O Little Town of Bethlehem: This feels like a Tammy version of the song. It's got the twangs that I've grown to become accustomed to on albums like Stand By Your Man. The strings here are phenomenal, and this is possibly the best version of the song I have yet to review. I think her voice works, I like it, the organ comes band and kind of peaks it's head out at different points. The swells are fucking great. Really, there is a punch to it, and the transitions are also very well. Honestly I'm surprised it's this good.
3. It Came Upon the Midnight Clear: A song I love done in a manner that I is similar to that last track but not as effective. I much prefer the last track done in the country manner than this one, or the Nashville Sound rather. That's not saying it's bad I'm just pointing out it isn't anything terrifically mind blowing or 
4. Joy to the World: This is a christmas classic, and it's done in a manner that I think is fitting of the song. This works for what it is, and I think the Jordanaires are for more effective here than on Elvis' album.
5. Away in a Manger: This is a first for the blog. I have yet to review this track, which is kind of weird. I have heard this song so many times at church its weird I am not hearing it more on record. The album is more or less what you'd expect at this point from the sound and style. It's solid enough, maybe like a 6.
6. Gentle Shepherd: I don't recall a song with this title. But it closes side one of the vinyl pressing of the original record. It's not that bad of a song, and it's pretty inoffensive. It's not overtly bad or anything annoying. But I'm pretty sure I'll forget it once the albums over. It's again not that bad.
7. Blue Christmas: I'll have a pleasant experience with this track. Like it's honestly inoffensive.
8. (Merry Christmas) We Must Be Having One: I don't think I have heard this song before. And honestly I don't mind this song, I got to say it's a nice change of pace. I mean it's a new song that works, for me at least. And the harmonies work also quite well.
9. White Christmas: This is another Nashville Sound rendition of a classic christmas tune. I like the strings on this and the arrangement is pretty solid. It's not mind blowing, as I've said before, but I like it. I could see myself coming back to this version.
10. One Happy Christmas: Eh, I don't know if I'm digging this tune. It's okay I guess, but I don't want to get 100 percent on board or give it a complete pass.
11. Lonely Christmas Call: This isn't a bad song, but it's kind of a sad song. Sadly at this point I've run out of things to say other than I like the vocals and the way she says the words. I like the backing instrumentation, but it isn't the best you know.
12. Let's Put Christ Back Into Christmas: I wonder what would happens if someone made this song today. This song is kind of stupid, if I'm being honest I don't really care for it. I mean this isn't really a last track, outside of the title. The rest of the song is a pretty bland arrangement considering what is on the rest of the album. It's not that it sounds bad, but it's just lets go out luke warm.

Overall I have to give this album a 6/10. This is a Tammy album, what did I expect. Something I wanna say is we lost a lot of talented musicians who, while I may not be fans of every single one of them personally, they played on something that some how helped shape the music that got me to where I am today. So I wanted to take this paragraph to just name them as a way of respect I guess and to condense this I decided to mention only those whom I haven't already mentioned earlier in past reviews. Paul Bley, Pierre Boulez, Jimmy Bain, Dale Griffin, Alan Haven, Al Caiola, Ray Colcord, Maurice White, Keith Emerson, Phife Dawg, Merle Haggard, Jimmie Van Zant, Lonnie Mack, Billy Paul, Isao Tomita, Candye Kane, Gayle McCormick, Nick Menza, Marshall Jones, Henry McCullough, Dimitri Tiomkin, Bernie Worrell, Don Friedman, Scotty Moore, Alan Vega, Bobby Hutcherson, Bob Cranshaw, TJ Tindall, Toots Thielemans, Rudy Van Gelder, Rod Temperton, Leon Russell, Mose Allison, Joe Esposito, Allen Zavod, Pauline Oliveros, Greg Lake, George Michael, Alphonso Mouzon, John Thomas, Carrie Fisher, 

Outlandos d'Amour - The Police

Today I have a very easy, simple review to do here. This is the 1978 debut album by The Police, the UK's best at mixing Reggae and Punk and also new wave. This cover I have is the original UK version, and while I prefer the US version, it is what it is. For the longest time, I've considered to one of my favorite albums of all time. I actually don't have much to say about this album other than I hold it dear to my heart and it has memories for me. Now not all memories are good, and can often be debunked. That made no sense, point is let's see if this holds up.

1. Next to You: Opening we get a solid number with some nice drums. This is a punky feeling song and has such a catchy chorus its so good. I love the drums in this track and think everything about this track is a great opening to get you excited for this record. It sticks with you and the track slows down a bit for the solo, which sounds out of the Joe Perry playbook on like Draw the Line. The transition back into the drums and the sing works very well and the song goes by quite fast. Great opener. 
2. So Lonely: Great great tune and a favorite of mine. I love the guitar tine and can inky imagine how it sounds in vinyl. The drums are solid and the sort of ska feeling is great. I fucking love this chorus and I can't tell you how engraved in my memory this song is. The second it started I was like fuck yes. I love the little touches and the lead during the verses. The harmonies are great on this and so far there batting 2 for 2. Another great solo. While maybe not as good as the last, there are parts that are great in this one. And once it picks up and is in the feeling it works and the bass you hear. Also I wanna say that two seconds of harmonica actually is a nice touch. I know its super short but I think it works. The breakdown is very nice and I love how Gordon is joined by other members. It feel like an angry teenager who is lonely and mad because of it. 
3. Roxanne: The, some could say, over played hit by the group. I myself have over played it, and haven't actually listened to it for a very long time. I mean I still love this and it is also engraved in my consciousness but I think the reggae beat and the laugh at the beginning works very well. The lyrics to me work very well and I almost picture someone playing on the streets singing to or about his lover who works the streets. The baseline in this is also freaking great and I love how its on their two 8ths on the first two of the 1. Does that make sense. I hope its in four four and NY math is correct. I don't know and don't care. I fucking give this song. 
4. Hole in My Life: This song may not be as good in my opinion as the others but us a great change of pace. I love the vocals on this and they works very well. The reggae beat and the punk vibe to the drums. Is this actually ska, correct? I really like the chorus and I love that bass tone. This actually kind if reminds me a but if The Beatles on say...... Revolver. I don't know why, or exactly what song but if you read this and hear The Beatles in this track let me know. This is a very well constructed song and I live the piano in the track. I am glad it want just done straight you know, they add to the sings and have it grow. The bass reminds me a but of Zappa's 80's bands but also Macca on a later Beatles record. I ale love the ending a great thing I didn't expect. 
5. Peanuts: This always made me laugh a bit. Like what the fuck. I actually really dig this drum beat and I like the sort if proto-Synchronicity feeling to this. This is also one of my favorite songs by the band. I love how everything sounds together and it is like a sped up version or a faster version if the track mentioned. I also love the noise that is the solo. Honestly, its freaking great. I wonder if Frank came in and played the solo for this. Kinda reminds me of Zomby Woof a bit. Its pure emotion. The electric piano/synth on the track is something I forgot about but I'm glad its there and I really like that part, though it doesn't do much. And I love how I get exactly what I wanted at the ending. Chaos, though is wished they guitar came back. 
6. Can't Stand Loosing You: This is another song I've listened to so many times I might do legit review without even listening to it while I do it. Originally I dug the song, but now looking back i find a humor to it. Where it was once, kind of dark I have grown to have a dark sense of humor since those initial listens. I really like the sharp guitar on this track and find the lyrics to be humorous. I also love the catchy chorus and it comes and goes quite fast. 
7. Truth Hits Everbody: I really dig the riff to this song and this this is a nice change of pace. While its nothing completely different it kinda has a different vibe than the other tracks. I really like the harmonies on this and love the new wave feeling. Its a rocker. 
8. Born in the 50's: This is another rocker, but more of a rocker. This has a bit of nostalgic I'd assume for the band. The song its self is just okay, one of the weaker songs. I do think again though its welcome as a change if pace. Its a lighter type of track without such sharp guitar. It isn't that different than Can't Stand Loosing You, with that in mind. 
9. Be My Girl - Sally: I like this song and it kind makes up for the last track. The guitar intro is awesome and the bass accompanying it works very well. The vocals in the beginning are okay and it isn't anything on here you haven't heard really. But what I like about this track id the weird as spoken word thing that I wanna say comes out of nowhere. I like that piano in there, and it takes you by surprise. Its got this weird ass feeling to it, but I won't say who sally is. Then the sing fades back in and you just laugh now that you know the who Sally is. This ends with a weird shriek and is fitting to come before the instrumental track. 
10. Masoko Tango: Closing is an instrumental that time has only done this in its favor for me(?). That's not proper English, but who fucking cares. While there are vocals I don't know if its actually anything. The bass on here is phenomenal and the drums keep the beat very well. I really like the guitar on here and this has a odd feeling to it. There's also these swipes of effects that come and go in different places. Almost like sped up/reversed feedback. I like how it kind of gets drowned in the effects almost as the song progresses. The effects wouldn't sound out of place in Revolver. I really dig this track and live the drums and that weird ending that fades out. 

Overall I have to give this classic at 8.5/10.  I think this holds up and is a really fun and simple record that is worth checking out if you haven't heard it before. Solid record and really good.

Expensive Shit - Fela Ransome Kuti & Africa 70

This happens to be studio album number 12 by Fela Kuti, backed by his Afrika 70. This is among a string of albums during the 70's where, essentially, he could do not wrong. Yes there are ones I prefer, but this might be his best album. I've already reviewed Zombie and I plan to review some of his other albums from his discography, but I know how I feel about this (I've heard it a number of times) and cus its a quickie. I still have three more reviews to do before December so I can post this Chicago '78.

1. Expensive Shit: This opens the album, hahahaha its only two tracks. This track opens with clapping of what i think is like a castanet or something and a guitar setting up a grove. Then we get some tasty electric piano that propels the track forward, with drums keeping it sort of grounded. Bass comes in and the grove is set for a solo on the, I wanna say Rhodes. Tension builds until the horns come and and fucking take you there. The horns are truly something else, and the alto sax plays a solo building up this groove with the other horns backing it put. Damn is Fela good at setting up interesting music. The horns stop, and let the alto play a bit of the solo alone (with the groove still in place. Then we get a sort of call back to the head. I also wanna say the percussion on this track is out of this world. I hope I can build something a quarter as good as this. Its very dancable and very rhythmic. Once the vocals come in you get some pidgen where it talks about shit not smelling. This was inspired after he was arrested for drugs, you know just read the album covers sticker. Its a neat story. Once the vocals are over with the call and response the sort of refrain comes in and the instruments come to the for front again. The piano plays for the last three minutes or so and the groove still goes and is going strong. 
2. Water No Get Enemy: The horns start right out of the gate for this darker sounding track. Its more laid back and kinda makes you think. There is a sort of sadness in this track. It isn't as exciting as the title track. The vocals that sing with the horns almost make this sort of Ennio Morricone feeling. I like the solos and the groove here is also great. I really love the textures on this track. This is a solid track. Once Fela comes in it almost feels like he's mournful. I think this did what Mr Follow Follow did wrong. This might be a change of pace, but its still one if the best mellow songs his ever done. Its also one of the best songs his ever done. Its a shame the second side if Zombie want better. I really like the piano at the ending of this track and I don't really know how describe this except a nice ending and darker. He would continue with this type of track, before this album and after it too.

Overall I have to give this album a 8/10. The reason I would go as far as saying this could be his best is usually the records are split into side A track and side B track. This is the only one, in my recollection, that has a solid A and B track. I mean I could be stupid and recalling falsely or lacking something I remember. But from the top of my head this is the most consistent album of his. At least of the 20 or so I've heard. I think next will be either Teacher No Teach Nonsense and Beasts of No Nation.

Tupelo Honey - Van Morrison

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

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

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

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

Rocky Horror Show - Original London Cast

So in honor of the Halloween tradition of themes I could not possibly have a Rocky Horror review. Yes each year I do this I'll do a different version of Rocky Horror until I run out or am tired of it. But that beings said, I still have the Film, Brazilian, Australia, Mexican, Norwegian, New Zealand cast albums to do for sure. This features the almost original cast, minus Julie Covington who was replaced for a reason I forget, by Belinda Sinclair as Janet. This also features Tim Curry, Patricia Quinn, Nell Campbell and Richard O'Brien who are also in the Film (the first and last are in the Roxy cast also). This is missing some song on the Roxy one (Eddies Teddy, both versions of Charles Atlas and Planet Shmanet Janet)

1. Science Fiction - Double Feature: Sung by The Usherette, or Patricia Quinn to be exact, this is much more bare than the other version I've done before. This has just vocals an acoustic guitar in the beginning. It almost feels like a demo, but even when the rest come in it still feels that way. I really like the piano arpeggios and the acoustic guitar on the track. There's a solid bass line and the drums are nice. I like the use of the cymbals on the track. I like this arrangement quite a bit. They make use of the fewer instruments. The voice really sounds like a kid, like honestly. She sounds like a little kid singing this introduction, which if you look at this as a "coming of age" or "realization" tale I think it's a nice touch, even though I could see you going some of what she's saying.... is that appropriate. There is also a harmony vocal I'm not sure if it's a bass or a vocal. I like that quite a bit.
2. Damn It, Janet: This is a solid rendition of the song, that has a simpler arrangement in my mind. I really think the singing works, but I also really like that acoustic guitar quite a bit. There is something that's just fun about this you know. This is a solid and memorable tune and usually has a great version.
3. Over at the Frankenstein Place: Opening with a narration, which I'm glad is there, this is another great tune from the show. I really like this version too, the chorus is probably the highlight of the tune. Does everyone's vocals sound phenomenal... not really, but I do like it quite a bit. And I really like that slide guitar, this song has a great sort of build. It doesn't hit a huge epic feeling but it does hit what it needs to to not underwhelm. 
4. Sweet Transvestite: This is another great tune, and I like the performance from Curry, though it's not as punchy as the following versions. I could see this being a crazy person... Okay, when I hear this arrangement what I imagine is a crazy man who likes musicals and has people play while he talks and sings everything. Like an eccentric rich, scientist/socialite. I think it fits.
5. Time Warp: This is a solid version, and I really like Richard's vocals. I think this is far more fun than the actual film version, while it isn't as together as some others this is still fun none the less. It's harmless to be honest. The woman kinda reminds me a bit of Frenchie from The Forbidden Zone. Actually this song kind of, and album, feels like it might fit in that type of movie.
6. Sword of Damocles: Track is sung by Rocky and Company, and I mean the vocals are really high but I don't know.... I kinda like this version. It feels like a fast 50's tune.
7. Hot Patootie (Bless My Soul): Whatever Happened to that Saturday Night track? I really dug it, I really dig this song too. Wonder if that's a coincidence. I do like Paddy's vocals on this, but I really think Meat Loaf shine's more on later versions. This is still a great verison and I love the harmonies.
8. Touch-A-Touch-Touch-A-Touch Me: I think the star of this version is definitely the keyboard, that I believe to be an ARP. The piano is great too, but I love the backing vocals too. This is a much simpler arrangement but equally as effective for what it's conveying. And I don't hold the weaker vocals against Janet. I also like the Hot Patootie reprise in the harmonies. Nice touch.
9. Once in a While: This is a nice number, it's pretty relaxing and heartfelt. I like the drums on this track, and the piano, and acoustic guitar. The vocals aren't that great, but the instrumentation works.
10. Rose Tint My World: I actually have grown to love this song, the Roxy Cast version is an all time favorite song.  This is a pretty solid revision of the song too, the only thing is that it doesn't have the same... it's not as focused. Like I do dig this piano and the arrangement but there isn't the cocky, flamboyant Curry I need for the second section or third. The transitions don't work as well as on later versions, I know I've repeated myself, but I think this is worth a listen. This is still a good song, but not as well executed. I really like that saxophone at the ending, and Tim really shows off. I don't know why he toned it down so much earlier. Like charisma wise. This also nice piano, even though it's off a bit, but that's fine.
11. I'm Going Home: Now, I don't think I've heard a bad version of this song. Really of all the version I've heard they've all done a solid job with this tune, even the film. This version isn't as emotional as I'd like, but it's fine. It's still kinda of upbeat, it's not like he's finally been defeated you know. 
12. Superheroes: This is a solid version and is more in line with that I was looking for from the prior track, but it still works. It's a sad ending.
13. Science Fiction - Double Feature (Reprise): Closing we get a reprise of the track that opened the album. It actually comes and goes pretty damn fast.

Overall I have to give this album a 7/10. I don't think the film version should even be close to the definitive version for the songs. They kinda fucked some of them. This small budget, and cheap and sleazy and like a debut album or a rehearsal tape. The Roxy shows are more along the lines of when they perfected the songs and know exactly how to do them, you got a deal and you have someone focusing your stuff. I think, in terms of English speaking ones, it's between this and the Roxy as the best. But I think which one you chose is more inline with what you're looking for; cheap, campy and charming all at the same time, or more realized or focused with better playing and more confidence. That's not a dig btw, I prefer the Roxy but I still really dig this album.

Mona Bone Jakon - Cat Stevens

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

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

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

Macho Man - Village People

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

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

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

Brand New Morning - Bob Seger

This is the first solo album by American singer/songwriter Bob Seger. Released in October 1971, this is his fourth overall album, the first three being by The Bob Seger System. This is an acoustic album and its one of the early records he seems to not really like. I know everything I've heard from this period I like, so lets hope this is as good as the others.

1. Brand New Morning: This song opens pretty interesting. I mean if you'd hear him before, its odd to hear him with an acoustic guitar. Now I do think the vocals here are great and I like the up feeling of the song. I mean this is a pretty simple song, but it works. And this sets a feeling that this might not be that bad of a record. 
2. Maybe Today: This opens with him playing piano, and for whatever reason this reminds me of Cold Spring Harbor. I like what I'm hearing, I mean it isn't as grand as some of those songs, but its pretty bare. I do think this works here though and 2 for 2. I like the vocals and damn that guys doing a great job on piano. 
3. Sometimes: This is a ballad, with acoustic guitar. This isn't anything to write home about, but I do like it. For whatever reason I could picture Cat Stevens singing this. Maybe it's late, and I've got a buzz, but I can see that. I guess the only complaint is I wish it wasn't so sparse. Like the song gets louder, I wish there was a bass or percussion or piano. Something to add an extra texture to this specific song. 
4. You Know Who You Are: Alright, maybe I'm a sucker for this CSH sound, but I really kinda wanna cry. I mean this is kinda sad, and I really like the song. Though I do really appreciate how the song gets uplifted. This is a solid tune and I like the changes. 
5. Railroad Days: This song has a nice acoustic feeling to it and I like how it could be a folk tune. Like I could very easily picture this, maybe with some different instrumentation, being a song that the rail road men would play on their banjos or whatever while they were on break. The only real complaint is the guitar kind of over powers stuff, and when he sings with his soul its muddy. I mean I'm listening to a vinyl rip, but I wish it was clearer. But then at the same time then it'd lose some of the atmosphere. I don't know, maybe turn the volume down a but would fix the problem. It does feel a little long. Maybe cut a verse, but I still like it. I get why it became popular after he blew up. Plus I feel some chord progression similarities to Still the Same? Maybe I'm wrong, but who knows. 
6. Louise: I really like the rock and roll feeling to this song. It's a nice change of pace and I like the foot stomp. It's fun and works so much better than that one song on that one album. *cough* Open All Night *cough*. This is also nice and short and sweet. 
7. Song for Him: This kinda feels, to me, a proto-We've Got Tonight. I do dig this, and like how its quieter. There is a nice atmosphere to it and it works. The only complaint is it would be so much better if the album wasn't like this.  It gets louder, but whatever.
8. Something Like: This is a good way to end, and feels like the end. Other than that I've kinda of ran out of things to say about this album if I'm being honest.

Overall I have to give this album a 7/10. Okay, so this things pretty great. Now I read on wikipedia it was compared to Nebraska. These songs are not only better, but they are also far less samey than that fucking album. Check this thing out if you can, I recommend it. If I find it for the right price, I'll probably pick up a copy.  But if I don't then I won't be too disappointed. Hopefully I'll have Pet Sounds, Torture Time!, Born to Run and possibly Blood On the Tracks out this month.

Foreigner - Cat Stevens

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

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

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

Low - David Bowie

Yes, the time has come for me to review his "master work". The album considered by many as one of the best albums ever. Now when I say this, I'm referring to the 11th studio album by David Bowie. Now I personally love the hell out of this album, cover :D. This is supposed to be based off a promo poster for the movie he was in "The Man Who Fell To Earth". There's pretty much where The Thin White Duke is from (the film). This album is the first in the Berlin Trilogy, all of which were made with Brian Eno. I've actually enjoyed this thing from the first time I listened to it, but it wasn't until he passed that I really could say there was a connection with me and that record. Maybe I know what it was like to be at a low, there was other stuff besides just his passing going on. I mean life gets you there from time to time, but you learn and grow. One thing for sure I can disclose right now is, I can't say how many times I listened to the first half (or the entire thing as a whole) in the car while I drove to and from school. It's like a lot. So without further a due, does this live up to the hype? Is it a bunch of hipster bullshit that is buying in to a subpar record? Is Eno responsible for its level of brilliance? Am I qualified to review albums? This and many more will all be revealed to you below. So please feel free to say I'm full of shit, as I delve into this master piece of ambient/avant-pop/.

1. Speed of Life: This opens the album and sort of takes you to another place entirely. Like really, even though Bowie has since said (paraphrased) "Station to Station is just a rock version of what we were trying to do on Low", it still sounds pretty different. I guess I can see that comparison, but this is so different at the same time. The textures here are gorgeous, so are on the others, but this really just makes me want to dance. There are rarely instrumental intros that get me pumped and basically an immediate feel to sit through it, once it clicks. It just works so well as this albums opener I don't really know what to say. I love the dance feeling to the track and I love those icy synths that send shivers down my spine. The player are really doing something here that and I really just wanna re-listen to it once it's over. It also have a feeling of driving, like a broken up car is speeding down a highway or something. At least in my mind.
2. Breaking Glass: Where the last track was sort of bittersweet, there was a joy but it was mind of damaged, this is more of the damaged man trying to find joy. But he is sort of disillusioned by his fears and anxiety. Now I'm not saying that what it's about, that's what I'm saying it sounds like. This is also more "jagged" and abrupt and loud. I mean this isn't Merzbow territory or Boredoms but this definitely is less poppy than say some of his other stuff. Though I still love it.
3. What In The World: What do you expect when you get Iggy to contribute harmonies on this. I've heard this song at least 20 times and I still can't figure out that like Mario sound in the beginning. This track is another fast track, but I really like Pop's echoed backing vocals. I also really like the harpsichord sounding synth on the track. The textures on this thing, and whole album are great but still. I also really like the chaotic feeling and almost disoriented feeling you get towards the ending of the track. I think it's pretty damn good.
4. Sound And Vision: This is my favorite track off this album. This is also the track that I think is key to understanding this album as a whole. It's quite literal, it's not cryptic, it's like about as straight forward as you could possibly lyrically without taking the time to explain it in the song. This is both upbeat, but the way it's sung makes it haunting. It's happy, but it's also kind of down. It also has some great synths, very poppy feeling and that sigh in the beginning is so fucking great. Also I couldn't not mention that lead guitar playing the melody, fucking great shit. Mary Visconti, or Hopkins, comes in and is the female backing vocalist on this track. I really like her little thing she does and then Bowie comes and there's this vocal, then distorted vocal, I don't know if that's just on the CD or if it's also on the vinyl. Fucking phenomenal. Plus that saxophone, damn.
5. Always Crashing in the Same Car: A favorite of mine, its so smooth and chill. Very laid back and fun. The more I listen the more I love this thing. There is the obvious literal interpretation of him  crashing the same car continuously. This song also has meaning to me, because while it's about literally crashing a car over and over, I still cry when I go.... wow I'm doing the same shit over and over again. There is also a mellow feeling to the track that is almost deceiving. Well not almost, it is deceiving. There is also a top notch solo on this track that thank God for Carlos.
6. Be My Wife: This was to Angela, his wife, the two of which were going through problems. I guess he left America then went to France, or Switzerland, and one live in one place and the other... I don't exactly remember but there was just shit going down I guess. This song was looked at as his final plea to keep his marriage alive. Sadly they were divorced by 1980. But as for the song it's much more of a rock song and is pretty straight forward, hahah. No it's not to crazy or complex, though I do loves me some four on the floor. There is great playing from everyone once again and it's a great tune.
7. A New Career In A New Town: This is a great tune to close side 1 and is just fun. There really is a feeling that its like going through somewhere for the first time and feeling that feeling of a new beginning. I love the distant synth and that drum beat keeping time. It's so fucking good, and it's just like once it starts and that harmonica comes in.... I can imagine exactly what the title suggests. A hopeful song, but also shy and unsure of itself. The playing here again, thought much better than the last track, is still amazing.
8. Warszawa: Opening side two we get something entirely new for him. Nothing on any of his prior albums remotely resembled this. Eno is supposedly responsible for the chords to the track, but damn if this isn't barren. I mean I could see if Chernobyl happened in the 70's this song being written about and for that. Don't get me wrong this is amazing and can send chills down your spine, but its also gorgeous at the same time. There is a haunting beauty to the chord progression, the sounds, the textures and the everything basically. This could be the most realized song of the style on this album. Like the albums masterpiece, which isn't something new. It's crazy to think the only things used were a minimoog, piano and Chamberlain played by Eno, and of course David's vocals. I guess the lyrics were based on the recording of Helokanie by "Polish folk choir" Śląsk. I still love the fuck out of this and also this kick the shit out of anything John Carpenter could even try to do. That being said, this was written by Eno with the vocal stuff from Bowie. Also the 8 minutes don't drag on at all, honestly, they are well earned.
9. Art Decade: I like the little electronic flares that pop up in the beginning. This feels almost like its underwater and really has some amazing textures. There are these like sleigh bell things and then these little flashes that sounds like something darting by. The title is a play on the words "Art Decayed" and I assume "Art Deco". I could be wrong, but I doubt its "Decade" as in 10 years. I don't have a ton to say about this track but I really is hypnotic and relaxing. Not as much on edge as the last.
10. Weeping Wall: This is basically a variation on the song Scarborough Fair, which that kind of does bother me a bit but I guess it makes sense. I mean I love this instrumental none the less, but that does deduct some points there. I personally love percussion, especially pitched percussion. I wonder if Reich inspired this track, if not for the lead synth I'd say this is very minimalist. It is very repetitious, but I still love it. I also love what I'm assuming is treated guitars. This is also very hypnotic, and I'm kinda waiting to ear the song progressively disintegrate as Come Up to Show Them Does.
11. Subterraneans: Closing we get the whole band back together. I really like the bass in the beginning and this very much feels like a Residents track. This is very quiet and I almost feel like was supposed to have strings. There is a ending feeling of this and that saxophone kinda of reminds me of 80's music, but not like in a bad way. It feels very sad and this feels just distant. I would like to see the track get nice and confident and grow, but this is more realistic. You don't just get out of it right away, even once you've accepted it. It takes time to heal and this is the ending. I also smile when I hear echoes of futures songs and ideas on later records by him in this.

Overall I have to give this album a 10/10. Okay, do I think this is the masterpiece everyone else seems to claim it is.... I mean if you mean in terms of nothing wrong, then yes. I mean the more I listen to this the less I find error. I have to actively seek out negative aspects in the songs. There really is nothing wrong with this album. Sadly I have to say I agree with this being one of the best albums ever. I think part of what the appeal of the record lives in the fact he was at the lowest point in his life. While that might be lower than I'll ever sink, everything is relative, you can probably relate using your lowest point. A drug addiction for someone may be rock bottom, where as depression may be for another or divorce even cheating. All those and many more it just varies from person to person. The fragmented and broken lyrics and music on side A are very transparently relate-able. A broken man trying to write and basically get his life together. There is a comfort knowing that you yourself, regardless of the dilemma, are not alone. When I listened to this record I sort of got a sense of comradely (hopefully that's spelled right) in Bowie. As much as the world sucks and is really pointless (outside of music) there is a sense of peace that once it clicks you feel. I can kind of understand why people hold this in such high regard. I don't think it's the best record ever, as with his other material during his prime it is amazing none the less, but it's not far from it. I also want to say, along with that comfort, there is a sense of hope in these songs. This really is great.