Renaissance - Village People

This was not an album I was is intending to review, but to be fair, it does have the spookiest cover art of all time... So why not. This is the 6th studio album, 7th if you count the Sleazy half of Live and Sleazy, by the Village People. This followed their huge flop, and is a departure from their disco roots in favor of New Wave sounds. The wikipedia page has tons more info, more than I'd really ever need but now I can say this is the first album with Jeff Olson as the Cowboy and the last with David Hodo the Construction worker. Now I don't know if this look really works for them.... it kinds looks really fucking dumb. But hey, why not give the album a try right.... what could possibly go wrong?

1. Do You Wanna Spend the Night: What the fuck is this, it's like they sucked the charm of the Village People out and made them shit. I mean it's an okay song I guess that sounds like like could be a watered down Foreigner, with a weird 80's chorus, but like I don't know. It's not horrible but it's too bland, where's the camp. I do dig the backing vocals, and I mean I like the song and all but I just don't really see myself returning outside of a curious listen.
2. 5 O'Clock in the Morning: This intro sounds like a Duran Duran copy cat trying to figure out a Bond theme. I do like the synths on this track, but I mean it kinda makes me think of AOR. You know maybe a good comparison would be 90's Foreigner, after they lost their umph. I mean I think if someone else did this it could have been a hit, but it's the group that no one took seriously anymore (well you know what I mean). The song is so repetitive but it hasn't gotten old while I listened, so that has to be a good sign.
3. Fireman: This is a title, that is pretty cheesy. This has a disco feeling in my opinion, or at least post-disco type sound. There are some lyrics where I'm like, really just say sack. But this isn't terrible, I'm just pretty sure I'll forget about it once the reviews over. I like the bells and sirens and what not. Nice touches. There are also nice synth sounds on this too. It's better than Uptown Fuck.
4. Jungle City: There's something about this title where I could so picture the cheesiest, campiest, over the top music video of all time ever. Like Raining Men level cheesy video. The song isn't maybe cheesy enough for the music video but it's bad. I like the drums though.
5. Action Man: "Action Jackson, is my name, bold adventure is my game". So I looked up the lyrics before I heard this song and some other songs on this album. When I saw that chorus I just.... I was not looking forward to this track. Who knows its could be good, but in reality...... it's really not. If anything; it's like more along the lines of what the fuck am I listening to, mixed with Whip It.
6. Big Mac: I have no words for this song, outside of once I looked up the lyrics and read them I just..... I don't know. Is anything even real anymore? Waterfalls is about AIDS, there exist Titanic video game from Japan and most shocking..... The Village People sang a song about the legendary McDonald's burger... the Big Mac. This isn't terrible, but really were they endorsed by Micky Dees. There's a sort of surf feeling to the tune, maybe like the B52's. Eh, I don't know not feeling it. 
7. Diet: This is so 80's, but it's not in the good way. So when I was younger, and far less intelligent (or at least had worse taste) I would watch hours of VH1 Classic music videos. Mind you I was in Middle School and most of that music I either like out of nostalgia or I think sucks. Some I still love, Video Killed the Radio Star, Aerosmith but that's besides the point. I feel like, even then, this would have been on of the songs I'd see and be like okay lets wait until this is over so I can see a good music video. My favorite was Pop Up video for Sexual Healing. #Fucking Classic - Not this Marvin's tune.
8. Food Fight: Is this a sequel to the 2012 film of the same name? You know, I kinda think this is fitting... Not the song but the jesture maybe. David left after this album, I doubt they or he knew while they were recording, but I like to think this is his send off (he sings lead vocals on this track). Okay this is my favorite song here, for the fact it sounds like Weird Al's classic tune Happy Birthday. It also kinda reminds me of Blondie, maybe. That one could be me remembering wrong, but I do know that the vocals and the way this is reminds me of that HB. 

Overall I have to give this album a 5/10. This wasn't as terrible as I thought it'd be, but I mean I don't know if I'll ever revisit this. I mean while the songs aren't half bad they aren't fun.There is a very 80's feeling to it, and it kinds suffers a bit for that. But I don't know, it isn't terrible

Torture Time! - Polly Bradfield, Eugene Chadbourne

So today, since I'm house sitting, I decided to finally review this. Plus it has to be better than that extremely boring Georgie Fame album i just listened to (sorry Oxley you couldn't even save it). Also I've been writing and I need something non-singer/songwriter or to help me focus and get inspired by music. This is the third release by Polly Bradfield. This is a collaborative album between her and experimental guitarist Eugene Chadbourne. Well kinda, she has only been credited to about 20 some odd albums, recorded, from 1978, Frank Lowe's album Lowe and Behold, to 1986, John Zorn's  album The Big Gundown (which might be uploaded soon, either that or Spillane). Hopefully those commas make sense, because i know its technically incorrect use but fuck that. If you remember three February's ago, I was feeling daring and did Environments For Sextet, (which she played violin on). She also played with the other 11 releases he is credited on (from various places, though there might be more). This is also the last album that was released where she was credited as an artist. This album was recorded on April 2, 1981 and should be noted the only instruments on here are violin and dobro.

1. Untitled: Opening with what sounds like a crank or a wheel being turned. First time trying to do the review, I made it like 30 seconds in and my brain turned to mush thinking how the fuck Polly is doing what she's doing. I mean it could just as likely be Eugene, but Polly is the more talented one (IMO). I have to figure shes doing something with the strings on that violin, and some of these "effects" are really interesting sounding. I can't even describe some of the sounds happening because that take far too long and take away from others interpretations. The thing I like is when I hear sounds that sound like a horn, toys, whistle, saw or something not a Dobro or violin. There is percussive noise, but I assume it's achieved by hitting the instruments. At about five minutes in I'm beginning to hope it can keep this up or get better. I like the sort of sped up horse gallops part, that kept me trying to think how's it exactly done, but I think I might have figured it out. There are also parts that remind me of Mr. Bungle field recordings that find their way all over the debut.  Is that a bicycle bell. Around 13 minutes I do like what's going on, but its kind of losing me. To be honest, I'm not completely looking forward to another 20 minutes of this. It kinda sounds like a fart. I feel like if cut up into individual tracks, to sort of help only get short doses of this the track would be much better. Like maybe cut this into 5 or 6, 1-3 minute tracks. And maybe cut parts that kinda repeat you know. 
2. Untitled: Bow by the time I'm at side two I'm like, the better be damn great of amazing to make up for the overall okay last track. And yeah it starts off promising, though it leaves me wanting more (in the this isn't enough, not I want to have more the the same or quality). Why no drums bru, that'd make it so much fucking better or something else, horns something. There is a sound that when I hear it I imagine the film being dissolved, like in movies. But in this instance it'd be the sound or music. There is a nice "banjo" type thing I hear, but it fades to fast. I like some "effects" on this track also, but I fear its going to wear thin fast. I mean the last thing wasn't so hot. It kinda sounds like someone masturbating. There's a part where the Dobro is in,  the distance and almost sounds like its over a radio. I like that a lot. But it goes to fast and isn't fully utilized. 6 minutes in, of 15, and I'm kinda picturing what could make this better. Horns would so fucking make this better, like horns that acted as a regular string section. Then maybe pizzicato horns (probably using term wrong or not ever the right term, but fuck it). At 9:24 I'm beginning to completely check out, I am glad I checked the time because that helps me know its almost done. I do like the breathing sounds and how it is chaotic towards the ending but I feel like it didn't do what I wanted it to do. 

Overall I have to give this album a disappointing 5/10. It's free improvisation, what did you expect. I mean as much as I enjoy the genre and take influence from it I can't say anything of it could really be a 10/10. I mean I bet if I was to play this and have ten people review this most would hate it and point out, its not music. The thing is, this is music, we've past the point in time a long time ago where this wouldn't be considered music per say. But that doesn't mean i didn't have hopes of it being a 7 or 8. I mean this album, to me, felt like it could be up there with European Echoes, Environment, Typography of the Lungs and so on. Sadly it's just one I heard I'll probably forget after this review. There is an art to being able to do so much with so little, and you know I learned quite a bit from sitting through this record, but I won't revisit it. Actually on that note, the fact there is so few and little also detracts from this. I mean if they added a percussionist, and he had a shit ton of things to use that'd help make this much more interesting at parts. Really, if you open minded about music I ask you check this thing out, maybe you'll get something out of it. Or if you play a string instrument you can hear weird sounds for 35 minutes. But yeah, its nothing that I'll ever want to bear again. 

Controversy - Prince

This is the fourth album by Prince and was released in 1981. This album follows the amazing 1980 Dirty Mind. While it may not be as good as that album the title track alone makes this worth a listen. This was also released in October. The album before and after were also released in October. As you may know Prince recently passed away, I plan on doing a Purple Month sometime next year maybe, but for now this'll have to suffices. Now I'm a huge fan of this guy, his Cream of the crop coming from 1980-1987 (it starts to decline after 1992 a lot). Now I will miss Prince, but not sorely. Why? Well blame it on Bowie, but after he died I said.... When's Prince and Macca and my other heroes gonna die. And when I heard the news I went, that was quicker than I wanted. :( But to honor him I'll review a pretty straightforward less popular, but solid, record.

1. Controversy: This track opens the album. This is an amazing track from every which way. This track features Lisa Coleman as a backing singer. At 7 minutes I have to say, this really doesn't feel like it overstays its welcome. It kicks off with a punch, had a solid groove. The chorus is very catchy, and the Coleman's refrain of the title is great. Oh the track also changes enough, while not a progressive composition, it changes enough to keep me interested. I love the umph that Prince does, which sounds like a sampled voice being played through a drum (essential serving as a bass drum).
2. Sexuality: The definition of Prince's music, at least Pre-2000. Hahahahah, that's a good joke right guys?!?! But more seriously, this was released as a single, but I don't hear it. It's kind of an uninteresting synth funk number that has been done much better by The Purple One himself. It also sounds like a song I could hear being a new wave influenced maybe on a VH1 Classic rewind music video block. This isn't terrible, but I know if I heard it I'd probably just hear it passingly. Like there isn't anything here that really drives me, outside of the review, to revisit this. The only thing that I do smile at is the lyrics that were quoted in Rainbow Children.
3. Do, Me Baby: If I'm correct this was written by André Cymone. This also dates back to 1979, though this is a re-recording from the 1981 sessions. The one thing I have to say about this song, honestly, is damn this is long. Maybe it's a bit too long. This is a sensual song, kinda like International Lover. The only thing is this isn't as good as that track. It's almost as if that was a re-write of this, but done better.
4. Private Joy: This was actually later covered by LaToya Jackson among others. Honestly this is a pretty fun, 80's song. I really can't hate it you know. It's pretty damn fun. While I feel like it might be a bit more fit to someone else, I can't knock it you know. I don't know which I like better, I mean the cover sounds better, but this.... I think his singing is what kind of make this sound like the original of a song that was later covered by someone else and made a hit. A number of song on that list include Since You've Been Gone, I Feel For You, Blinded by the Light, Nothing Compares 2 U, Respect among others. This is still a nice song and worth checking out. I do appreciate the sort of distortion and segue into the next track.
5. Ronnie Talk to Russia: Being Lisa's second track shes on, this is a very short track. Look at it as this albums equivalent of Sister. There is some nice drum work in the beginning, then when the song starts it kind of makes me think of a rocker off The River. I mean it's a fine song, it's sweet and short, not as good as Sister or memorable, but it is what it is you know. Kinda tongue in cheek.
6. Let's Work: Originally titled Let's Rock after a dance the title was changed to make it less timely. This song is kind of simple and these not much to it. This beginning of the song, or refrain  reminds me of Le Freak. The comes the bass line for a few bats before the vocals come in, which I think is the best part of the song. I really like the way he sings and the sort of six syllables or beats he sings and the synth backing him up. This is really a top notch song from this style. And I'm pretty sure it'll make you wanna get up and dance. This also sounds like it's pretty confident and I could almost see it being on par with the next release, if not so new wavy it could also fit on there. It's pretty confident and bold and just straight up great. I also like the synth that works as sort of strings for the track. Nice ;)
7. Annie Christian: The segue into this next track is something else. Its almost if he was aware this is odd and he wanted to get you in the mood right away. Now this isn't odd in a "I can't believe he'd cover this topic". This is odd for the way it sounds. Like I almost feel like it's not shocking, just bizarre. It has this weird feeling to it that makes me think it's supposed to have a deeper meaning to it, but I don't know. There is a really nice guitar through out, and this icy synth that sounds like lazer shots being fired. The more I listen though, the more I love every second of this. And I'm serious about the guitar, we rarely get solos and here is like a 3 minute long one behind the track. Maybe the best way to describe this is he was a Third Days Something, I don't know but some people say that is like a cult. This song has a very cult-esque feeling to it. Almost as if he was brain washed or sung by a robot. The only real logic I can find is maybe it's about the devil, and to back that up the fact Annie Christian Annie Christ sounds like Anti Christ. 
8. Jack U Off: If I'm not mistaken this is the first track Prince misspelled. This track, while classic in its blunt title.... It isn't classic. It kind of has the silly feeling Delirious and a number of tunes here have. This is kind fun, but I'm not sure this fun feeling is right for this song. Maybe for the chorus, but like I don't know. It doesn't leave a good feeling in my ear, or mouth. I've heard far worse song, and loved them, but this just doesn't really work for me if I'm being honest. The best part is may the harmonies, but also I feel like it doesn't work too. There is also a rock and roll feeling to this, but I don't know.

Overall I have to give this a 7.5/10. This album, while less eventful than the previous album or the follow up its kind of important. I once read, and didn't realize, this is the first album with long songs, which Prince would use extensively on his next album (and other albums not necessarily to his benefit). But this really is the middle ground between DM and 1999. Ultimately the title cut and the other two tracks are a good enough reason for me to buy a cassette, Cd, vinyl and 8-track of this album. Now that being said Prince Roger Nelson will be missed but if there's anything we can do its to keep on keeping on. He wasn't one to really back track (well until more recent years) and musicians shouldn't either. So lets keep going and make Prince and the others proud. 

Point Of Entry - Judas Priest

This is the seventh album by UK band Judas Priest. I've been meaning to do a review for this band, now, for a while. So I decided to do the album that I've never heard a single song off. You know, I was never really interested in actually listening to this album. Maybe because of the artwork, but also cuz I felt like it might not be anything special. Especially since it's in between their two biggest albums British Steel and Screaming For Vengeance. Now, I'm not saying those are their best, but biggest. They are both good albums, but not my favorite. I like their 70's stuff more, but that's just me.

1. Heading Out to the Highway: This is a pretty solid beginning. This song kind of reminds me of the last album. But the solo in it is pretty sick. I think that the tone they used for the short solo is pretty sick.
2. Don't Go: This song sound like an 80's song. This song isn't anything special. I kind of feel, I heard some of the tracks out of order, that this is kind of "Gay?".
3. Hot Rockin': This song sounds like a Priest song. The chorus of this song is kind of... lame. I'm sorry, but it kind of is. That kind of hurts the song for me. And well, the solo doesn't save the song for me either. :(
4. Turning Circles: The guitar riff in the beginning of this reminds me of Katy Perry. Really guys, why? I need some Hell Bent For Leather or Electric Eye or Breaking The Law or something like that. This is like a gay version of Living After Midnight. After hearing this more than once, it grows on you, and becomes less gay. This isn't Turbo Lover, but I don't know.
5. Desert Plains: This song isn't that bad. I don't know why, but I think it's ok.
6. Solar Angels: The beginning of this song is kind of bringing my faith in the album back. But then when he starts singing it kind of starts to fade away.
7. Yes Say Yes: :(
8. All The Way: This song sound like it would be a song that was maybe later in the 80's. :( "Put you hands on you hips".
9. Troubleshooter: This song doesn't really do much for me.
10. On the Run: When I first heard this song I was like "Fuck! this might be a good album". This is one pretty sick song. I know it has the same song title as the 4th, 3rd on the CD, track off Dark Side, but it's not the same song. There are actually words. This song rocks. And it definitely made me really want to hear this whole album. I was wrong.

Overall I have to give this a 6/10. I really don't know what to say. This album is good, but I don't think it's mind blowing. Some of the song titles on this are cool, some are lame. I don't really know, you might like this more than I did, but I still though it was ok. I know I said this album was kind of soft, but that doesn't mean I don't think it's ok. I wish it were heavier. I don't really know if I'll be coming back to this album. You can tell they were going for a more radio friendly production on this thing.

Tinsel Town Rebellion - Frank Zappa

This is the, though some assholes might disagree (Wikipedia, Sheik Yerbouti is not a live album), the sixth live album by Frank Zappa. This is actually the album cover that Frank was going to use for the unreleased Crush All Boxes, but after he scraped the album after wanting to show his talents. So he used the songs from Warts And All and Crush All Boxes for the albums You Are What You Is, Tinsel Town Rebellion, You Can't Do That On Stage Anymore series, and Shut up and Play Yer Guitar series. This is actually one of my favorite Zappa albums. It was released today May 11th, 1981. It's either that or May 17th, 1981. Tracks 1-3 are on side 1, tracks 4-8 are on side 2. Tracks 9-12 are on side 3, tracks 13-15 are on side 4. Most of this album was recorded live in 1980, but there are some exceptions. Oh yeah This is one of my favorite album covers.

1. Fine Girl: This song was going to be on Crush All Boxes. This is a funky type of song. I am not that crazy about this one. It kind of reminds me of some song that could have made it onto You Are What It Is from the same year, 1981. This is actually not a live song, but an outtake for Crush All Boxes. This is a song that you could do like "up down up down" walking to the beat of it.
2. Easy Meat: This song was going to be on Crush All Boxes. Not necessarily this version but this song. This feels like an early 80's Frank Zappa song. The thing about this is that it is kind of "Easy" to tell what it's about. It is kind of a catchy song too. There is a part where the keyboards and synths at like 1:30 start reminding me of Funeral For A Friend half of Funeral For A Friend/Love Lies Bleeding off Sir Elton John's 1973 classic double album Goodbye Yellow Brick Road. Well at about the 3 minute mark it goes into this like, first, John Zorn breakdown thing. You know when it sounds like the song falls apart. The best part about that little orchestra part is that it was, I checked, recorded in 1975 around the same time as the 1979 Orchestral Favorites album. The rest of this song was recorded on two other dates in 1980. After that it has this mix of like King Crimson and Lumpy Gravy before going into this pretty sounding guitar solo. The solo gets faster paced as the tempo goes up. It is still a cool song. This kind of reminds me of the song Watermellon In Easter Hay off Frank's 1979 rock opera and double album Joe's Garage Vol. II & III. The ending of the instrumental part reminds me of teh ending of the instrumental parts of that Funeral For A Friend into Love Lies Bleeding. Then they start singing again. I love how Zappa did stuff like that. It sounds really cool and the parts of the songs were recorded about 5 years apart.
3. For the Young Sophisticate: This is kind of like a blues type of song. This was recorded at Hammersmith Odeon in 1979 on February 18th. This is also more of a blues type of song. This song is actually really cool. I like this song and it is cool. The thing about the lyrics is that they are kind of funny
4. Love of My Life: This song was originally on the 1969 album Cruising with Ruben & The Jets by The Mothers of Invention.. This is kind of like a new updated version, tailored to ''This Band''. I know that Frank kind of wrote songs for what he had and was looking for in his backing band. This isn't that off from the Ruben & The Jets version, but it sounds a little different.
5. I Ain't Got No Heart: This song was originally off The Mothers of Invention 1966 debut double album, Freak Out!. That is one of my top, probably, 10 albums of all time. That thing is better with each listen. This version is more sped up and more clear. This is more of a stereo version, but sped up, vs the original version. This actually kind of reminds me of a song that would possibly be on __. This has more of an arena rock feel to it.
6. Panty Rap: I don't really need to explain this one. It's just him talking. I don't really know how to explain it. Its actually more of a contest. It's just 4:36 of him talking. It seems like the intro to this concert off of some other album like Hammersmith Odeon, or Buffalo.
7. Tell Me You Love Me: This is just a remake, live, of Tell Me You Love Me off 1970's Chunga's Revenge. This is also sped up, and for the most part has the same differences, so to say, with the new version of I Ain't Got No Heart. I don't like this one as much as on Chunga's Revenge. It also have more keys driving it, than on the original, where I don't think there are any keys on it.
8. Now You See It--Now You Don't: This kind of serves as a solo, so to say, after Tell Me You Love Me. This is a song that could have definitive been on the 1988 instrumental album Guitar. Either that or on one of the Shut Up And Play Yer Guitar albums.
9. Dance Contest: This is kind of like right after the songs Titties & Beer on Hammersmith Odeon where they would have the talking and the dance contest to The Black Page #2. The track is called Audience Participation. I also think that's on the 1983 Baby Snakes album. The actual reason for that is because it was recorded in October, 1978 in New York. Unfortunately that was post-Bozzio.
10. The Blue Light: This is the more like a Black Page #1. This also has the obvious Steve Vai guitar sounding guitar on it. There is also vocals on this. It says that this is the same song as Galoot Up-Date on 1984's Double Album Thing-fish, but a rewritten version. The vocals on this remind me of the vocals on the Drowning Witch on 1982's Ship Arriving to Late to Save a Drowning Witch. I don't really like this song a ton, but what ever. It isn't ruin the album for me.
11. Tinsel Town Rebellion: This is my favorite song on this album. It's really catchy and interesting to listen to. This is a very catch song and could probably been played on the radio if it was cleaned up a little and didn't have Frank's name as the artist. This is totally a song that could have been a hit. The breakdown is kind of like a Christmas feeling to it. The versus are awesome, and the lyrics talk about people selling out. This is where "Chop A Line" in the beginning of Cocaine Decisions, which is one 1983's The Man From Utopia,  is from. The song at parts kind of turns into a rant with backing music, but it is till a good song.
12. Pick Me, I'm Clean: This song is also on 2007's Buffalo live album. This song is also an ok song, but I like that he turned that phrase in Stick It Out, which was a part of the Sofa Suite that he played back in like 1970-1971 with The Mothers. He had Flo & Eddie in his band at that time. Well he used that same song in Joe's Garage Act II & III and the conceptual continuity still made sense. There is a big solo in the song, which I'm kind of impartial to, but what ever. This song also has this type of Reggae type of feel I get from it.
13. Bamboozled by Love: This song dates back to Beat the Boots: Saarbrücken 1978. The version on this album was recorded at Hammersmith Odeon on February 19th, 1979. This kind of reminds of a classic blues progression. The lyrics are kind of gruesome. There is a part where it says, "If she don't give me what I want, She won't have no head at all". Then the verse right before the solo ends with "I am here and she is gone, and the reason that you have not seen her, seen her, Is she is underneath the lawn". Outside of the dark theme of this song, it's a really cool song. I like this more than I thought I would.
14. Brown Shoes Don't Make It: This song was originally on The Mother's of Invention's 1967 Absolutely Free. This was recorded on February 18th, 1979 at Hammersmith Odeon. This song goes from making fun of society and the media in general. After that the song shifts into a song about a city hall official who had sex with an underage 13 year old girl. This version isn't as good on Absolutely Free but I love the idea of the song. This song is kind of eerie, but it's eeriness is not as eerie as it can be because it is, like I said, stereo sounding verse the mono sound on the original version. This song is 7:15 minutes. I'll go more in depth with this song when I do the review of it for Absolutely Free in August.
15. Peaches III: This is the "New Age" version of Peaches en Regalia. It was originally on Frank's 1969 album Hot Rats, then later on The Mothers 1971's Fillmore East -- June 1971. This is the third version, as in they were different, of Peaches. That's why it was called Peaches III. This version is more guitar driven in the beginning vs the more kept together and perfected Hot Rats version. This album version of this song was recorded on the early and late show at Hammersmith Odeon on February 18th, 1979. This sounds like more of a live version. The beginning intro is played on guitar, then the guitar part is played on keys.

Overall I have to give this a 9.0/10. This is an awesome album to listen to. It's really good and enjoyable to listen to. I don't think that some songs are automatic, but they can grown on you. There are some duds, but that doesn't ruin the album. This is a good Zappa album for like a accessible album. I really need this on CD and Vinyl.