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. 

Village People

To closer this batch of 34 consistant reviews, note not all were done every day (some done ahead of time), I decided this could be the only review the would stand the possible drought. The one that might be my last for a number of months. This is the debut album by NY's own. This also happens to be the gayest of all the Village People albums. Seriously every track is about a city/town with a large gay population. Released July 18th, 1977 this is album has a bit of a confusing history, for me at least. When researching it I have read that the only member to sing on here is Victor Willis. It said they had professional singers do the back up vocals, and while I can see that maybe, I just don't know. I know Felipe was one of the first members, though three of the members were replaced before the next album for certain. It also makes sense because those people who were replaced were because the ones you see on the Macho Man cover had more experience as a whole of what the group was, vs those other three guys. But at the same time I read they had models pose for the cover, so..... I don't really know, or really care enough to spend more time then I did researching this. Although, you can see the group members on the Telefunken release and you can visibly see different members as the biker, and two or three other people who don't have a specific job I can make out.

1. Medley: San Francisco (You've Got Me) / In Hollywood (Everyone is a Star): While originally released as one track, on CD reissues they are both separate. The first song starts and you can hear the sound that the group had was present right from the get go. Though the backing vocals aren't the regular ones. It makes sense that they used different singers, that's really the best reason. The chorus is pretty decent, but that "magic" isn't quite there yet. This is This first song may not be amazing, but the second half (In Hollywood) is far catchier than SF, but it's decent and pretty good none the less. The transition makes you kind of get pumped from it, I mean not like super pumped, but it's pretty nice. Love that bass, and the horn solo is nice. There is definitely a build for this second half. It might not go insane or nuts, but it is a build none the less (I know I said that twice). Victor also isn't as emotive.... or excited and into this maybe. This second section is so catchy, so infectious I dare you not to want to grove along. I mean the whole section feels very show bizy, then the chorus.... tasty. This is pretty fun, the instrumentation is so musical it's like a fucking musical. I'm waiting to hear a louder backing vocal and then see this number in a play. Really I'm fucking serious. If this was redone in the style of their later records.... 10 outta 10. For now more of a 6 or 7.
2. Fire Island: Make me want to lift bro. Eh, at this point this sounds like it blends in with the first tune, and it isn't anything that special. I mean there is nothing that makes me want to dance. Nice woodwinds though. Although, I did learn to not go in "the bushes".
3. Village People: Not many bands dare to have a self-titled track. Among the few Black Sabbath, Iron Maiden, Motorhead and Village People. This song, while still rather demo sounding, is easily the standout best track on the record. There is something, even though the rest of the album sounds like it isn't fully realized. But this just sounds like it's shit is there and together. This is the most Village People sounding this thing gets. And there is a power here that isn't really there on other records. I mean usually is seems almost jokey, but this sounds kind of not so jokey. Also great backing track, it's got some gorgeous vibes (or xylophone) and harps. It really is worthy of a listen or 10.

Overall I have to give this album a 5/10. I think the biggest problem with this record is the fact that it seems more like an Ep and also that it's more of a demo. This isn't anything mind blowing, but I still like that title track. It's worth a curious listen or so.

Motörhead

Recently, Lemmy passed away. Now I can't say I'm really a fan of this band, but I can say the first string of albums, at least up to Iron Fist (I haven't heard most of Another Perfect Day yet) are pretty solid all the way though. Of those albums, I remember this being my favorite. And while it's been a long time since I heard this album, I still remember enough to still fell the same. I may not be directly affected by this news, he has been in and out of the hospital numerous times these past few years, but you know it's better. No more worrying, no more him being sick. As much as it might seem weird to take it, for some people, I think death isn't the end. He's going to live on in the hearts of the people who love his music. That is where, more or less, he affects me. Many artists I love have been influenced by Lemmy so I really can't not do something to show I appreciate that he has, somewhat, affected my tastes and likes in music. Okay, this isn't the first album recorded, the first one recorded was On Parole. That was released in 1979, but features tracks recorded in 1975-1976. These were all recorded in 1977. The tracks ther were rerecorded were tracks 1-4 and 7. Also by reviewing this I'm going to reviewing everything released between 1977 and 1982. And probably Mean Machine (one of my favorite tracks by them).

1. Motörhead: This is a track, written by Lemmy, that was first featured as a B-Side  to King of Speed by Hawkwind in March 1975. Then obvioulsy, as stated earlier the whole On Parole, and now this 1977 version. I think this is probably the best recording of the track. When I hear this I think if punk. Like punk that is considered punk. Not hardcore or any other kind. Just punk. This is pretty raw, and sounds like it was done in one take. This song straight up rocks, killer playing, killer solo. This hasn't gotten old and I don't see it getting old any time soon.
2. Vibrator: Here's a factoid you may not know. This song was written Larry Willis, and another guy who isn't as important really, who was in early UFO. All that side, this is a rocker, and it really feels like punk. Like I could see Bonnie Rotten (haha) singing over this and it being on a Sex Pistol album. Or if Iggy sang over it it'd fit snugly on the Stooges debut or maybe Raw Power.
3. Lost Johnny: This is another straight forward track. There isn't much to say about this track that I haven't said before. Though this isn't as good as the last two track.
4. Iron Horse / Born to Lose: I really think the drums in this track are pretty cool, maybe it's my copy, but the bass is mixed way too low. I hear it doing some things, where I think it's interesting, but that could also be my imagination. I can't really make it out. The solo here is nice, but it's still nothing to write home about.
5. White Line Fever: I don't know if I ever heard this track but it always made me laugh. I don't know why, the title, but it just kind of did. Now that I hear it... I can say that it is very much in line with the other tracks.
6. Keep Us on the Road: There is a different feeling I'm getting from this track. While I can't pin it down, I can say this. It's nice for a bit to have a kind of different feeling. This is probably my favorite track so far that isn't the title track.
7. The Watcher: I really like this bass line, it's opening is pretty cool. This is very different from the rest of the tracks and stands out. This isn't my favorite version of the song, I prefer On Parole's version, but this is still a solid track. I do really like the ending, with the solos but there is something that I've heard with this same general melody at that part. I can't quite pin it down. Also I dig the phasing, reminds me of Hawkwind.
8. Train Kept A-Rollin': While the best version, seriously, of this is the 1974 epic by Aerosmith I still like this song. The Yardbirds have a great version, Tiny Bradshaw's original 1951 version is pretty great itself. I don't think I've heard a version of this I don't like. This is a pretty solid cover of the classic, and it's pretty similar to Aerosmith's version. I mean, besides maybe the change in the solo and vocals there isn't much new brought to the table with this verison. It closes, but it's not that much of a satisfying closer.

Overall I have to give this debut album by NWOBHM legends Motörhead a 6/10. This album has a more traditional punk feeling to it than later albums. Though punk is always present, to some extent, later records are more crushing (rock/metal). You could also argue on tracks like the title track and The Watcher there is still a Space Rock influence. Maybe I'm nuts, but I can imagine if it were a tad different it'd be one. This album is still a solid listen front to back, it's just that there isn't much variety. I don't know.... It's still fun to listen to . I feel like I should pick an album I know would get a better score, but I don't know. Maybe next time. Also, I can't wait to pick up Blackstar.

Bat Out of Hell - Meat Loaf

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

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

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

Supernature - Cerrone

This is the third album by French, I think the correct term would be, Disco teck Cerrone. I'ven't heard his first two album, but I first found out about this guy through his album covers. It's actually kind of funny; over there, in Europe, they are more open to nudity. So the whole Love in C Minor probably didn't get two thoughts over there. It might have caused problems over here, I don't know of any, but I could see it doing that. I heard this album in it's entirety yesterday, at like 2AM. And I figured, why not review this while it's fresh in my head, and while Random Access Memory is too. You know, especially since this music is what influenced that album.

1. Supernature: I saw the promo video to this, before actually listening to the whole song. And It's actually pretty sick. Other than the whole fetish masks, I think it is pretty sick. This song starts out pretty interesting and grabs your attention. This song reminds me a little of Giorgio off the new Daft Punk album. This is, musically, pretty cool. It's got a funky vibe to it that makes me want to jump and dance to it. The string arrangement during the verses is just, UGH! I don't know why, but I love the way that is. And I also really like his voice in this song. I also like the kind of driving bass at the end. This song is just a fun song musically and lyrically. This song seems to be telling a story. About science and we made chemicals and it dripped and leaked and mutated nature. Now there are mutant creatures and "even God is on their side". Thought it's kind of silly sounding and "cheesy" by today's views, I still think this song has a type of truth to it. A big part of science is tampering with things, and finding out what happens. Sometimes when we use our scientific creations it causes problems. This isn't just something that happens in movies, look at the Nukes in World War II. That destroyed the cities in Japan they were dropped on. I'm not going to go to much into it, I could go on for hours, but I just wanted to point that out. One of my favorite lines in the 10 minutes of this song is the last verse. It's kind of a warning to people. "Hey maybe nature has a plan, and in order to control mans curiosities they need to start over and stop trying to progress so fast." You know and then the ending line is the real kicker "Will there be a happy end, now that all depends on you". Damn! I love that because people probably take this song as they will. The thing though, as odd and silly and fun this song is, that doesn't mean there isn't something you can take out of it. I don't know how serious Cerrone was in this song, but I think that we can all learn a lesson from this song, don't fuck with nature too much, unless you want to screw us over. I love that idea though kind of "you don't have to believe me, but when I'm right you'll be sorry".
2. Sweet Drums: This is pretty much an instrumental drum continuation of the ending of Supernature. It's pretty sick though when you hear both of the tracks flow together. I think it a pretty decent track by it's self, but it's best as a continuation of the last. Kind of the same way I see the song Any Color You Like. It's best as a continuation of Us And Them. That doesn't make it a bad song, just more proper as a flow. Another example, The Medley off Abbey Road.
3. In The Smoke: There is this heartbeat in the beginning of the track. It also his this atmosphere to it. I could actually see the beginning of this song maybe being a song that would be on Dance Dance Revolution. This is, musically, kind of a continuation of Supernature. But it's kind of darker. The music also reminds me a little of the "Super Nintendo" game "Diddy Kong Country". That's a great game. Damn, I need to find that Super Nintendo in this house of mine.
4. Give Me Love: The song starts off with something I could see Santana doing. Kind of like Soul Sacrifice. Until, well, the other instruments come in. I like that it kind of got a New Wave vibe to it, but there is still that latin flavored beat to it. The strings are also pretty cool. The synths actually remind me of the soundtrack to "For You Eyes Only". That soundtrack was done by Billy Conti of "Rocky" soundtrack fame. Towards the end there is a very funky instrumental part, something that reminds me of Love Gun by Rick James, and because of the strings, the song Funkytown by Lipps Inc..
5. Love Is Here: Thought I don't know what to say other than this could be a continuation of the last track and that this is an awesome ending to the album, or at least intro to the ending of the album.
6. Love Is The Answer: This flows from the last. This is kind of like joyous. While the first side of the record wasn't so upbeat, this song could make up for the whole thing. This really sounds like a traditional disco song. I could see this being played on disco radio. Maybe even being played in the "amazing" movie "Disco Godfather". If you haven't watched that yet..... don't. The female backing singers in this song are pretty epic. They really sing this song with a type of soul. This is truley great! "Love Is The Answer" it will prevent people from fucking with nature.... maybe.

Overall I have to give this album a 8/10. Yes I know about the CBS logo in the corner. But it was originally released on Malligator. This is a fun record just to listen to for fun. It's also not just idiotic. This album kicks the crap out of Saturday Night Fever soundtrack. Even Staying Alive, that isn't as good as this thing. This is just a fun this to listen to and I hope you enjoy it too. Who's looking forward to my ButterFly review.

Rumours - Fleetwood Mac

Well I'm Mid Next Day review so I decided to do another quickie. This is an album that I picked, kind of as a filler while I finish up the review of that album. The reason it's a "filler" is because I already know what I'm gonna give it ahead of time. I could probably do the review off the top of my head. Yes, the album I chose was the one and only Rumors by the one and only Fleetwood Mac. Now I have two copies of this on vinyl. One from Mom and one from a Cousins Husband. This is an awesome album. I could go into the specifics of what was going on, but here's a quick summary. 2nd album with Stevie Nicks (If you don't think she's sexy on that album cover and back then you might as well be gay), and Lindsay Buckingham. They had already broken up, and

1. Second Hand News: I think that this is a good way to start off the album. I really like the bass line in the song. And the acoustic guitar in the song is pretty cool sounding. This whole album is pretty much based around relationships, but I don't really want to dive into that that much. But I won't want to get the Second Hand News about my relationship and how it might be going the wrong way.
2. Dreams: This song is sung by Stevie. This song is very dreamy. I could see someone falling in love to this song. Like in a movie. Where someone would daze off and think about the person they have feeling for. It's a pretty song. I'm not huge on this song, mainly cuz I feel like there is too much of a country vibe. But then again Wing's sometimes has a country vibe like this. That's beside the point. But this is a pretty song.
3. Never Going Back Again: This is Lindsay's. I love this song. This could possibly be in my top 3 for the album. It's kind of like his Blackbird. He plays "sole", McCartney played sole. They both had acoustic guitars. But instead of about Civil Rights stuff in the 60's it's about never going back to that relationship. I love the way it sounds. I would make sex to this song. It's kind of sexy. The strings in the song make it that much  more magical. And his voice is pretty cool. {9/10}
4. Don't Stop: This is kind of an uplifting song. Don't Stop Believing in yourself. I used to LOVE this song. But then when I heard the entire album it kind of changed a little. This is still a pretty good song, solid bass line, solid drums, sick piano, sick vocals, cool guitar. But I don't think it's as good as I once did. {8/10}
5. Go Your Own Way: You really can't go wrong with this song. It's about splitting up, but it's one of the heavier tracks on the album. It's also got this guitar distortion in it that I wish I could somehow replicate. Not the playing, just the sound. And I love the acoustic guitar in there too. If you listen for the bass too it's totally worth it. The bass is just as awesome as the acoustic guitar. The solos in this song is solid. If you don't like this band, you think they are too soft, you might like this song. Either that or the title track off the 1979 double album Tusk. {9/10}
6. Songbird: This is a pretty song. I like the piano/vocal/acoustic guitar. It is a pretty song. I think it's kind of a good follow up to Go Your Own Way and a good ending for side 1.
7. The Chain: This is one of my other favorite songs. I love this one. This is a heavier track. It kind of, to me, is like the baby version, in a way, of Tusk. This is the beginning of side 2. I love the fuck out this song. The vocals in this song kind of are tight. UGH! It's amazing. I would make sex to this song too. Though there is a country flava to it, I still love it. And I think there is an organ in this song. The organ sounds awesome. The distortion on this song, guitar wise, is even cooler than on Go Your Own Way. Then the bass line in the breakdown. The guitars.... ORGASM! This song is just..... UGH! {10/10}
8. You Make Loving Fun: This is a fun song. I'm not just saying that, it is. Though it's as "Happy and Fun" as it is I remember seeing the lyrics and they aren't as fun and happy as the song is. It's kind of like a "Don't go, I don't want to leave" because "You made being in love fun" and "I don't know what I can do without you". This is a pretty song. I think that it is an awesome song. I also like the funky guitar in the song. This song also kind of have a little funky vibe at parts. An awesome, awesome song {9/10}
9. I Don't Want To Know: This song is kind of  like Dreams. In the way that it's got a country vibe to it. The guitar in the beginning reminds me of Pete Townshend's song Let My Love Open The Door and The Who song Amazing Journey off 1969's Tommy. This is another good song. I don't care for it as much as some of the others, but I still do like this song.
10. Oh Daddy: This song starts out with a kind of Medieval style. There is like a flute in the beginning. This song is soft. It kind of reminds me a little of Rainbow's track Rainbow Eyes off 1978's Long Live Rock N Roll. I like this song a lot. It's really cool. The solo at the ending to the fade is pretty sick with the organ playing.
11. Gold Dust Woman: I know this songs about Stevie's love for Gold Dust, but I never really cared for this song. I don't know why, but I just am not huge on this song. I like the way the acoustic electric guitar sounds in this song. I mean this is a good ending for this album. But I don't love it. Actually as I'm going through this song, now actually thinking about it, it ain't that bad. With the sitar sounds. That's pretty cool. And how the song gets louder and bigger and then it eventually ends. This is a perfect, a Christie Perfect ending to the album.

Overall I have to give this 1977 classic a 8/10. It's actually kind of funny, I read somewhere it's praised, partially, for the three harmony vocals. That's what helped make Abbey Road so Goddamn! Amazing! And I referenced Never Going Back Again to Blackbird (a Beatles song, not on Abbey Road on 1968's Self titled). I might not be 100% on some of the stories of the songs, but it's more through my eye's, not the bands, so to say.

Don't Let Me Be Misunderstood - Santa Esmeralda

This is the 1977 debut album by French and American Disco group from the '70s. They started in, from what I've read, 1977. The lead singer, who's voice is my favorite, not putting any of the other singers down though, Leroy Gomez. This is one of two he did with the band, the other one was named after another 16+ minute cover song House of the Rising Sun released later in 1977. The third release, and first of five albums, was the first to have Jimmy Goings as the lead singer. His 1978 Beauty isn't really that much of a "beauty" on the album cover. He looks like a werewolf, but the next forth album, Another Cha Cha has a better album cover. But anyway. Here's this albums review.

1. Don't Let Me Be Misunderstood: This song, including the Esmeralda Suite, takes up the whole 1st Side of this album, totaling at 16:05. Now I first heard this song in my favorite movie of all time last summer. If you know it you won't be suprised... It's Kill Bill Vol. 1, with Vol. 2 a close 2nd. Well it's the part with O'Ren and The Bride, which is what you know her as at the time, fight. Now I used to watch the fight video a ton to hear the song until I downloaded it. Now getting all 16 minutes was a pain, but eventually I ended up getting it. So now here's the review. When I listen to it, with each listen, it doesn't seem like 16 minutes. I goes by so fast. It's such a fun song to jam to. It's also such a fun song. The instrumental break in the middle of this song is so sick. The breakdown it awesome, this is seriously how a breakdown in a song like this should be. And his "scream". The strings at that part are also amazing. The guitar tone is beyond me. I could only dream of making something like that. When you pick up everything going on, you learn this is THE BEST version of this song and quite possibly one of the best songs like ever. This is defiantly one on my favorites. The drums, classical guitar solos, horns, strings, it's like a fricken Free Bird, but cooler sounding. {11/10}
2. Gloria: This is probably my 2nd least favorite track. I don't want to be hating on their version, frankly I don't like the original version that Van Morrison's band Them did in the 60's. I do like Santa Esmeralda's version a little more, but just because of that... I don't think that this is a good song in general. I think if they added the instrumentation to it, or "Dragged it Out". I just sinned big time by saying they drag it out, because the extra length doesn't in anyway hurt the song. Their best songs are their longer songs. I mean this is still a cool song. I like how they make theses cover songs better than the the originals. But over all I give this songs like. {6/10}
3. You're My Everything: This is my least favorite song, I wish they, unlike all the other songs I've heard by them, cut this song down. They could have added time to Gloria and cut this one down. This is a pretty dry 5:40 seconds for me. After re-listening to it it kind of reminds me of a R&B song. The solo in this song is actually probably a really cool one. I think that this is a little to soft, but this is also the token ballad in the album. So obviously the album needed one. I do still think that 5:40 is a little long for this song, it could probably be 3 minutes, but whatever. It might of been harmed thought if it looses that much time though. {5/10}
4. Black Pot: This is the second longest track at 7:11. And I was hoping that it would be another You're My Everything, it wasn't. From the first second I heard the opening note, I was like.... I was like wow. This song kicks some ass. There is kind of a, underneath, not buried, guitar part that has wha wha in it. This song reminds me a ton of Black Diamond by KISS off their 1974 self titled debut album. Especially the beginning of the song. Like this is more of a disco version of the song. This has more of a R&B vibe with the more predominantly horn solo in it.The solo and guitar tone at the end is cool. {7/10}

Overall I have to give this album a 7.4/10. I never heard any of the other songs outside of Don't Let Me Be Misunderstood before about a week. Leroy kills this album. This album is only 32 minutes long. So why not check it out. This is the perfect album to spin at the roller rink. If you don't do that , then just listen to it for funnzies. I do plan on reviewing their other albums to, not sure which ones yet, but look forward to Another Cha Cha, House of the Rising Sun, Beauty, their albums from 1977-82.