Can't Stop the Music - Village People

It's March, and I have been doing this now for 3 months, so let's keep up the steam and keep on going with this classic. When you find out the history of this record, its very funny that this is what its titled. This is the sixth studio release, if you include the Sleazy half of Live and Sleazy. This is a soundtrack to the movie of the same name, titled after the production company Can't Stop Productions. This movie is, how can I put it, ridiculous. This is also the first record not to feature original lead singer Victor Willis. Though he did write the words to Milkshake, Magic Night and obviously the previously released YMCA.

1. Can't Stop The Music: The first track, which also happens to be the title track and the last in the movie (big finale). The biggest problem is this song is too long in the movie, and while is catchy, it goes a little too long. As catchy as In-A-Gadda-Da-Vida is the middle percussion solo goes a little too long, nothing really happens. This is much of the same..... In the film at least.  It wasn't until I heard the full version on its own that I really "got it". Then I realized, this song is actually not half bad. It's kind of good, which is odd, but it's good. Like I can't listen to the album 3 minute edit, I need all 7 minutes of it baby. Really it's much like hearing an edited version of Love to Love You, Supernature or any extended cut that you really need all 10+ minutes of. The song is very tastefully arranged, has some great vocals and is one of the best disco songs I have heard. It's very fun, even though I can sing In the Navy in the beginning, and you can dance to it. Wasn't that the purpose of disco? Besides appealing to Gay men. The bass on the song also tops what most rock bands could ever dream of playing. It's just I wish there was more variation. Not to say there isn't, but if I'm not in the mood the longer instrumental part can be a bit grating. It was for the review, but literally ever over time I listen and dance in the car it goes by so fucking fast. Maybe it's because I have to sit and listen and can't move you know. Fighting the natural order of the song. But at the end of the day I feel like an injustice was done, it's like an edited version of a song [on the album]. This isn't Let's Go Crazy, we need the whole thing. Plus it doesn't kill the momentum of the song having the whole thing either.
2. Samantha by David London: With an introduction that reminds me of My Sharona, and a glam rock inspired by a Rocky Horror, this song isn't anything to rave about. Well maybe more along the lines of a chorus off the more popular Styx songs. It makes me smile a bit because of that, but they did it better than David London. This song is pretty easy to take, but as easy as it is to hear it is to forget. Like I forgot about it in between listens.
3. Give Me A Break by The Ritchie Family: This tune isn't half bad, but there is something that keeps me from loving or wanting to revisit this track. I couldn't wrap my finger around it until listen number 3 that I understood. That's when I realized it wasn't that great of a song. I mean there are better songs on the album, why does this group have to be on the album. Really it's a pretty boring song. I mean I feel like it's kind of trying to evoke other songs that I think are better. Some songs include Bad Girls, My Prerogative (I know that's from 1989) and throw in kind of generic disco sounds. The bass also reminds me at one point of Good Times. For whatever reason.
4. Liberation: As much as I feel this should be looked at as campy and just clearly a pro-gay song, I can't help but want to chant along. It's also pretty hilarious when in context of the film, but when not its kind of a fun song. I mean it's very very very heavy handed, but I don't care. I mean this isn't I Am What I Am. Also there is some nice guitar in this song that I didn't think I'd hear in a disco tune. Tasty. I also like the dual guitars in the song. This is like a sort of good bad. Like I roll my eyes when I hear this, but I feel like there is a possibility it could be kind of good. Not like the title track, but like, it's not the worst thing I've ever heard and it's far better than the last two songs. And also has more potential.
5. Magic Night: This is such a happy song, this is one of two songs I bet will be stuck in your head. It's funny how simple the words are, but how infectious this song truly is. It's the kind of infectious that you only get from innocence, or ignorance (on part of the performer). Who cares, it's great and makes me want to dance and got some nice four on the floor. Thought, I don't think the drums sound that good... but that could just be the MP3. I could hear someone saying it sounds sped up, and when you pay deep attention it kind of feels a bit sped up, but when you just hear it without that it doesn't. But then again I could be a bit buzzed and that's why it feels a bit sped up, at the end of the day it's fun, dance-to-able and memorable. Nice disco tune, and nice guitar licks.
6. The Sound of the City by David London: If anything this reminds me, vocally, of Elton John. Seriously, this sounds like his vocals on Philadelphia Freedom. In fact if this was a little more orchestrated and lavish sounding I'd bet this could be Philly soul instead of disco/dance pop.  The introductions to the songs seem top be rather weak. The thing that sucks is that I remember liking this tune so much more in the context of the film instead of by it's own self. I also can't get behind the orchestra hits. It's like over use, Horrace what the fuck were you thinking. This is a disco tune, not a Bond theme. Also the tune is far too long. But really, this has too much orchestration, it doesn't really make sense to me.
7. Milkshake: Like most of the songs in this movie, they are so stupid. This is the stupidest, but it's also by far the catchiest. It's got that same happiness in Go West, but its so stupid. If you take the corniness of the 90s kids commercials extreme, and up the anty to making milk glamorous. Also get this, not just glamorous, the exact line in the movie for what they were going for "we're going to make milk more glamorous then champagne". This plays during the commercial that attempts to do that. This also happens to be the length of at least 3 commercials, maybe 4. I don't think I can exaggerate how dumb this is. But its also one of my favorite songs on the album, and is a favorite of all time. The intro to this is so musical, the beat and vocals work great and the strings are just ON. I can't find anything wrong with this song. On its own its great, the text of the movie elevate the like-ability of it. The only down side is I wish they took the " one more time" and repeated the song again on the album. PS they don't do it once more. 
8. Y.M.C.A.: The only real difference between this and the Crusin' version from 1978 is Ray sings this, if I'm correct. I am saying that because the vocals sound a little different. Ray does sing in a similar style as Victor, but I don't know. I really can't say anything else other than, in the film it was PG and you see a few schlongs (not counting), and its during this number. Also the girl's (1) topless too, at a part, so I guess it's even....... Kinda. Oh I also prefer the original. When I revisited it I heard more guitar in the track, but that's really the only other main difference. Also I think i hear a clavichord in this version. The charm of the original isn't really present on this version. Maybe because Ray sounds more like a homy polone than the butch that Victor was. Ray also isn't as emotional and soulful. Like this feels less energetic.
9. I Love You to Death: This tracks sung by the Construction Worker. Now I wasn't sure if this should be highlighted or not. This is easily the most rocking song by the group I heard. It kinda of makes me think Rocky Horror meets the Flight of the Conchords' tracks Love Is Your Weapon of Choice and Demon Woman. If that sounds interesting check it out. But in the movie it sounded a little off. I couldn't figure if the vocals were off tempo, pitch or choppy or if the instrumental was one of those. It took me multiple listens to get what the hell was "off" about this track. Also, did anyone else who saw the movie think this was one of the gayest things they have ever seen. The scene, with the imaginary music video of sorts. The sort of breakdown could so be in the Rocky Horror musical. Really it would work quite well there. 
10. Sophistication  by The Ritchie Family: This is probably the worst track in the entire movie. It's so bland, uninteresting, stereotypical disco female vocal group. It's like a bad Donna Summer's track of the time. Even though some tracks are repetitive and some are cheesy as hell, this is the least interesting and easily forgettable track here. I mean I began to tune out about 30 seconds into the singing and, the only interesting part was the woman's breasts. Seriously. 

Overall I have to give this album a 6/10. This could quite possibly be the most consistently good album released by these guys. And with that in consideration..... That kinda makes this their best record. Now when you make pop music you want a catchy song, good hook, and for it to stick with you. There is enough variety, where there isn't on past records, and futures ones also. If you watch the movie I dare you to get Milkshake, Liberation or Magic Night out of you head. It can only be done with extensive time away from it, or therapy. And still they play in your head and don't leave when you utter the titular phrases. But seriously, this record isn't half bad. And even without the other artists considered, each song by the group isn't extremely similar. They all have their distance sound and idea. There isn't nearly as much overlap musically as on Crusin', Go West, Village People and so forth. Please do me a favor and check this out if you want to just have fun. 

Making Movies - Dire Straits

Let's see how long I can keep this up for, who know's maybe not for long but I'm glad it's been consistent weekly reviews now for almost three months. I started in December, and I think I might actually do this from now on in general. Unless I have reason to other wise, but for this year I'll continue this for as long as I can. This was waiting till January to finish, but I guess I'll do it now since I've been busy. The third album by the Dire Straits, released in just as many years. This follows the 1979 album, often looked at as a remake of the debut, Communiqué. This album was released on October 17th, 1980 with production being handled by Mark and Jimmy Iovine. I guess after hearing the song Because the Night that made Mark want to get Jimmy to produce this album. Jimmy also engineered for Bruce Springsteen on Born to Run and Darkness on the Edge of Town and also was a recording engineer on The River. He also worked with Meatloaf as a remix engineer for Bat Out of Hell. There is other albums he has worked on, though they are less important for this review, but I digress. Speaking of notable things, Roy Bittan of The E Street Band plays piano on the record. I assume it's because the Iovine thing but who knows. This title somewhat interests me, Making Movies. It makes me think it's a concept album, or each song is a sort of mini movie within a song. They'd tell a story and take you there with vivid imagery and moving music. You later find out its a lyric, but that doesn't take away from my love of that title. Some of the songs do have a cinematic feeling, so it isn't all that off I guess.

1. Tunnel of Love: Opening the album with Roy quoting The Carousel Waltz from the Hartz/Rodgers play of the same name, minus "waltz". I can honestly say this is one of the greatest tracks I've ever heard. It was from second one of hearing to second whatever I'm on after a few dozen listens. I really dig it, plus I'll add what an opener. That quote also helps add a lot of atmosphere to the opening, and followed by piano arpeggios reminiscent of Jungleland. I mean, it makes sense, look who's fucking playing it. I also love that organ sound and the piano and organ at the same time that lead into the guitar coming in. So good! I love the guitar on this and the song has this urgency that grabs your attention, you know like a good opener does. I also love the details like the acoustic guitar and the keys/organ in the background. This song is quite fleshed out and it shows. I don't really know exactly how to describe this song other than it's very epic you feel it. I love this and am a bit disappointed I can't find more words to describe this. The quiter part of the song works great and I love how the song builds back up. I think it'd be best if you just heard yourself.
2. Romeo and Juliet: This opens with a similar melody to that in Jungleland. Though, that works and it isn't a negative thing. The track also features the use of a resonator guitar, the type showed on the Brothers in Arms album cover, which plays the intro to the song. I think it's a fine song, has some great parts,but that intro is great. I really like the way it sounds and there is a nice little swing to the track. I also love how the song goes up and down and doesn't really seem that forces. Everything, dynamics wise, is very natural. I like those touches of acoustic guitar you can hear strumming away at quieter parts. I also love those guitar chords and I really like the piano on the track too. This is a really good track, and I can't believe I didn't like it anymore at one point. Maybe I just needed time away in order to know what I was missing. I also like the solo and how it feels a bit distant and I think it works considering this seems to be about dying love. Or love that has already died. I think it kind of just ends, but I think it's still a great tune.
3. Skateaway: This is another epic. An epic that a person would think, well why have them all in a row. That's what I think, and the worst part for me is this is my least favorite of the epics. It's got a great music video and great lyrics. They really paint a picture of a girl rollerskating down the busy streets of NYC. Without a care in the world, its as if its describing a scene from a movie. But I don't think this song works quite as well as the last two tracks. I dig the song, the drums a great and the guitar is great and the pre-chorus works. It's just the song seems to be like the lesser of these epics. I don't really have much to say about it, it seems like it's kind of following a formula. Maybe that's why it doesn't work for me really.
4. Expresso Love: This is where the album starts to slide down. Am I the only one who hears this, "Because the Night belongs to lovers"? I mean it changes with the chorus and pre-chorus, but like the verses with that piano remind me of Because the Night. I mean it's not a terrible song, it kind of works as an in between of Romeo and Juliet and Skateaway but again it feels like it's following a formula. Like it's there, but the click isn't exactly. So close, but no cigar. I do like the organ and think this works a lot better than some later Bruce material, but still.
5. Hand in Hand: "heart to heart, everywhere. That you never start". This introduction reminds me of Two Out of Three Ain't Bad. The song isn't that a bad, but again it's quite forgettable. Like I can't imagine I'll be returning to this or have an urge to hear this unless I completely forget or am just revisiting that album. The song isn't a terrible song, it's just kind of bland. The chorus is fine, but again nothing ground breaking or memorable.
6. Solid Rock: This is a pretty good track, and as the title implies its a solid rocker. I can't say much more that that if I'm being honest. I mean it's pretty straight forward, no little twists or turns or grand story being told. Just a rocker, and I mean... what else can you actually say.
7. Les Boys: A bizarre track that I read somewhere was a cabaret track. While I see that, I think they got that from the lyric. This is a track that kinda reminds me of Make Up or Walk on the Wild Side. This tongue and cheek style track is something that sounds similar to the tongue-and-cheekness of New York Telephone Conversation or Goodnight Ladies. This track is pretty clear about what's its about. And I don't really think it's about anything. I mean he mentions the "Les Boys" and liking whips and that they are in fact gay. I mean I think the biggest flaw here is the fact that the song sounds like it starts then when it ends it starts over with almost a loop. It plays the song basically twice. I've heard songs where that isn't a bother, Oh Well Parts 1 & 2 on the album, but this just kinda takes away from it. There at least it was a section rather than a whole entire song. I guess this feels like an outtake maybe just left on. 

Overall I have to give this album a 7/10. The biggest problem is why have Romeo follow Tunnel . The album runs out of steam by the ending. Why not put Romeo in the second side at least. I like that the Les Boys has a closing vibe, though it could literally be cut in half and done just as good a job as if it wasn't. I digress, this album is pretty solid and is a step up from the last album. 

Oingo Boingo EP

This is their self titled Ep released in 1980. It was produced by Michael Boshears and Jo Julian and released on I.R.S. Records. And thought this isn't from 2014 I am going to use this as a building block for my next album.... kinda. Well I thought I should do this before I do Only A Lad and you know that's their debut album.

1. Only A Lad: I'm going to be honest right now, I think that I prefer this verison of the title track from the 1981 Debut album. The production on this I think may not nessicarly be better I enjoy the sounds here. It also reminds me a little of The Forbidden Zone soundtrack. That and Edward Scissorhands is my two favorite things Danny Elfman's composed, you know like the score and stuff. This is so quick and  actually longer than the album version. I also love the guitar tones here. The "choir" part you know the "Society has made him go astray" sounds way cooler robotically than it does on the album. This sounds very clowny and just the tones on this track are beautiful.
2. Violent Love: This song, thought a cover, is one of my favorite songs ever. There isn't any other version, other than possibly their rerecorded 1988 Boingo Alive version of the song, that can even stand up next to this bad boy. This is a cover of a song that Willie Dixon wrote and was actually recorded at one point by Muddy Waters. The voices in the intro sound like Iggy Pop, and this is like a song that should make Ska a genre taken more seriously. I mean, yeah the lyrics are hilarious, but everything about this track from the vocals, to the guitar tones, to the production to the horn solo just make this song a prefect candidate for my favorite songs of all time. This reminds me of Good Lovin' in a way by Grateful Dead, but it's much better and not as boring upon repeated listens.
3. Ain't This The Life - 10" EP: If I'm correct the difference between the 10" and 12" is the drummer and the length. Not a big time difference, but still. This track.......... the harmony and the vocals and the every which way about this song screams to me. I'm infatuated with this track. And the fact that on their debut release, not the Demo EP or the 1976 single You Got You Baby Back (they were The Mystical Knights of The Oingo Boingo) this is great and makes anything after this live up to it. I still love the debut, but this is tough competition.
4. I'm So Bad: This sounds like an outtake from the Forbidden Zone, well it doesn't have a bunch of different singers, but Squeezit The Moucher doesn't either. While I don't think this track is as good as some of the others here, I still like that it's dark in contrast to the other tracks. I mean they all were, but this is darker sounding and more moody than the others. This also appears on the Demo EP from 1979.
5. Ain't This The Life - 12" EP: This sound quality is a little more foggy here, it's also 9 seconds shorter. The feeling on the 10" is what I perfer, but this is also crazy and probably more silly sounding. This is only included on the 12" and cassette version of the EP.

Overall I have to give this EP a 9/10. The Ep is a great beginning for a great band, and I just love this. I'd pay how ever much to get my hands on this vinyl copy.