Narita - Riot

This is the second album released by New York's own Riot. I like the "oddness" of this cover. Now, to be 100% honest, I haven't to my knowledge, heard any song off this album before. I also never heard any songs prior to this album request, but it was requested back in May 2013 about the same times Never Turn Your Back On A Friend, Hatebreeder and also Death•Is•This•Communion• were also requested. The thing is I couldn't get my hands on a copy of this album, but it was recently added to Spotify. Since May 2013 I heard all the studio albums from Rock City to my favorite Thundersteel (all in about a days sitting actually) the last one of those 6 was this album, which I had not heard until about, well to be honest, the day of this review. With the knowledge of the other albums, minus Thundersteel (which will most definitely get a review of it's own) I'm not too excited for this album. :(

1. Waiting For The Talking: Oh no!!!!! Okay, off the bat this sounds very 80's kinda but not in a good way. I mean the bass isn't half bad, and the solos nice. And it does get a bit more gritty, or hard rockish, as the song progresses. But the solo isn't even anything to like be amazed by, I mean I am not an amazing soloist, but again I've heard solos that are way more interesting than that. This actually reminds me of a lesser Styx rocker.
2. 49er: This song reminds me a bit of a Sabbath riff, with the guitar tone. But it feels a bit more upbeat and happy. Which is kind of giving me conflicting feelings. Like I kinda wanna listen to Children of the Grave because I know I'll be satisfied, but this...... I don't know. This isn't that bad of a song. I think it's probably one of the best songs by the group I've heard. But I don't really even know if I'll remember it by the end is the thing.
3. Kick Down the Wall: I think the vocalist reminds me of if Fates Warning was in a glam metal band. That's what this song reminds me of, and the songs weren't as explosive or exciting to me. I mean there is a nice groove to this, that reminds me of like any 80's band (or UFO but not as good), but I don't know if that's good per-say. And the solos sounds an awful lot like UFO a bit. This isn't that bad, but it's whatever.
4. Born to Be Wild: Based on the title I can assume it's a Steppenwolf cover. Ewwww, I mean it's a Born to Be Wild Cover done in the style of arena rock. I feel like at parts they might have been trying to do a Highway Star thing where it's HUGE and a POWERHOUSE, but they don't really succeed. Skip
5. Narita: This is the title track, and there are some expectations I guess. I do like this, but I feel like it's just sped up. Like certain things don't sound like they were played at the speed they were (?). It also vaguely reminds me of Translyvania, a favorite Maiden tune of mine. It's a nice instrumental though, though it over stays it's welcome a bit. I'd honestly have shaved a good minute off the tune. Maybe at about 2:45, before they start that lead hook or riff, they could have taken  that transition part and had an Yngwie shred to wrap it up followed by a stop. Sadly the rest, thought my favorite part is the hook/riff, is kinda just filler. There is no real need for it. They also could have edited it so we get the ending that is like the one at 3:45ish. Do you get what I'm saying. That last 30 seconds or so, especially since it just fades out, is kinda bullshit. If it were to segue into the next track, like say Sick as a Dog into Nobody's Fault props to them, that was cool and a sick idea. But they fade out... it was pointless.
6. Here We Come Again: That last track was, besides my few gripes, a solid track. Then we get this bullshit. So I know they are capable of doing interesting things, even at this point in their career...... Why like put this out. This is pretty easy to listen to though, it doesn't cause tumors or anything.
7. Do It Up:  This reminds me of UFO but not as good soloing. There is also another song that it reminds me of but I can't quite put my finger on it. It's something from around this period in time 1970's or 1980's.
8. Hot For Love: Unrelated but this song looks like it was inspired by two different UFO tracks Too Hot to Handle and Love to Love both of 1977's Lights Out. I have to laugh, it opens with arpeggiations and the song while different, kinda reminds me a bit of Love to Love and Too Hot To Handle. Also a major problem with 90 percent of the songs, they sound very similar. And basically are. The ending kinda reminded me of Judas Priest a bit. Like the 70's pre-Hell Bent For Leather. Maybe a song like Exciter.
9. White Rock: This is okay, but again nothing too exciting. Just okay I guess. The only thing I might remember is the title reminds me of White Light/White Heat's title track.
10. Road Racin': Ah, a classic Judas Priest riff. Back before they were famous. Wait, is that Al Atkins. It's can't be, I heard some songs off that tribute record he did and I don't remember him sounding like this. Maybe his voice changed. Who knows.

Overall I have to give this a 5/10. The thing that was the killer for the other albums was that there were kinda bland and unmemorable hard rock to me. There may have been, out of the other four records, like 3 songs I liked (outside of Thundersteel). Now while some of my favorites may not have a huge variety, Aerosmith, Scorpions, among others there was a point in time where they peaked creatively and made each album sound different enough, the 70's. This album is from the 70's and all I can say is........... I hate to say this, but this is another unmemorable record. I'm not being an ass, I've heard stuff like this before but done much better. Like to where I remember the solos and singing and the vibe and wanna return, and not just for a review. Really though, I got a Styx or Fates Warning or UFO mixed with other bands feeling from this album.  I can do that all day bru. It isn't terrible, it's just not something that I was hoping for.

Highway to Hell - AC/DC

I figured I'd review this because I have stuff to actually say about this album. I can't say anything about Back In Black because it'd be either, this blows or too repetitive and uninteresting. Now I can't believe I'm doing this review, but to be completely honest outside of the reviews I do for this band I don't listen to them anymore. I wrote a very heartbreaking, for me at least, review of T.N.T. the album that I held highest (behind the Aussie High Voltage). I'd usually do a review of the Aussie version, but they are the same songs, and the cover for that's just as dumb as this bands direction post-1977. This is also the last album to feature Bon Scott., who would die from alcohol poisoning. I read a review once and it said "it takes a real asshole to write a song called drink to a year after you lead singer dies if alcohol poisoning." I laughed but whatever.

1. Highway to Hell: This song is very over played it's like Stairway to Heaven. But the thing is even thought that song has no effect on me, the solo is still pretty solid. And even if every note of the moving ibtro is stolen, that solo keeps that song off my never listen to again list. I can't conjur a good thing to say about this song, it's just so....... It's so dumb it gets crossed out. Infact this song doesn't even play a part in the score of the album. I'll be fair. Still not as dumb as TNT, but this time I don't... There was something about that last album that let it slide, but not this time.
2. Girls Got Rhythm: Sounds like a remake of You Ain't Got A Hold on Me off their 1975 debut album. Really, I don't remember if I said this, but I could sing this song to that song while it was playing. That irritates me the wrong way, not the right way. I mean this song on it's own isn't terrible, but that whole thing bugs me a bit. There is a groove that reminds me of that first album, and the second, so maybe it's why I don't despise this.
3. Walk All Over You: This opens pretty decently. I mean there is a real rocking feeling that harkens to the feeling of Let There Be Rock. I mean yes this kind of sounds like a mix of the title track and Whole Lotta Rosie.... but again I isn't a sin. But as the song progresses it makes me loose all interest, really. The verses are so boring, the instrumental parts are the only thing that make this at all worth listening to. Really.
4. Touch Too Much: Stupid Uncle Fuckers, sorry that was harsh. I can't get behind the title. I feel this is kind of childish really. A bit too forward. This really sounds like a song that could be on an 80's record or 90's album by the group. I mean the production here isn't terrible, there is still some 70's stuff here. But not raw enough. Thought at the same time, this doesn't really sound like the groups call and response vocals. They must have mixed it different.
5. Beating Around the Bush: Kind of a dumb title, also a dumb song. Sounded cool when I was twelve, but not anymore. It's lost its coolness factor. Also fuck them for stealing the riff to Oh Well. But seriously, tons of people steal stuff form other songs. I can go on and one, one of my favorite Bowie songs Queen Bitch pretty much stole the riff to Three Steps to Heaven by Eddie Cochran. But this just sounds like they pulled a Jimmy Page, in changing it just enough to make it your own. And even though I like songs what sound odd, with a weird time signature, this track just doesn't click at all.
6. Shot Down in Flames: I mean, it's an okay track
7. Get it Hot: Takin' Care of Business everyday. Also I'm pretty sure this is based of another track by these guys.
8. If You Want Blood (You've Got It): This isn't that terrible of a song titles, and I had expect high hopes out of it. First mistake. I mean they named "one of the best live albums ever" after this song. It's not like reading something widly regarded as the "one of the best" could be bad. Second mistake. I think this is taken best with a "If You're Fucking Dumb (You'll Like This)" rendition I wrote after the first chorus. Why, well boredom.
9. Love Hungry Man: I think they're hungry for something else that comes from men...... what? Nice solo though, even though you could mix the intro to that last and this track up.
10. Nigthcrawler: The slowest most boring motherfucker I've ever heard, maybe in my life. And this is coming from someone who enjoys. Also a shit way to end an album.

Overall this deserves a 5/10. This song, like every other song by this band (unless noted as an exception on my reviews), doesn't do well with open minded people. Or people who pick up on patterns. I mean I guess people can like this, but I mean I'd have to lobotomize myself to probably stop and be able to not pick it apart and keep getting the same result, track after track. Also their songs titles sound like a five year old came up with them. How the fuck could this band make Let There Be Rock (album) and Love Song.

In all honesty, all joking and humour aside, I just don't find why this is their among best albums. Let There Be Rock is one of the best rock records ever. How could they go from the raw power of that album and make this piece of clean.... poop. Seriously I kind of think this album is terrible, all jokes aside. The thing is the 1980 record is even worse. These are the albums that lead to me not liking this band, not their best 1974-1977 albums. Really I'm not kidding. 

Lovedrive - Scorpions

This is the sixth album by German Hard Rock band Scorpions. This is also the album where Michael came back, well at least he's credited as a guest so something like that. It is also the first to feature Matthias Jabbs and Herman Rarebell both who stuck around for a number of years (Jabbs is still in and Rarebell left was last on the 1995 Live Bites record). I decided to review this in honor the the 2015 50th Anniversary remasters that recently came out. This album is basically the beginning of their sound that would bring them the most success. Though, you could argue it appeared on earlier albums, this is when it was defined and this is basically how they'd sound for their 80's period. Also I'm using that 2015 remaster to do the review instead of my previous CD copies.

1. Loving You On A Sunday Morning: You know, this is a weird song. It's kind of fits, and makes Anybody Out There? fit also. I love this song, and how weird it is. I almost feel like this is left over, or was written with the same frame of mind, from Taken by Force. In fact, while its production and "sound" fits perfect here, the writing and musicality wouldn't be to uncomfortable on that other album. There is a psychedelia present that also sort of reminds me a tab of Lonesome Crow. Seriously, and I love the sharp guitars. Nice and loud and powerful. This is a pretty straight forward song, it's just this chorus.... damn I honestly feel if I added a few sounds, back ground sounds, this could be a trippy section. Also great solo from Jabbs and oh how by the end of the song is this chorus stuck in my head.
2. Another Piece of Meat: Ah, a phrase I use in my head when thinking about..... Well kind of to laugh. This is pretty fast paced and is just a straight rocker. There is this like wind thing that revs up before the track and it's pretty nice touch. This track makes me want to get out my Strat and just rip and shred along with the Sheckner brothers (both of who play on this tune). Plus Another solid chorus, so.... something this band is pretty great at making. Listen to Mikey shred, damn it's so tasty. 
3. Always Somewhere: A ballad, and damn is it powerful. This is one of those "best ever ballads" the group churned out even into their less rocking period. Seriously, these are some fucking amazing power ballads. I can barley do a review of this tune, it's so ingrained in my consciousness as one of those, tear jerkers/introspective tracks. Klaus and Rudolph really pull off one of the best songs by the band here. It's pretty gorgeous, to be completely straight. And that chorus, power ballad royalty. I know I said that, but I need to stress that.
4. Coast to Coast: Great song, that I love. And instrument that is pretty straight forward, but here we get another lead guitar song from Michael. There is just something about this melody that is so perfect, I mean this could have be just as powerful with lyrics, but they chose not to use any. Plus nice bass playing Francis, and I love that little "ah" that sounds like he just drank a Cold Sprite. I can only assume that sound was from Klaus.
5. Can't Get Enough: At this point I can't argue with you about that one. :) This is another rocker and damn does it have energy. This is up there with Another Piece of Meat and I love the almost shrieked refrain of the title of the track. Klaus you remind me why I'm proud to be German. This band fucking rocks. The freak out at the end sort of reminds me of the album Virgin Killer and maybe like Hell Cat, I could be remembering wrong but that's what came to mind.
6. Is There Anybody Out There?: This is a tad odd. This is the only time I think they ever did a reggae number. This is pretty reggae, and it's odd that they did it now (then). 1979 the only reggae that was existent was ska of Oingo Boingo and like The Police, in rock outside of actually reggae. And reggae was huge in Britain around 1973ish. I could be wrong, but I think it's an odd choice for them to do this, here. But that being said, it's one of their best songs they ever did. It's very simple, and at parts reminds me a tad of Taken by Force, but this is a powerful song. Like I feel like it could almost be a cover of a traditional song along the lines of a Malagueña Salerosa. Thematically that is, like a very sad tale of someone who can't love the person they want. Except here it's they are all alone and want love. Someone searching for love. But this is a really neat song that literally I never skip, even if it comes on by accident. I love this song to death.
7. Lovedrive: The title track is actually proabably the weakest tune on the album. Don't get me wrong, the chorus is up to snuff, but everything else seems like it's already been done. Also this kind of, in the choruses reminds me too much of Judas Priests' cover of the Joan Baez tune Diamonds And Rust. Although, solid solo in the tune. This is also the last track to feature lead from Mike.
8. Holiday: Closing we get one of the greatest closers of all time. While they tried to close on a ballad after this, and before, I kind of feel like this is the best one. Not best ballad, but best end. This also just like forces me to contemplate my decisions and my life up to this point. It's kind of weird. The first half is acoustic and very pretty, pleasent and almost like Born to Touch Your Feelings. Then it goes into a more rocking power chord section, with amazing backing harmonies. I can hear that gorgeous bass tone in the new 2015 version I never heard before. Damn that little Spanish fill, it is tasty. Matthas does a great job here soloing. I mean it really fits the mood and to the ending.... great. It works. Also if you want a sort of extended version, in the 2015 edition there's a 2 minute longer demo.

Overall I have to give this a 8/10. This, like every other Scorpion record is worth checking out. This is in their heyday. They have yet to make a bad record. But from 1972 to 1984 the lowest I'd have to give a record is like a 7 the highest is a 10. Every record also had a number of amazing songs on each album. While this isn't my favorite record, it's still an amazing record. These guys always get the short end of the stick to shitty bands from the 80s. I'll let you know a secret, these guys kick the shit out of most of their 80's contemporaries. Hands down, no argument, listen to this record and the ones before and maybe you'll be enlightened yourself. I'm serious, they didn't put out a bad record ever and their mediocre ones started in 1988 with Savage Amusement. 

Go West - Village People

Well I am doing this review, so I didn't asphyxiate myself. I chose to do the alternative instead. This is the fourth studio album by Greenwich Village's disco group Village People. They were founded by Jacques Morali and Henri Belolo. Both men had success with a group prior, The Richmond Family. According to legend Morali, a homosexual, was frequenting gay bars in New York. One of which he saw a young Felipe working at (the Indian), he looked around and he took the costumes of the most common he professions people were dressed up as. That last sentence makes no sense, but basically the most common costume he saw he used as the basis for the Village People. He also named them after the Greenwich Village. Now how do I know this, I looked it up. Why should I review this, well I recently watched Can't Stop The Music. To be honest, it's just a little too long..... at spots. I mean it's not actually a good movie, its very campy, but its entertaining. The only serious problem is it's too long, it has terrible dialogue, and the lead singer (Police Officer/Patrol Man) Victor Willis isn't in it. He's honestly the thing that makes any of these songs, and any of their any songs. Well and its ridiculous, makes no sense and is also kinda stupid. So many non-sequitur esque jokes and scenes. And they should have been cut, especially since there is no room for the lines to breathe in this movie. Some lines are even cut off mid sentence. Hell if they cut the dumb fucking scenes maybe other scenes could have been drawn out. Whatever its the Village People so who would want to read this review. Well to those who believe this to be the fruit of love, I say then read on.

1. In The Navy: This is a famous song which is kinda ridiculous. While not their best song its still worth listening to. I don't think the chorus is as effective as on the following track. It's kind of a little too over blown. This is also, like Y.M.C.A., very propagandist. Like seriously, under a different musical beat and style I could see the lyrics having been written to those two songs in the 40s or 30s. This, in list in the Navy help your country and grow. But it's like the lightest propaganda I've ever heard in music. It's almost in genius. What's the best propaganda, either shock or light hearted and openness. And the latter usually opens people up to your cause a lot easier. Victor Willis, the sadly unloved lyricist of the 70's. And if you actually read theses lyrics they paint a vague, but clear enough picture for you to get it. Oh also the beginning is so Santa Esmeralda it's not even funny. Hey two Esmerelda references in two days.
2. Go West: Lets be honest with each other, we are all grown adults. Its 2015, I have a secret to admit. This [track] is the sole reason for this review. I really wanted to talk about this track and how much I love it. And if you disagree you suck. Based on Pachabel's famous Cannon in D (The Wedding Song, not Here Comes The Bride) this is just as moving as that piece, but for different reasons. Cannon in D gives me a feeling of reflection, and being associated with weddings, leads me to ponder on the past events of ones life leading up to "the happiest day of your life". Almost like a sitcoms finale, or a wedding in a sitcom. It's a real tear jerker in the same way Independence Day makes me reflect on my relationship with my father..... well not exactly but you know. It's that gut feeling that just makes you think and, honestly, feel. This on the other hand is glorious and large, even epic. Where one starts in the past and leads to the present, this takes off now leading to thoughts of the future. While it may be about living in Cali and going to beaches and living that free life, Or it could be about moving West because it was cool (acceptable) to be gay there in the 70's. Maybe it's a call back to the old phrase it's named [allegedly] after from the Gold Rush era. No matter what its about its all irrelevant to me. I believe it's best suited, and truly is meant as a " Go Forward" and "Don't Look Back" and there's A Better Tomorrow. And musically the song agrees 1000%. The strings, horns and vocals here are at top notch, and while I love cheese and camp this song is so happy it isn't really that cheesy. It's almost innocent... Hear me out, someone looking to move to better themselves. Someone being hopeful and there's a feeling, and the fact it's so happy, its a child like innocence. And this is also so infectious, as long as you are one of those people who has grown up since they were 15, I feel like there isn't anything wrong with LOVING this track. Well that and as long as your comfortable with you're sexuality. You know I feel like instead of having police talk people down, just blast this and it'll get the job done. There is no way it won't make your sadness dissipate, and just nonexistant for the full 4 minutes it runs. Who knows, maybe I'm looking to deep into a silly song from the 70's that might have more real meaning. But, as I've said so many times be fore, let's be honest.... I can't find a single flaw in this track at all. If you can I'd love for you to point it out. Please, I dare you. (Since it's hard to tell, this track is bolded and highlighted. That means it's one of my favorite songs ever.) {10/10}
3. Citizen of the World: This is similar to In The Navy's intro and then most disco. This is a pretty solid track, I mean I think it's a 6 tops, but it's so disco I can't really say I think it's any better than any other disco track. The strings are pretty great, but that is something you often hear in other disco tracks. I do like the chorus, and the vibe of this track. But I mean it takes elements from the prior two tracks and just does them but waters them down or does them not as well. That's probably more accurate.
4. I Wanna Shake Your Hand: When I saw this title the song that plays in my head is Milkshake, from the movie. When people thing of camp, don't think of Y.M.C.A. think of this instructional that gives you advice on how to shake your hand. It assures you not to be "shy" and that they "are not rude". I think this is either so ridiculous it was intentional, or it's part of the I Am Who I Am type of theme. Don't fear someone because they are different, except each other, equality. But that fricken rap, not hip-hop rap but what a rap was before the genre, it's.... just listen to this track. As dumb as this song is, it's not half bad.
5. Get Away Holiday: Does this intro sound similar, the percussion. And you know I really can't say anything about this track that hasn't been said earlier. The instrumental break is pretty dandy. But it just takes me to the far better Macho Man. At 5:22 this song just kinda keeps going when I listen front to back. Maybe it's the anticipation of the review being over, maybe it's just I want to stop. But this is the least entertaining track here. Don't get me wrong that clavi (?) in the beginning sounds cool, but I don't know.
6. Manhattan Woman: That first note, not percussion, synth reminds me of John Carpenter. And then to imagine these guys singing over John Carpenter. But the song comes to bloom, just as the others do.This is more interesting than the last track, and I think deserves some plays by it's self. This is at least on the same, or maybe a similar plain to that of In The Navy. I like that bass, and like the keys they could do something really interesting here, but they instead do the stereotypical Morali thing he does on this. Well the guy who arranged it does. I don't know. I can't really damn this, it may not be prefect, but there is still a charm I feel inside my soul. I also like the strings here.

Overall all I have to give this a 6/10. This album isn't that bad of an album. It's biggest downfall it's the repetition of sounding like other songs they'd done by then. While there are some variation, it's almost like a variation on a theme. This has saxophone and flute, this has cello and harpsichord, this has banjo and stylophone. Either that or they are all different movements of the same piece. But the thing is they are all basically the same thing, or similar enough. But the best tracks here are still decent to the sole AMAZING track. I'm gonna definitely do some more of there guys albums. I almost want to review their movie also. I'll do the soundtrack for sure, but like the movie on it's own. 

The Third Album - Paul Jabara

This is, as the title suggests, the third album by Paul Jabara released in August 1979. This guy famously co-wrote It's Raining Men with Paul Shaffer. But that shows this guy has a sense of humor, which is apparent on this album. This guy also wrote the No More Tears duet between Donna Summers and Barbra Streisand. I said that album because this is a spoof/reference to Striesand's 1964 album The Third Album.

1. Disco Wedding/Honeymoon (In Puerto Rico)/Disco Divorce: This is one of the most unique songs I've ever heard. There is also, now in 2014, a laughable-ness to this track. The thing is I once read an article that said disco literally took over everything, and how tacky is it that there is a "Disco Wedding", not to mention the dialogue. I wonder if Paradise By The Dashboard Lights had any inspiration on this track. You know they are both at least 9 minutes long, both about a relationship beginning (kinda) and ending (kinda, or at least the enviable end of romance). This is obviously not that serious of a track, but is great. Who ever said a real musician doesn't use humor. I like it when discos kind of corny, tongue-en-cheek. Supernature, while its a kind of serious theme of not messing with nature, he make the idea not so scary and easier to take in the fun atmosphere. This song starts out with a nice chimes atmosphere then plays the Here Comes The Bride song. After that there is a horn section that reminds me of Living With Hernia by "Weird Al". But the verses do remind me a little of Paradise By The Dashboard Lights. This groove is solid and it isn't that obnoxious like some disco beats can on occasion get. What I assume is Paul, he sounds a little like a raspier Meat Loaf. The strings on this song are arranged pretty great too. If I was going to have a wedding in the 70's, post 1979ish, I'd play the first section of this song. The whole "speakers" part is totally in the similar fashion as the running the bases from PBTDL. The section change reminds me a little of The Tubes first album. The strings are great and it's just awesome. I also like the slap part, and the whole reasons their qualified for the "grounds" of "Disco Divorce" is pretty shallow on Paul's part. It kind of is also maybe poking fun of people getting married and divorced. I don't know, I think it's a solid song and hilarious at the same time. Quiet possibly the best "marrige" of those two main things I love is the whole Disco Divorce part. UGH! "Oh, there's trouble". We need people now adays who aren't stuck up tools, we need more people to make songs like this.
2. Foggy Day/Never Lose Your Sense of Humor: This song is a duet with Donna Summers. This has a very different feeling to the first side. This reminds me, because of his voice also, a little of Beth. Though this is a pretty uneventful track, the whole idea of it is pretty true. You shouldn't ever loose your sense of humor, esp if your a musician. Anyone who claims that a "real" musician doesn't use humor in their music.... long story short, they'll probably kill themselves pretty young. This just isn't anywhere near as awesome as the prior track, or funny. Shame :(
3. Just You And Me: This track has nothing special about it either.

Overall I have to give this album a 5/10. To be honest the lack of variety and tracks to pick up where the intro leaves off really kills this album as a whole. I'm not saying I'm not gonna return to that oh so great 14+ minute gem, it's just that's tr only track ill be returning to. But the discoviews I've done all seem to be that way. Disco, not revived disco I mean original when it was popular disco. Disco has so many great traits that when explored further than a stupid dance tune  gives birth to some of the greatest tracks ever in the history of man. Supernature, Don't Let Me Be Misunderstood, Disco Marriage (to save time typing the whole name), Giorgio, Touch to name a few I've already reviewed. 

Environment For Sextet - John Zorn, Andrea Centazzo, Eugene Chadbourne,Tom Cora, Toshinori Kondo, Polly Bradfield

This was originally released in 1979 via Itcus Records. The album was produced by Andrea Centazzo and one of John Zorn's first releases. This was recorded November 7th, 1978 on a Radio Broadcast WKCR. Now I know about Parachute which is Eugene Chadbourne's label, but I'd never heard of Itcus. I guess the label belongs to Andrea Centazzo, a percussionist. Since there are names I've never seen before I'll list what the people play. On cello Tom Cora, on guitar is obviously Eugene, on percussion Andrea, on reeds Zorn, on trumpet Toshinori Kondo and on violin Polly Bradfield. Now an over simplification of Free Jazz is improvised music that disregards the structures of Jazz. Chord changes, tempo it's really kind of free form. With that in mind you know this album won't be "pretty". But when you think about it, beauty is a very  relative. It varies from person to person. So listen/read with an open mind for experimentation. I was planning on doing this review a week ago, but in that time I've learned something. This is a new beginning, I'll start reviewing Ennio also.

1. Environment For Sextet: The things that I feel I'm gonna have trouble doing for this review is describing the sounds. But I'll try. It's kind of like an organized chaos. There is strings that sounds like they are creaking. The drums are going pretty crazy, and the horns and squealing. Then every few seconds, about maybe 10 or 20 or 30 there's a silence. After the third time a drum fill breaks the silence. It lasts only a few seconds before silence again. Under the silence you can hear Zorn playing around with the reeds and Centazzo playing around with the drums. Actually around 4:25-ish the squeals remind me of The Return of The Son of Monster Magnet off Frank Zappa's debut Freak Out!. The chimes in here remind me a little of Larks' Tongue. The reeds kind of do too. The two songs I compared this too are two of my favorite songs. I like the way the guitar sounds, it don't sound that pretty, and kind of sounds weird. This song progressively picks up it's pace again. Zorn and those bird calls. I also like that drone in the background. This song makes me feel kind of nervous.
2. Solo Improvisations: This intro to this reminds me of Naked City, but with less structure. By that I mean Naked City has odd things like that but they are always broken up or cut off by a different composed or thought out kind of idea. This is just free as can be. But the thing is it's pretty cool that they did this. This is the shortest track, at 5:58 on the CD. There is slide he's playing on the guitar that sound like things I've done, or tried to do. He's making them way more interesting and this is feels like it could be maybe in a movie or something. And the cymbals rhythm that Centazzo is keeping is great. I wonder if not for him would this be kept together. Thought it's really not that kept together.
3. Second Environment For Sextet: Some of whats going on reminds me a little of Classic Guide to Strategy, but this is keeping my attention more so. Maybe it's because I can tolerate it more, or maybe it's because there's more going on. This is the longest part at 17:12, and probably my favorite part. This is very chaotic and great because of that. There are elements that I found in the first Environment that reappear here. The trumpet reminds me of Bitches Brew at around the 3:45 mark. This is truly something that I imagine was fun to do. It also sounds kind of fun and has feeling that's going into it. These players are kind of clicking, and able to think of the same level as each other. This really sounds like some of the things that Zorn would do later on in his career. This is obviously where it all started. There are certain moments here that remind me of The Crucible. There are also parts that remind me of The Yellow Shark, especially Be-Bop Tango. The only complaint is that this is kind of long, not too long. I probably wont listen to this twice in a row, maybe every once and a while, but it's a long track.
4. Solo Improvisations (Part Two): This wraps up the album. This is kind of crazy sounding. I could imagine someone about to be killed, or someone going crazy with this in the background. At this point I kind of have a lack of words to describe what's going on. I like just the flurries of insanity that go on in this and throughout the rest of the album.

Overall I have to give this free jass release a 7.5/10. Unless you're able to sit thought random happenings, ie. In C or chance music in general, you may not like this. I find this very interesting, but you may not. But now back to me, if there's anything I learned from this it's definitely look up some more of these artists. I enjoy this music though, it gives me ideas and helps keep me in check. How may you ask..... MUSIC HAS NO RULES!!!!!!! There are certain things that are common and are used in certain genres, but realistically there isn't a rule that says you can't do this here. Who's gonna lock you up for having a micro-tonal solo over classical music. Oh yeah, also I plan on reviewing all the albums I just torrented (LPS not on CD or Cassette ever). This is the only way I can listen to them and hopefully decide if I'll find the real deal someday. But I plan on doing all the Parachute Records and most of the Avant and Tzadik labels and any other label that is related to anyone on this album. This also got me pumped to listen to The Topography of the Lungs by Derek Bailey, Evan Parker and Han Bennink.

Bomber - Motörhead

This is the third, and second released in 1979, album by British Heavy Metal band Motörhead. I don't have a ton of experience with Motörhead, but I do know some of their stuff. I've listened to about 90% of the 1980 release Ace Of Spades, and various other releases I've heard a decent amount off. For some reason I can't recall ever hearing anything off Bomber. My friend, Justin, was supposed to have this up for his 18th birthday, but we made a deal. Since I goofed about the whole understanding of the review I do Bomber today, and Phantom Antichrist tomorrow. I did So Far, So Good... So What last year. This album was produced by Jimmy Miller, look him up, he has a pretty neat discography for production. This includes the first three Traffic albums, Blind Faith's sole album, the five Stones albums between Beggars Banquet and Goat Head Soup and albums two & three for Motörhead. There are other's but lets get back to the review.

1. Dead Men Tell No Tales: This song starts out with a type of intro that I would recognize as Motörhead. This sounds like a classic Motörhead song. The first time through I don't really know what to say about it. I think the solo's distortion is pretty cool.
2. Lawman: I like this song a little more than the last. Maybe because it's kind of sinking in. I was reading about this song and it says that it's one of his more "ferocious" because it's "hitting hard at the police". I don't really know what that means but I think it doesn't sounds anymore aggressive, lyrically maybe, but not sound wise. And after looking at the lyrics, they are kind of aggressive. Upon second listen this song kind of has a march to it. I think it's a pretty decent song actually.
3. Sweet Revenge: I like the guitar in this song. I like the like scream "REVENGE" at the fade out. This is a pretty cool song. I am curious as to how they got that guitar sounds. Though I like the sound of this song it is kind of "wearing" my interest in the album down. This totally reminds me of Priest off Sad Wings Of Destiny.
4. Sharpshooter: Yes, an uptempo song. This song kind of reminds me of Iron Fist. Which might be my favorite Motörhead song. Either that or Mean Machine off 1986's Orgasmatron. The guitar is awesome, and I think that solo is pretty sick. This is what I needed. This kind of lifted my spirits in listening to this. I'm not dissing the album, but from the first three tracks it kind of wore me down, but this has gained my interest back.
5. Poison: The lyrics to this are kind of a "backlash" at his father for leaving his mother. That's from what I read. I think this is another Ok song.
6. Stone Dead Forever: Before I started this song I went and did a "favorite hits" of my own to kind of get more in the spirit to listen more intently. This is a pretty decent song. Better than those side 1 songs.
7. All The Aces: Does that include Spades? This song isn't really any different from any other songs. I think it's ok, but yeah.
8. Step Down: This also reminds me of '70s Priest. The guitar and whole entire "darkness" to it. Eddie's voice even reminds me a ton of Judas Priest. I could see this being a tribute or a cover of a song by them. This song UGH!
9. Talking Head: I doubt that this is a reference to the band, mainly because their first album came out in '77, but who knows. It's actually about TV. The beginning of this riff reminds me of Lonely Boy by The Black Keys. I did a review of the album that was on. I also own that CD. The bass in this song reminds me of that song. The guitar in it is also awesome.
10. Bomber: This is a pretty good way to end this album. Don't pussy out, make it mad! Go out with a bang! It's A Bama, It's A Bama, It's Obama?

Overall I have to give this a 8/10. The lyrics on this thing are pretty aggressive any "angry". That doesn't play any part in the score, but it's kind of neat that there was obvious passion that went into these lyrics. I like that the songs are no longer than, minus 1, about 4 minutes long. Part of what frustrates me is that the songs, you can't really understand Lemmy. It's frustrating to me. I have to look at the lyrics to understand what the hell, beside the title of the songs, he was saying. But because of songs like Talking Head and Sharpshooter, Talking Head, Step Down. Also the kind of Priest vibes I got from this helped me enjoy this. So I hope you like this review Justin. And look for tomorrows review, tomorrow. The 2nd side is much better, I think, than the first.

Eat to the Beat - Blondie

This is the fourth album by New York, New Wave band Blondie. I've been crazy about this band now for about a week or two. My favorite song is Call Me. Though Parallel Lines is a sick album, I wanted to review the follow up, 1979's Eat to the Beat. These guys formed with Chris Stein and Debbie Harry in NY in 1974. There were various line up changes but the line up on this album is Clem Burke (drums), Debbie Harry (vocals), Chris Stein (guitar), Nigel Harrison (bass), Jimmy Destri (keys) and Frank Infante (guitar). Their last album, before the first breakup in 1982 was The Hunter and it has a song called For Your Eyes Only. It's not the movie version, though this is better then the shitty version they used for the movie.

1. Dreaming: This name of this song is titled Dreaming and that's the kind of vibe that I get from this song. I don't know why, but it kind of reminds me of like a New Waved Grease song. Like a song that would be in a more New Wave version of Grease.
2. Hardest Part: This song starts out with this type of funky feeling to it. There was a part in the lyrics that talk about a bomb. I think that's a reference to the song Atomic. The solo in this song is pretty cool sounding.
3. Union City Blue: This song starts out Ok. I'm not very interested in this particular song at the beginning of this song.
4. Shayla: This song starts out with an atmospheric feeling to it. I am not comparing it to, but it kind of reminds me of part of the song Pyramids off Frank Ocean's 2012 channel ORANGE. This is a soothing song. It has that surfy feeling to it, and it is a song that I could see being in Grease. I like the way the tone of this guitar sounds in the solo. It's kind of like a George Harrison solo when he used his Gretsch. But if it was more toned down and soft.
5. Eat to the Beat: I'm not surprised that this is the way the song is. It kind of reminds me a little of Eat the Rich off Aerosmith's 1993 Get A Grip. But more of in a "Energy Wise" and there's also a harmonica. Part of what I like about this band is the Guitar's and Bass riffs. This song has a pretty good one.
6. Accidents Never Happen: This kind of reminds me of Bryan Adams song Summer of '69 off his 1984 release Reckless. It was also his fourth album. I like that this song isn't boring. It's kind of more faster paced. Debby's singing on this is also kind of cool.
7. Die Young Stay Pretty: I like that this is a little shift in tone. This is more reggae styled. I like the way Debby's voice sounds when she does that Reggae voice. And the backing vocals sound cool too. I actually think that this song is kind of funny too. Bob Marley seems, at least to me, and I'm not being disrespectful in anyway. But he seemed to me, like on Jamming, he walked in the studio stoned and started Jamming. I think it's funny that the lyrics say though "Die Young" and then it says "Stay Pretty". I don't know, I find it humors.
8. Slow Motion: This song is ok. The first time through it I wasn't huge, but I do think that it's kind of  good break before the AMAZING Atomic. It kind of returns to the style of the other songs. But there is like a pre-chorus where it's set up and sound reminds me of Atomic.
9. Atomic: The first time I heard this I thought that it was bizarre, in the best way. Since then, I've been crazy about it. The song starts out kind of like a little harder then the others. Then the surfy riff comes in along with this like whammy sound. The tone of the guitar is probably, short of eargasmic, and probably even closer on the Vinyl version. Her vocals on this song only get better. I love that it's like this dreamy feeling from her vocals and then in the chorus it's even more dreamy and the dreamy feeling ends with an opposite sounding refrain "Atomic". In the breakdown it kind of reminds me of Heart of Glass but with a bass solo. 
10. Sound-A-Sleep: This is like a doowap lullaby. Not with the "doo doo wap wap", but with the arpeggios and keys. I think that someone, thought it doesn't say in the credits, is playing a triangle or something like that. It's kind of like a post A-Bom, so to say.
11. Victor: This has a heavier riff than Atomic and is kind more of a A-Bomb explosion. There are chants going along with the guitar. I'd have never expected this. This is like a march. I could see this being ''their'' post-Apocalypse song. This is a really sick song. After that melt down it goes into a shift of genre's for a couple seconds with the riff. Then it goes back. The one thing I wish was that that genre shift was a little longer. This is a cool song though.
12. Living in the Real World: This is a more upbeat song. I think that this is a good way to end an album. I think that this is a pretty good song. it's energetic energy. I think that her scream is pretty cool sounding. The song doesn't end abruptly, but it doesn't ends and doesn't fade.

Overall this gets a 7.4/10. This band has a type of a New Wavy/Punky/Surfy/Grease feeling I get from it. I think that, thought there are parts that aren't amazing, this is a decent album. Side 2 defiantly kicks the shit out of side 1. Oh one last thing, if you don't like the man from mars... well then, you're dead to me. Can't wait to check out the other albums.