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.

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.

16 and Savaged - Silverhead

This is the second, and final studio album, by glam rock group Silverhead. It was released on Purple Records and features Michael Des Barres, one time husband of the beautiful Miss Pamela and also know as Murdock on MacGyver. By the way, I know both of those things and watch the show on occasion. It also features Nigel Harrison  who was a member of Blondie and co-wrote some of their biggest hits, including their biggest hit. The last person, while not a member, played on the record Ian MacDonald. The saxophone player, you know he played with Giles Giles and Fripp and Foreigner and the lesser known Centipede. Oh, also Rabbit Budrick, who tours with The Who was a player on the record. Okay, so I'm gonna be honest, I don't expect great things from this record, but who knows maybe I'll be surprised.

1. Hello New York: Off the bat, the drum beat reminds me of something else. Is that bad, not necessarily. The song though, Ramblin' Gamblin Man, is more interesting than what sounds this. This feels very much like a glam rock song. This really could pass as a Mott the Hoople song, but not as interesting. Also Mikey, your vocals are kinda rough but not in the good Ian Hunter way. That saxophone doesn't help the comparison to Mott :D
2. More Than Your Mouth Can Hold: While the track has some nice slide work, I can't help be think Mott, again. I know it's probably gonna be a terrible review if this keeps up but yeah.Oh, yeah this is a rocker.
3. Only You: Hey, at least this isn't a rocker and has some organ. To be honest, I feel like if this  was in a slightly different setting, with some slide guitar or steel string rather, it'd make a goo Nashville Sound song. Like maybe a Dolly Parton or Tammy Wynette singing this, this could actually be a solid track. But this here, I mean it fits... I guess, but I feel like it could be better you know. I do like the organ though.
4. Bright Light: Shocker, here's another rocker! Though, I like the break down section a bit, even though the vocals are almost in the back of the mix. But whatever. Nice solo, kinda, but again, nothing special.
5. Heavy Hammers: Oh how cheeky, but seriously.... This is getting irritating. There isn't anything here at all. Where's the fucking beef, meat power. I cam up with new lyrics. "I got nothing to say baby, we can't think of anything, how about yoooooo". Also this song has a reggae maybe to it, but it fucking sucks. Like this is terrible. This would be good if it was 2 minute long not 3 1/2.
6. Cartoon Princess: Let's play where's Ian or Rod Stewart. I could see Rod singing this, also at parts Robert Plant. Nice wah wah.
7. Rock Out Claudette Rock Out: ............................................ Rod?!?!?!?!?!?! You know this could bat against Aerosmith and other rock giants.
8. This Ain't A Parody: Gotta wonder if Axel Brawn was a fan of this album, or this song at least. I really hope this group is a pardoy, because then at least you could say it isn't funny. But like if this is a "we are for real"..... oh no! Cringe! Were Not A Parody, Heres The Shithead. As the song starts, I don't even want to sit thought this, because it's just a cringe building.
9. 16 And Savaged: I know everybody loves a good statutory rape song. To be honest, if  it's good I don't mind. But it's not here, so I do. Let's fuck 16 year olds, cus Rock n Roll.

Overall I have to give this album a 5/10. This is another rock record that is just easy to digest. I like the cover a lot, and it's pretty notable, but outside of that there isn't anything here that can't be heard better elsewhere. I kinda predicted it wouldn't be that great of a review. I mean the playing is well enough, but again there is not much to take away as memorable or new or fresh or original, even if you look at that point in time...... Though I will pick up a vinyl copy some day ;).  Hopefully I'll have a few more reviews up this week, the ones I picked are quick and easy to do.

Hard Nose the Highway - Van Morrison

Today happenes to be St. Patrick's Day. The made up holiday that is an excuse for Irish people to get drunk. I'm very Irish, something like 30-40% maybe more. Its the biggest chunk of what I am. So I decided why not celebrate my heritage with a quick and easy review. And I was gonna save the Thin Lizzy one for next year. This album I chose happens to be the seventh studio album by Irish singer/songwriter George Ivan Morrison (better known as Van Morrison). This is notable for it's fucking amazing album art, seriously look at this picture. And then look on Discogs for the full artwork. Which I couldn't find a decent version if the cover. While I like this album, I'd buy it alone based on the artwork. The other notable thing is the fact that this is the first album he released as a solo artist with a song not written by him. Okay, so now that that bull shit is taken care of, let's review this often considered low point and mark decline in his peak years.

1. Snow in San Anselmo: One of my favorite songs I ever heard the first time I heard it. It's also the first song by this guy I heard and I was confused by. I mean I have been impressed by how I like or respect some of his songs. But this is a completely different feeling. The song features the Oakland Symphony Chamber Chorus and it's kind of..... The way the sound and their use is one of the oddest I've ever heard for a choir. It also makes me envoys because there is no way in hell I could have ever came up with anything like this. The only logical thing I can get from this is I read it was written when he saw snow in that place. And I think it's in California. So for it to snow in California would cause panic and confusion. That is this song.
2. Warm Love: Some consider this to be a sequel to Crazy Love. This actually sounds like a sister song to that, but like a lesser version or re-write of it. There is more woodwind and I mean I dig some of the stuff, but I can't really say it's great. I think it works after the cool off from the epic that was prior to this,
3. Hard Nose the Highway: This isn't that terrible of a song, it sort of reminds me of something that I could hear on a prior album. I can't really complain about this, I mean it isn't amazing, but it's about the same level of most of the songs by him I think are just okay. Like they aren't amazing, but they aren't terrible. They are fun to hear and pretty decent listens.
4. Wild Children: This song is about post-war children growing up in other countries and getting their source of role models from American anti-heroes. The wikipedia page makes more sense for explaining it. I guess that makes sense, but I'm more interested in the music first, then the message. Ehhh, it's a chill song. I can't say I'm getting into it though. I mean it's not gorgeous, or mind blowing. There are bits and pieces I can say reminds me of this or reminds me of that. I don't know, just kind of chill. Nothing special in my opinion. Good playing though. Also, for whatever reason, I don't like his use of name drops.
5. The Great Deception: This is a political song, and once I read what it was about it inspired me to out write it. Okay, yes the last song and this song are different, but they are similar in mood. They are both jazzy chill easy to listen to songs. This happens to be a bit more upbeat, but I mean it isn't anything mind blowing either. I mean I honestly like listening to this, but I'm not sure if I'll revisit it. I mean it's better than the last tune, maybe a 7, but yeah.
6. Bein' Green: This is a cover of the Joe Raposo track that is from Sesame Street. I though this was an odd choice, but you know, I don't know. In the context of the record I guess this would be the one to do it on, and the style is very fitting. But is it necessary? Yes it's a nice touch, but is it necessary.
7. Autumn Song: This is 9 minutes, and yeah it's nice. But I want something else. I want to be thrilled, I want to feel something rather than a stroll through the park smoking my cigarettes in New York. Give me something please, this isn't bad it's just so samey. About 4 minutes in and I've very bored. There really is no need for this to be 9 minutes long. At all, maybe 3 or 4 tops.
8. Purple Heather: This cover of the traditional song of Scottish Origin. Other artists who have done versions are Thin Lizzy (as a part of Roisin Dubh), The Cheiftans (2001), Joan Baez (1965), The Bryds (1966), Mark Knopfler (2002), Judy Collins (1961),  Bob Dylan and last one I'll list is Marianne Faithful (1966). Now this might work as a finale to the record, it maybe have a sort of soft ending to what opened on such a high note, but this version of the song is just boring. I mean it isn't terrible, but it's just it's like the other tunes. Kinda pretty, not gorgeous, but just....................... SAME!

Overall I have to give this album a 6/10. It's funny, I can't say I love this guy, his vocals often get on my nerves. But when he has a solid track T.B. Sheets, Wild Night, Snow in San Alsemo, I've Been Working, The Way Young Lovers Do and so on there are a ton of other okay songs. This album is very consistent in it's underwhelming-ness. I mean I don't hate it, it just doesn't live up to that title track. I'd suggest Moondance as the album to check out.

Aladdin Sane - David Bowie

The last memorial album I did didn't go over so well, so why not review an album that I consider one of my all time favorites. It is in, some what, continuous play on my iPod/Spotify/iTunes/Anything Really. And as much as it sucks he's gone, let's hope this review is positive enough, though I'm not going to lie to you, I know it'll be a fitting goodbye to one of my heroes. In past reviews I've mentioned how much he means to me as a musican/writer and there is no way I'd ever be able to pay him back, and since I need more time to dissect Blackstar, Aladdin Sane is the natural choice for this (if not counting the ones I've done and not Lodger). But anyway, here are the facts, this is album number six. This was the first of two albums released in 1973, the other the covers album Pin Ups. This was released in April of 1973 and was mainly written while David was on his American tour for Ziggy. This is looked at as Ziggy in America, and that's a great way to look at it.

1. Watch That Man: maybe not the best song here but damn is it a solid glam rocker. From the hard rock guitar and the piano and the nice ass drum beat. This song is a terrific opener. Like I said this is pretty straight forward tine, one listen basically gives you everything there. You might pick up on that piano later, but it's still a nice rocker.  Actually the backing vocals are awesome and that piano reminds me a bit of that live performance of Search and Destroy on the Legacy Edition of Raw Power. 
2. Aladdin Sane (1917-1939-197?): So we opened with a rocker, a straight forward tune. The following track couldn't be more different. With a title that hints WWIII could happen sometime in the 70's this odd European tune is one of the things I love about this album. It kind of throws left hooks. This song has some gorgeous piano from one Mike Garrison. The chorus here is as catchy as any of his other, more poppy songs. That guitar riff, and that tone (esp. During the verses, Damn!). I love the sort of freak out with the saxophone backing up the insane, almost mad man playing of the piano. I mean yes there is logic to it, but to a regular person.... WTF. I'm serious if I played the solo section for someone out of context they'd most likely be confused. This song is great and I couldn't ask for something else for this spot here. And that ending :)
3. Drive-In Saturday: A classic, and by that I'm serious. I guess this is about people in post apocalyptic.... just look it up. It's kind of interesting. Plot aside, this has a doo-wop sort of vibe to it. It isn't straight doo-wop though, like some of his best tunes.... It has this weird atmosphere to it. Seriously, I mean it almost makes no sense, but it's a solid ass fucking song. I love every second from the sax to the vocals to those backing harmonies. Plus the lyrics are pretty funny, in a kooky way. 
4. Panic In Detroit: Another rocker, though this is more of a hard rocker. I can't recall if this is about anything, like a real riot in Detroit, or whatever but I honestly don't care at the moment. This song is much better than the meaning and it doesn't need a meaning to make it good. There's a reason he played this live in the years to follow. It's a great rocker that is probably the closest The Spiders would get to TMWSTW. There are actually riffs where it sounds like it could go into the extended solos on that record. Even the opening just shouts rock and roll. I mean really. Also I should mention, this sonically sounds different from the other tracks, but not enough to not fit on this mixed bag of rock and roll tunes. I love the backing singers here too and we get to hear Mick just rip.
5. Cracked Actor: This is the only song I can say that I don't either Love. I mean it isn't bad, but compared to the other tracks I don't think it's as strong. You can almost look at this as a rewrite of Jean Genie. I mean this is a good glam rock tune, I just don't Love it you know. 
6. Time: This song starts out with a piano that is avant-gardeish. There is this vaudeville feeling to this track. I feel like this could be a cabaret number. It's very odd, there is a type of closure you get with this song.... now at least. It's got everything here that makes this album great, vocals, I love the guitar when the song gets more intense. I love how it goes back to the beginning and just feels like odd, even thought in reality it isn't the odd. Mick has some great guitar parts here that just add and, he's fucking an amazing arranger period Those backing vocals are great. I mean in reality most of what makes these songs great is on each song. The only thing is they all are different enough, to where you could call this a mixed bag of songs.
7. The Prettiest Star: A rerecorded version of the 1969 single, written about Angie Bowie. On the original Marc Bolan played lead, and Mick tried to replicate that guitar on this recording. This is a happy song, and I mean I feel like it's sort of heartfelt. It sort of reminds me a bit of Kooks or Soul Love or just a number that may not necessarily be the "insane genius theorist" he is elsewhere. I like songs that show another side to a guy, this is one of those. Nice saxophones by the way :)
8. Let's Spend The Night Together: The only cover on this album, it was originally released as a single by The Rolling Stones in 1967. Opening with a sort of weird heavy psych, feed back and then what I can describe as atonal piano hits. The songs rushes into a performance, and damn this thing fly's by. To be honest, the best performance of the song. This almost sounds like the original, but better heavier and more rockin'. 
9. The Jean Genie: What can I say about this track. It feels like a pirate is playing this. Seriously, I much prefer to think the Rebel Rebel video Bowie is singing this. This riff is just one of those, and yes you can hear it towards the ending of Width of a Circle, but here it's just so oddly perfect. I can kind of imagine people in the 70's going... what the fuck, this is really good, but still what is this. There is a reason this is as famous a song as it is. It's classic. Go Mickey Go!
10. Lady Grinning Soul: Argue with me all you will, but I believe this to be the most romantic track to ever be written... ever. You can't top this, not Marvin not Smokey, not Ole Blue Eyes nor anyone else. Keep on listing songs, you'll never change my mind. From Mr. Garrison's opening piano rolls, to David's sole vocal introduction. Listen to this thing, I mean really. Everything here sounds so damn good, and just the playing is so tight. I really can't find anything wrong here. I love the saxophones, I love the Spanish solo. The piano and guitar duet, Mick you are a genius. This word is almost too good for words, every time I listen to this I cry a bit. This song is perfect.

Overall I have to give this a 9/10. This s very much an Americanized version of Ziggy. On top of that its a great fucking album, there isn't much to complain about here. I mean really, every songs is unique, and they are all solid performances. I guess you could complain there's a cover, but that's just nit picking. Bowie my friend, you may be gone, but I know you're one of the few people to make a string, constantly great to amazing albums, from 1969 to 1980. Though I may never be able to tell you, or thank you for everything you done for me I also don't think I'd be able to either. Sometimes, actions speak louder than words. I'm gonna miss you.

Squeeze - The Velvet Underground

For whatever reason I've been siting on this review for at least a month or two. This review was done in a day, outside of one song (which i had to look up for the description. That was actually what was holding it up). So I don't get why it wasn't up sooner. Considering that I now have some 200+ drafts accumulated for review, why not get some done. Anyway; this is the fifth, and often forgotten (intentionally), Velvet Underground album. It was released in February 1973, and was the final studio album by the group before the break up. Now I get the whole "not a Velvet's album" belief, because technically it wasn't. There were no original members, and the only member who played who was a member before Lou left was Doug Yule..  He replaced Cale in September 1968, making his first album appearance album titled The Velvet Underground from 1969. Now Lou Reed left in August 1970, Sterling left in August 1971, and Maureen officially left in December 1971. So from January 1972 to February 1973 Doug was the only actual member. This album also features performances by Malcolm (just credoted as the forst name) on saxophone, who is believed to be Malcolm Duncan was as founding member of the Average White Band. The other performer is a drummer from Deep Purple, Ian Paice. Though he plays on I believe every track. And to be honest, if you can look past the sort of false advertisement.... This ain't half bad. PS my next VUview will be my favorite, and in my opinion the first real punk album.

1. Little Jack: Opening the record, I'm surprised how not terrible this is. Everywhere I've heard or read about this its pretty much treated like its shit. Seriously, the places I've read about this mention it not being a good album, but this album is starting out pretty decent. It has a 
2. Crash: The beginning of this song reminds me of shit ton of one of the more child friendly, novelty esque White Stripes songs. It reminds me mostly of just their honky tonk cute piano vocal songs. It also reminds me a little of Bowie's more show tunes esque Hunky Dory. Maybe Fill Up Your Heart. This could would actually fit snugly on that album. Out side of those comparisons, I like the song, but I have nothing else to say about it. The vocals actually remind me a little of Transformer's more show tuney songs. And I guess the endings kinda funny. Okay now I have nothing else to say. :)
3. Caroline: This song sounds like it's a rocker, but not over powering. So maybe like an older rocker. But the lead vocals the second they started reminded me of the vocals singing the song from the Mystery Science Theater 3000 episode Pod People. The part when he's in the recording studio, this sound literally sound like that could be the song featured in the movie they riffed. Well with a Beach Boy, Gary 'U.S.' Bonds inspired intro, but played at the end.
4. Mean Old Man: The title reminds me of Mean Old Frisco, or funny enough to a lesser extent Mean Mr Mustard. This is more of a rocker, like a hard rocker. The last was a more 50's rock and roll song... kinda. This is more of a 70's rocker I could hear Clapton playing.
5. Dopey Joe: This sounds like it'd fit on Transformer, just with more saxophones. Well kinda, the beginning at least. It kind of goes back and forth between one of those and honestly a Clapton or maybe a Stones song. It kinda reminds me a little of Start Me Up, among others.
6. Wordless: This sounds like a song off All Things Must Pass, but what song....... Either that or a Dead song.
7. She'll Make You Cry: Shit I can't think of..... The Dead. With a more rocking, at parts, played by not a member of the group.
8. Friends: Maybe a Badfinger song, a ballad.
9. Send No Letter: Another classic rock and roll tribute. Sung by a Reed sound alike.
10. Jack & Jane: This has a definite glam feel that songs like Wagon Wheel and the more generic glam songs on Transformer. The only real difference is switching out backing vocals, and instead of having Bowie having some less interesting.
11. Louise: This has a very ump pah pah piano. This is a pretty good song, that I honestly can't compare to anything. Well at least another artist. Except the whole Grateful Dead vocals, and the "Louieeeeeese eeeese" part. But I love how hypnotic it is. It reminds me of how hypnotic Being of the Benefit for Mr. Kite is, the first time they go into the psychedelic circus part. And I really wanna sing along to that part. That part reminds me of another song, but I really don't care. I really like the guitar tone here, and how in the beginning is more in the background. Also  I love the harpsichord sound,  and this song if you had the right guitar player it could be dragged out into like a long extended solo. And that part that follows the vamp, the piano voice part reminds me of if Elliott Smith covered Paranoid Android the same way he did Because. To be honest this is definitely the best, and most fleshed out, song here. I could totally see myself revisiting this song multiple times. Hell I might even want to learn it. With a few little touches up here and there this could be on par with the other classic tracks by the band. Honestly this is, if maybe fleshed out a little more could be as amazing as Paranoid Android. I could also be crazy. 

Overall I have to give this album a 6.5/10. Besides the fact it sould be considered a Yule solo album, this album isn't that terrible. It actually reminds me of the Tony Visconti solo album. Just a mix bag of styles, sounds, influences, and songs he wrote over a period of time. This is more of a solo album for a member of a band who wanted to play songs he loves and pay tribute to those styles. I think if the Velvet name wasn't tagged on here it wouldn't be so forgotten and hated. I mean at the end of the day the music here is very inoffensive and this could possibly be the most diverse of all the Velvet albums, and it's fun to listen to. Hell its more fun then Loaded, the "commercial album" by the group. If you can over look that little artist name, then I think you might like this, and if you like rock that's not bad or negative in any way, you'll like this. The only downside is there are a few generic songs, but what album post White Heat/White Light didn't. 

The Weird World Of Blow Fly

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

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

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

Never Turn Your Back On A Friend - Budgie

This is my first review of 2015. Now I didn't know what to do with this month. To finish almost complete reviews from last year, to just do them as I listen, or wait. Well.... This third album by the UK's hard rock group Budgie. This was released in June 1973 on MCA Records and was produced by the group themselves. Immediately when I see the cover I know Roger Dean did it. Another thing I know right off that bat is I'm diggin' these song titles. Whenever I hear that name I think of the line, in the Flight of the Conchord's song Leggy Blonde "I had a budgie, but it died. I like pie". I was asked to review this by a friend, who's blogger is here, back last year. Actually it's been at least a year. I think it was in February he asked me. Regardless, after finally getting a copy to listen to, I bring to you, Never Turn Your Back On A Friend (how fitting a title) by Budgie. 

1. Breadfan: This is a track that is probably most famous for being on Garage, Inc., a compilation which was basically a covers double album. It contains B-Sides and newly recorded tracks from '84-'98. That aside let's get to this song. This has the classic, thought not as powerful as on the later higher clearer Metallica cover. The singer actually sounds like a woman singing. It sounds like Janis Joplin singing this. The drum beat in the version I'm listening to is the clearest thing. But it's one solid thing. I'm diggin' the solo and love how it turns into a completely different song with the pretty acoustics. I love the whole entire acoustic section and love the way it sounds with this production. Then it goes back to the head. At over 6 minutes this is a promising opens {7/10}
2. Baby Please Don't Go: I don't think there is a blues based group that hasn't covered this song. From AC/DC in the 70's to Aerosmith in '04 I could go on and on, and that's off the top of my head. Digging this bass tone, and also the cries in the intro. I also like the gutiar's crunch which would probably be beautiful on vinyl. My only real complaint is it's 5:30 minutes long. If it was 3 it'd be a lot better.
3. You Know I'll Always Love You: I like the acoustic opening to this album, and it's a very pretty song. It's kinda mesmerizing. This is a great song, but I feel like this could be a better example of a fresh breath of air if the first track didn't  have that acoustic middle section.
4. You're the Biggest Thing Since Powdered Milk: Killer drum fill opening. This is a pretty rocking track. I do enjoy this, and the other songs, it's just there is music that I've heard like this so many times before this isn't as enjoyable as it could have been. Thought I do really like that change in tempo with the bass "riff" and the part where it sounds like Uriah Heep. Actually I could have just done with that later half of the song.
5. In the Grip of a Tyrefitter's Hand: Honestly I don't have anything else to say here, solid song, solid playing... it just. It reminds me a little too much of Judas Priest's early stuff to get excited by it. It'd rather listen to a fuller more developed sound vs a trio. Also I think it's kinda long, thought the ending is pretty solid. I really like the drums at that part.
6. Riding My Nightmare: This song is very very pretty. It almost doesn't fit what was just happening. But again, I feel like they did a "hard rocker, ballad, hard rocker, hard rocker, ballad, hard rocker" and so on. It's very predictable and I've never listened to this before in my life. To be honest, if this is the same singer as the rest of the album, this is what his vocals are fit for most. I'd love this song, it's just I predicted it.
7. Parents: I'm guessing this to be a hard rocker. But it's 10 minutes long, so don't forget to add in an acoustic or softer part. It starts out rockin', not quite hard rockin', but rockin'. Then goes into a softer more acoustic oriented part for the first verse. It picks up for what appears to be the chorus, but still. To be completely honest, I feel like if Priest were handed this song Rob would sing this thing until it became his submissive. I am digging the squeals in the solo though. This is kind of too long for how mellow it is. I mean the solo doesn't take it out of this mellow ness. Mabye my copy is bad, but if it isn't then ....... Listen to the song The Messiah Will Come Again by Roy Buchanan for a better version of what they were going for in this track, a far better. The 1972 version is probabyl closer in production, but it doesn't really matter.

Overall I have to give this a 7/10. To be honest, beside the hard rocking parts and the acoustic variation parts, there wasn't much else here for me. This wasn't that adventurous of an album for me. It could have been an album that influenced bands like Metallica and possibly to a lesser extent maybe Megadeth but outside of the inner circle, there isn't anything that I would really return to here. To be honest, there was lots of things here I've heard before by Priest, or at least remind me of them. I'd rather listen to their original albums than this.

Houses of the Holy - Led Zeppelin

This is the fifth, and my favorite, album by Led Zeppelin. This album is much different from all the other LPs by them and deserves more praise. It was released on March 28th, 1973 and recorded from January to August the prior year. This is the first time that Zeppelin didn't release an album every year, I and II were from 1969, III was from 1970, and IV was from 1971, this was from 1973. If I'm also correct this is the first album done by their longtime collaborators Hipgnosis. This also includes funk and reggae, and it's a more prominent through the album. The albums prior were all Blues/Folk/Rock. I really got into Zeppelin from Mothership which was on sale because Circit City was closing and we went there the day of the Super Bowl 2007. Instead of watching the game I played the two disc on that CD and Damn! I still love some of those songs, some more than ever. But here's my review.

1. The Song Remains The Same: This opens, and sets the tone, for this trip. And damn, this is one journey. This track, when played live, was another to feature the famous Gibson EDS-1275 that he used in Stairway. The reason is because he needed it for the next part. On the studio version he overdubs with a Tele and a Rickenbacker 12 String, but that's enough facts. This intro pumps you, and it is tight. Like the later Achilles Last Stand this is great. It was supposed to be an instrumental overture into The Rain Song, but the lyrics give it so much more power. The playing from everyone on this track is top notch and probably the best on this album. The energy emoted from this is amazing, it literally blows me away with each listen. I'm still coming back after almost 7 years of loving this song, the Super Bowl this year will be 7 years. JPJ and Bonzo are just fricken Gods on this track.
2. The Rain Song: This is a pretty song, but it's also kind of slow. It's also 39 seconds longer than the second longest track No Quarter, an even 7 minutes. The mellotron reminds me though of the orchestral effects in I Talk To The Wind, and it actually kind of saves the song a little for me. This is very nice and I somewhat agree with Plant about it being his best vocal performance. I like his vocals on Achilles more and the prior track, but what ever. The song progressively builds up. If I'm correct there is an alternate tuning in this song? Probably why it achieves that weird guitar sound.
3. Over The Mountains And Far Away: This sounds like it'd be fun to play on acoustic guitar. This is another tight song. Not as tight as the first track, but it's great. And continues where The Rain Song left off, but picks up the pace of the album. This is a fun song, and the riff right after the solo it awesome. I love the playing on this song, and I think that the acoustic guitar sounds awesome. I also like the whole instrumental ending.... I don't want to spoil it if you haven't heard it, but it's pretty epic.
4. The Crunge: This is one funky song. It reminds me a little of reggae infused into Mother Popcorn. I love the mellotron, or what every Key instrument JPJ is probably using for the song. It almost sounds like its being played backwards, which reminds me of their take of Revolver. I think the way he "speaks" at the end gives the song a little humors vibe to it.
5. Dancing Days: This song is odd, but it's great. I like the organ and the odd time signature in this song, If I'm correct it also changes keys in this song. This is just a bizarre song that I hardly imagine would be on the radio if it wasn't be Zeppelin. This isn't that serious of a track either. It kind of falls into that No Quarter realm of odd sounds. Not as atmospheric, but definitely some different things here
6. D'yer Mak'er: This is probably, no it IS, the funniest moment on this LP. I just want to sing and play along to this track. This is the most reggae on this album, and Zeppelin ever really got. I don't really have much to say about this track, the distortion is sick, the solo rocks. This is just a really fun and not entriely serious song. The title's a pun on "Why'd ya make her, Jamaica". I also love the whole whispered voices at the end and that they add stuff at the ending, it's not just boring and repetitive, they add other instruments and part. The honky-tonk piano thing.
7. No Quarter: Damn, this song is defiantly a foreshadow. They would do that atmospheric eerie sounding songs on later albums too. I remember being creepy out by this track years ago when I first started getting into Zeppelin, I used to skip this song. Now I almost always listen to this track when I get the chance. That mellotron in this song is damn great, and defiantly why that's one of my favorite instruments. Imagine hearing this for the first time, it's pretty intense. Now it's not as much of a scare, but still. I used to be afraid to listen to Eleanor Rigby and Mr. Kite. The whole piano solo part just kind of takes you to another planet. I could see why people would get stoned to this. I could only imagine what this would be like to hear on that warm vinyl record. The riff in this song reminds me a little of Echoes, like how it's atmospheric and then there's a sick ass riff. I love the ending, when he says the title. That's probably my favorite part, all that guitar fuzz. I need to know how they got that fuzz!
8. The Ocean: This wraps up the tone of the album, giving it a proper end.  This album has an ocean vibe to it from style to the titles of tracks to the artwork. Naming the end The Ocean brings this theory full circle. As everyone knows the truth, The Ocean Is The Ultimate Solution and I'm just pointing it out. This isn't as funky a song as some others, but I like the whole A Capella thing too. Something that reminds me of a song they'd do later on In My Time Of Dying.

Overall I have to give this album a 9/10. Though some of these ideas were later expanded on, this is where it "started over" for them and truly is my favorite album they've released. I mean, they were already established as a blues band, but they kind of got rid of that style for this album, and it worked very well. This album isn't that serious of an album either, which gives it great power.

Aerosmith

This is the 1973 debut album by one of my top ten favorite bands, Aerosmith. I figured that, since I already kind of know what Music From Another Dimension! will most likely be getting, Why not do a quickie that will help explain the review of that one. Go back about 4 years to a boy, 13, who was obsessed with the video game Guitar Hero. He had gotten each, since the "80's Edition", on the day they came out. Now imagine anticipating this new "Guitar Hero: Aerosmith" the first game in the series based off a band. I know my mom liked them, and I did kind of like them before I heard about the game. Well I anticipated that game. When I got it the day it came out I beat it in a day. I'm pretty sure it was in Expert too. Well anyway, I needed to get a copy of Train Kept A-Rollin for my iPod, and the Rockin' The Joint version wasn't doing it for me anymore. So I ordered the Get Your Wings cd off their website. Soon after that I got Rock in A Hard Place for the song Lighting Strikes. Well those albums are both awesome. Since then I have all but like 3 or 4 compliation Cd's and I think 3 of the Live Albums and 3 box sets. I have, now, all the studio albums (minus MFAD!). Well that was a lot. They were the first band I ever really go into. This was one of the last Cd's I got by them. I actually just the winter, got a vinyl copy of the 1975 reissue of the album. I like that version more then the CD. It has more of a "Blues" vibe to it. I'll explain that in the review though. I don't know if I mentioned this already, but these guys were my first real ''favorite'' band. This also was released the same day as Bruce Springsteen's debut on the same label. I have that on vinyl and cassette.

1. Make It: This songs starts the album. This is probably one of the most solid intros to an album I've heard. When the lead guitar comes in with the vocals, UH! It sounds beautiful, the Joe's tone for some reason is just so crunchy. This is a true crunch for guitar. The little guitar fill right before the solo. And the solo the tones of the guitars are amazing. The vinyl only makes the tone sounds about 100 times more crunchy. But that's a little beside the point. What I'm trying to say is in the intro you can hear someone clicking something. Now when you listen to this song it kind of sounds like they did one take. Look at it like this, "Hey were broke. We got a deal for an album. But we don't got enough money to do a million recordings of these songs. So it's a one take jam. What gets mixed in is mixed in. Fuck It".
2. Somebody: This song more so than the last, the intro riff is playing to start the song off and you can heard a up strum on, I assume, Brad's guitar. There are also a couple of parts in this song where it kind of sounds like there are some ''mess ups''. Which are quintessential on a "true blues" album. If you want that blues feeling you need to just pump out the jam and make it work. I love the way Tyler sings along with the guitar solo in the song. It kind of reminds me of what he did in the solo for the title track off 1977's Draw the Line. That is probably my favorite Aerosmith album. I love the vocals at the end when they like ''double'' and the ending of the song where you can hear the feed back.
3. Dream On: I don't think you can hate this song. This is the only song that I don't think they could have done in 1 take. At one point I could play this entire song on guitar. I like how the "All these line's on my face are getting clearer" is a, most likely, cocaine reference. I never would have realized that if some on didn't point it out to me. The bass on this song is super cool. The drums in the background are hard to hear during the verses, but they're there. The piano in this song super sick that it's playing along with the guitar solo in the song. This song is such a super uplifting song. This was one of my favorite songs, and it helped me get interested in the band. The song kind of sounds like it's messed up a little at the very end.
4. One Way Street: The intro to this song is just pretty cool. If you listen I think you can hear a laugh. I'm not positive, but I think you can. This song is a very bluesy one. There is a harmonica solo in the song. There is also kind of commentary from Steven in this song. And that also adds to this being a ''true blues'' album. The guitar solo in this song, which I often forget about, is pretty damn solid. I love how in this song, along with most of this album, there are parts where it kind of sounds like Joey is beating the shit out of his drums. I like the like ''fade away'' then ''fade back in'', thought there isn't a volume change and the bass is pretty consistent with not stopping. That kind of reminds me again of Draw the Line. Not the part when it's just Steven and the drums, but like 3/4th of the way through. At the very end of this song, like probably at like 7:01.5 there is a little sound. I think that's someone who's about to talk.
5. Mama Kin: There is sax in this song. There is actually kind of like ''hidden'' in the beginning. The way it sounds there is that it kind of reminds me of when me and one of my friends recorded a song, and since we weren't really paying attention, part of the song was in the background of a later part of the song. You can also hear like a hand clap while the guitar and the vocals are alone. This song is so sick. This song is super energetic. I love how this is a bluesy song, and they kind of add an element of Sax. They also did that with I Ain't Got You off the 1978 Live! Bootleg album. That song was recorded live around like 1973 so I could see that probably being like then.I almost think this was the last song recorded and it was in a big room where they were like, "Here's how you play it, GO!" I feel like they had fun with this one. This is an awesome way to start out side 2.
6. Write Me A Letter: I like the way this song sounds. One thing is that it's better on the vinyl. I know I sound like I'm on the band wagon, but I'm telling the truth, from personal experience. I like the way that the guitar sounds right before the harmonica/guitar harmony. I don't know why, but I always forget about the like bridge of the song. That is probably the best part. Where it's like he's talking along with the guitar. I always forget, but it's funny because I love it each time I hear it.
7. Movin' Out: This song is the quintessential ''true blues'' song what I think of when I think of the like ''production'' of this album. This song has like a cough and just, I can't really even explain it how much I wish I could. This type of production is what is like ''BLUES''. I'm not putting other blues down, but when I think of hard rock/blues/blues rock this is the song I think of. This is one of my favorite songs in... ever. I wish they'd write more songs like this together now, Tyler/Perry. The new album has the first solo joint Tyler/Perry credit a studio album since Fever off 1993's Get A Grip. That 19 fucking years Holmes. Damn song writing partners. I know that an unaccredited studio guitarist played the Last Child solo, but that's different from the co-writing the song. {10/10}.
8. Walkin' the Dog: I think that this is my least favorite song. It's kind of funny a cover is my least favorite. The Rolling Stones did a cover of this song on either their debut or Rolling Stones 2 album. There a harmonica in the beginning, I think, that sounds like kind of jungle. This song is solid, but I don't really think it's my favorite song on the album. This is a song they didn't write and I think it's funny about how I'm talking about blues and this is a cover. I like the grunts Steven does and the kind of "do do do do dodo" harmonica sound during the ''solo''. I still like the guitar tone and the bass and drums on this song after the chorus, but it's kind of hard for me to say something negative really about this song.

Overall I have to give this album a 9/10. This is, in my opinion, a "true blues" album. 5 ''broke'' guys who only have enough money for one take of each song and we have to pay for this big open room. So there will be mistakes in there, but hey "Fuck It", it's good enough. That is what I'm getting from this album, and it is no doubt their bluesiest album, more so than the "Blues Cover Album" Honkin' On Bobo. Every song on this album, but 3, were written sole by Steven Tyler. That makes me question, what the hell happened since 1973. Well, beside the drugs and stuff. I'll explain better in the Music from Another Dimension! review. Movin' Out and Face 2 of my favorite song, along with some others, but those are like top 2. I also want to mention that I'm not putting other styles of blues down, but I just think that his is kind of like the nitty gritty sound blues should have. You know what I mean. Like classic blues at least.

Billion Dollar Babies - Alice Cooper

This is the Sixth album by Hard Rock group Alice Cooper. This was released in February, 1973. I thought the album cover was dumb until I saw the vinyl. It's a wallet. It's really cool. And neat to look at. Something I did for this album, and Muscle of Love. This was the last album produced by Bob Ezrin until Welcome to My Nightmare, two albums after this one. Sorry I didn't finish this up yesterday. So I'll have one up tomorrow.

1. Hello Hooray: This is the beginning to the album. This, lyrically, sets the tone that this will be "show". I think it's neat. This is kind of like the set up for a concept album. And hey, it ain't that bad of a song either. I do think that it could be a little shorter. Like, honestly, cut in half. I like that it fades. That's somthing that I've noticed Alice Cooper likes to do.
2. Raped And Freezin': This is a fun sounding song. And it kind of "surprises" you when it starts. Like it's quite and then this starts up. And the name of the song, that's weird. But in a funny way. You can't take this band seriously when it comes to song titles like Raped And Freezin' or Muscle of Love. It also has a pretty cool sounding solo. I don't think that it really sticks with me, but I did enjoy the song. I like that he mentions Mexico in the lyrics and then they go into a Mexican type of style for a couple measures.
3. Elected: I guess that this song is about political stuff. This song has an epic feeling to it. The one thing that kept going through my head was, am I going to remember this song after I finish this album up. Probably not. Good song though. I love the horns at the ending, and while it isn't as epic upon revisiting it it still is.
4. Billion Dollar Babies: I read Donovan said this was a horror song. Well after having that in mind, I could see that. This is a kind of scary song if you think about it. It's very dark, and lyrically it's dark. I don't think that this song has a ton of breathing room. Part of it has to do, at least what I think is, the voice effects. The rest of the songs don't really have any special effects going on. This song, thus far, is probably my favorite song. I love that part right before the chorus and the last verse where the bass speeds up. There isn't really anything I can say wrong with this track. It literally sends chills down my spine to imagine some singing this, the refrain.
5. Unfinished Sweet: What could be funnier than a song about being afraid of the dentist. Well a lot of things but still, stick with me. You get the point right, this is pretty funny. And it's a pretty good song. It's got an interesting guitar intro to it. And seriously there is a drill sound in the background. Followed by a "secret agent/James Bond-esque" riff. Actually it's almost exactly the theme by Monty Norman. I think this is just a really funny and fun song. And Guess what, That all happened with in 3 minutes. There is still another 3 to go. After the riff there is a scratching sound with like a drone metal vibe. Then the song starts up again. Kind of reminding me, the way it starts up again, of Funeral For A Friend/Love Lies Bleeding to a certain extent. This song is too much. Also I love the fade out and fade in. Ending with an "owe".  {9/10}
6. No More Mr. Nice Guy: This song is kind of boring me. I've heard it so many fricken times it's not even funny. This isn't a terrible song, but I don't think that it's all that special. It's a straight forward rock number. If you want a special song checkout Unfinished Sweet or I Love The Dead. Hell Elected is more energetic and interesting than this track.
7. Generation Landslide: I feel like this is tongue-and-cheek. It's a fun and bizarre song. I don't really know how to describe it more than just a catchy song, that grabbed my attention with it's fun vibe it has. {8.3/10}
8. Sick Things: This song starts out with a vibe that I won't like this song. I don't exactly know why, may because of the bass, but I am not sure. This song is eerie, but I don't really enjoy it, at first. The horns in this song make it easier to listen to. And help with the odd atmosphere to it. And I feel like there is a giant marching to the beat of this song. And there is a part where it sounds like stuff is being destroyed. The ending of this song has an epic feeling to it to. And flows into the next song.
9. Mary Ann: This kind of picks up where the last song ended. This song is a piano ballad and its pretty. The song then goes into a jive type of western song and it turns into it over a couple measures and is like this to the fade. {8/10}
10. I Love The Dead: This song is about Necromancers. Actually that's what I jokingly call it. I think that you can figure out, from what I said, what this song is about. Necrophilia. Now I don't really get into dead bodies. If I were to have sex, I would want to have sex with someone who was responsive. Not just lying there taking it. That's also why I could never drug anyone. Plus, unfortunately, its morally wrong, but I think the other stuff is more important. J.K. Rowlings. But Necrophilia is pretty fucked up. I like how the beginning is so, I can't really say this, but innocently weird. I like the little Japanese "dododo" string sound. This actually brings to mind A Little Piece Of Heaven by Avenged Sevenfold off their 2007 self titled fourth album. But more conceptually wise. This song gets better with the strings and he guitar escalates. The song is a total "Power Ballad", but a twisted one. And musically its kind of sad, and pretty. Especially when they add the horns. Really good way to end the album with an "Epic Feeling!". {9/10}

Overall I have to give this a 8.9/10. For the most part I enjoyed this album, but my biggest fear was while listening to it, beside maybe Billion Dollar Babies, Generation Landslide and Unfinished Sweet I realistically wont take the time to listen to any other songs again. I did enjoy it while I was listening to it though. Well I do hope that I don't forget theses songs because some of them were pretty good. Why does Living Things by Linkin Park have to have a few really good songs. The ballads of course. But that's beside the point, upon listening after and re listening almost all the tracks, beside the problem few I noted, I have loved these more than before. This album is my Rocky Horror, at parts.

Muscle of Love - Alice Cooper

This is the seventh studio album by Alice Cooper. This was his seventh album in five years. This was also the last, or second to last Welcome to My Nightmare, prior to Vincent changing his legal name to Alice Cooper. For some reason I love the crap out of this album cover. I actually think it's kind of hilarious. This album features the song Teenage Lament '74, and Man With The Golden Gun. This also has the was produced by Jack Richardson and Jack Douglas. This is a notible album because it doesn't have Bob Ezrin producing the album, and he has produced all the Cooper albums from Easy Action up to this point. I guess.

1. Big Apple Dreamin' (Hippo): This is the first track on the album. The beginning feeling of it is pretty solid. I feel like there is a "prog" type of feel. There is a blues rock vibe that I also get from this song. I didn't really expect for theses guys to have a song that had this type of synths. I think that this is more of a "solid" version of Billion Dollar Babies, the song. I'm hopefully going to have a review of that album up tomorrow. I like how this has this long fade out. I think it was a decent intro. And as the song ends there is a sole violin that comes in that sounds really cool. Again, I'm suprised.
2. Never Been Sold Before: The riff in this song reminds me of a shit ton of the title track off Nazareth's 1975 album Hair of the Dog. This has song has that type of drive to it that that song has also. I feel like this could have been a demo version of that song. If that makes any sense. I do like this though, and this also has horns.
3. Hard Hearted Alice: This song has this type of intro that reminds me of Black Diamond of the 1974 self titled debut album by KISS. This has this type of soft feeling to it. It also reminds me of like Genesis with Peter Gabriel, or Rainbow with Dio as the singer. This is just a building eerie song. I really like this song. It even has a keyboard part in there that sounds like something  a 70's Prog Rock band would do. The solo in this song switches back and forth from left channel and right channel. It's really cool. I'm not SHOCKED! by this, but I do like it. {8/10}
4. Crazy Little Child: This has a type of cabaret feeling to it. This is also a different feeling. I read that Alice said they made this more of a straight forward rock album, "More Balls". But I don't think that's true. This still has a theatrical feeling to it. I like it more that this is like this. I think that it helps get through the album. And makes it not super "boring"
5. Working Up A Sweat: This is a bluesy type of song. The bass is kind of what keeps my attention. I could see this being in a movie or something, if it was a more famous song. If it wasn't for his voice, I could see this being an Allman Brothers song.
6. Muscle Of Love: This is also a cool song. I think that it's cool that this song is about masturbation. It's really straight forward. If you half pay attention to the lyrics you can tell it's about masturbation. I do think that this, out side of that fact, which is hilarious, is a sick song. The ending has this, the very ending, a Allman Brother's feeling to it.
7. Man With The Golden Gun: This song was supposed to be on the theme to the James Bond movie of the same name, according to Alice, Vinnie. I am glad they went with Lulu's one. I think that the vocals sound better on the version they used. I could see this fitting in the movie though. There is a little ditty where it has this type of Bond feeling it. I think that this outer space thing though it kind of "scary". I do think that this is a solid song though.
8. Teenage Lament '74: This song has this type of teenage innocence to it. This song isn't that amazing, it's ok, but I do think that it gets it's point across. I think that it is a good song and the music fits the topic of trying to fit in as a teen. I think that it's neat that someone would write a song about that. Especially when it's was written by adults.
9. Woman Machine: I guess the bassist said that this is the reason they split with Bob Ezrin. That he they wouldn't change the arrangement of the song and that Bob wanted them to. I think that the arrangement of this song gives it this darker feeling to it. I'm getting also this, it's almost over, feeling to this song. I think that it's also going congratulations, come back again for another listen. I do like this song. The ending is pretty cool like effects going on with it. I wish that it was a little more chaotic at the ending though.

Overall this gets a 7.2/10. I don't think that this is so much a Hard Rock album. I think it's Hard Rock with some of that theatrics in there. The variety helps me digest this faster. I think that the production on this to is more "Open". Obviously that is wrong, but to me it's not so "cramped". There is more "Breathing Room" for everything. I wasn't obsessed with it, but I still enjoyed it. I do want it on vinyl

The Dark Side Of The Moon - Pink Floyd

This is one year shy of 40 years old. This is one of my favorite albums and one of the most important albums I've ever heard in my life. I love this album because of how it has "progressively" helped, after listening to it and putting it away for a while and now coming back to it, realize how amazing it still is. This concept of this album or the overall theme has so heavily influenced my desire to make concept albums (along with some examples which include Tommy, The Wall, Sgt. Pepper's Lonely Hearts Club Band, and even as current as Lou Reed & Metallica album titled Lulu). Now I can go on forever on how this is a an awesome album, but I need to review this be-och before I ruin my schedule of an album a day for March, and maybe April.

1. Speak To Me: I love that this songs starts to continuity of the heartbeat that is pretty much heard through out the whole entire album. And how can you not agree that the ending is pretty funny. Ah ah ah ah. This song and Breathe In The Air are completed with you listen to them together as ''one song''.
2. Breathe In The Air: The flow of Speak To Me/Breathe In The Air is awesome. This song is very mellow and is a good example of a classic. The way this song is reminds me of taking deep breaths. I could imagine hearing the sound of someone talking deep breaths. 
3. On The Run: This song is a good example of how the album drives and flows. The first time I heard this it was out of order. After hearing it in context it was so much better. With the intercom sounding voice and the guy running and the atmosphere, you feel like your running. The drum beat and the constant synthesizers make it sound sick. It also gives it this star wars outer space sci-fi feeling to the guy running.
4. Time: I love the fact that they got all those clocks to sound in the beginning of the track. This song almost has an African feel to it with the bongos but also a kind of James Bond thing with the bass, until the vocals come in. The vocals take this song to a new level with the accompaniment of the guitar, bass, drums, and keys. The solo is so cool sounding, it sounds like it was double tracked but very closely, or they used reverb or something. This song wouldn't be as great as it is if it weren't for the keys in the song. That is the driving force of the song, along with the drums. The keys add the sound of funky reggae feel to the song. The song slows down, which I don't really like that part, but the best part is the driven energy from the drums and keys. The more I listen to the album, the better each song gets. I love the entire thing. And God Damn David's voice.
5. Great Gig In The Sky: The woman who does vocals on this track kills it. I love doing a really bad falsetto, cuz I can't sing, along with her. I love this track so much. The music and the feelings that you get from this are amazing. I can't explain how fun of a song this is to listen to unless you've already watched it. The piano in the beginning makes my ears perk up to know that it is this song. The piano in this song is beautiful. When the girl comes in with her screams, right after the instrumentation for most of the song come in. Amazing. This song slows down and goes back to the beginning  but with her gospel vocals singing over it. 
6. Money: Supposedly the money track in the beginning of the song was the same "sample" used in The Beatles legendary Yellow Submarine. I'm not sure if that is true, but if so that's awesome. Now to the song. I love the bass riff in this song. The bass is what grabs your attention, and Roger's vocals on this are also great. The saxophone solo on this song is complemented with all the other instruments in the song. I think the sax solo is a good build up or prep for the guitar solo. The guitar solo sounds like it was double tracked. This song is just so great there is little I can say. And you can probably review this song yourself. Your Know? Oh one last things, I think that the voices at the fade are pretty funny if you actually listen to them. This song, I love how the tempo changed and it just UGH! An amazing song that was a hit. I can't say that all hits are amazing, but this song is.
7. Us And Them: This song picks up right after Money. This songs synths in the beginning are something that I was reminded of when I was listening to 7 Skies H3 by The Flaming Lips. You know, the 24 hour song, well I only made it through 12... but I am determined to finish the songs from 0:00:00-23:56:53. I think that is is a pretty chill track. It has a very laid back feel to it. The background instruments can almost be looped. Now when the choir sounding chorus comes in... it can almost make you cry. It is very pretty sounding and they did a good job at making it emotional. The guitar and the instrumentation in this sound like I could listen to this looped for a good long while. The piano solo in the song adds to this chill/lounge/gospel/jazz sounding vibe I get from the song. I don't LOVE it but I think its defiantly a {9/10)
8. Any Colour You Like: The synths in the beginning of the are cool. The thing is that I really can't say much of this except that it's a filler? I think that it is just there as a kind of filler or a solo to the last song to lead up to Brain Damage. The flow at the end who the song picks up perfectly is just great. 
9. Brain Damage: Even though I've heard this song 1 million times on the radio there is some reason I still like it. Whether it be because of how weird the lyrics are, or the music, it drags me in. The flow from this song to Eclipse and having these two tracks as the last two is nothing short of genius. The vibe that I get from this song is just one that is completed when you hear Eclipse. The lyrics to this give it this eerie feel to it, add the little guitar in the background, and you have a scary song. I don't think it's scary but I think is good. The chorus is kind of a preview to what is to come in Eclipse. Speak To Me/Breathe In The Air and Brain Damage/Eclipse are pretty much two different song and makes this song. Like the whole perfect feel to the song is there when you hear Brain Damage/Eclipse together. The same is true of Speak To Me/Breathe In The Air
10. Eclipse: This song is probably part of the reason that this is one of my favorite albums ever. I love how this album just ends on the highest note and the most powerful track on the album. This song proves that the album just continually builds progressively gets more power until now. This is my favorite Pink Floyd song just because of the energy you get from this. I mean the flow of the keys and the instruments. And the vocals are so simple and yet they are delivered into making them very strong and emotionally appealing. And to wrap up the album we heard that heartbeat one last time. Just the production on this song pumps me up. It probably does that to anyone. The way this album ends makes you want to buy the next album by Pink Floyd. {11/10)

Over all I give this album a 10/10. I don't think that any album could ever be like this one, or even come close to sounding like this one. Pink Floyd did have a certain style but certain  sounds were preserved on this album. This was also one of the greatest albums of all time, and I agree with Rolling Stone Magazine... for once. This album is awesome, if you haven't heard it go and listen to it on YouTube, I don't really care how you do just find someway to listen to the album. This is defiantly on albums to hear before you die. This bitch's reverb helps give it that outer space vibe. This is truly a masterpiece.