Metal Magic - Pantera

I planned on doing this New Years Eve, but I feel God had other plans. I don't really want to talk about it, because I know it's for the best, but my grandfather died on New Years Eve. I was there when he died, and he was surrounded by family, I couldn't ask for anything better. So I will still review this, just not the intended date. In honor of the recently release (December 4th, 2015) Pantera compilation 1990-2001 and the fact they won't pretty much don't acknowledge that they came out with albums before Cowboys, I decide to only review their 80's albums. After that I'll do the 90's, I may do all of their albums up to Reinventing the Steel, but not until the first four records have published reviews. In fact I think the only reason any knows this cover anymore is if they are a die hard, or have seen it on a list of worst cover. The other possible outcome being that they, like me, stumbled upon it one way or another. Oh by the way, don't say this isn't Pantera because the only member who was on Cowboys that wasn't on this is Phil. That's because Terry Glaze is on vocals for the his one. This album was released on their own label Metal Magic Records on June 10th, 1983. So 7 years prior to Cowboys. Also this was on the 20 terrible debuts by great artists list from rolling stone... So chances are its fucking good :)

1. Ride My Rocket: Opening with a title, that with this cover, is cheesy as hell. Opening the album we get what sounds like people cheering, then it progressively gets turned into a loop and hypnotic. I could almost see this being on a Hawkwind record. I can't imagine the song, but the main riff reminds me a tad of Detroit Rock City. When the song plays it isn't terrible, just kind of forgettable and generic. But I can tolerate it.
2. I'll Be Alright: I'm so damn close to making a Kenny Logins joke. I'm going to be 100% honest right now, this reminds me of Judas Priest. But one of the good songs by them. There a a lot of forgettable songs of their's from the 80's that seem to appear on greatest hits, songs like Delivering The Goods or Unity. Both terrible songs, this is more in line with the heavy hitters.
3. Tell Me If You Want It: "Tell Me if you need it. I'll be walking outside the door, around you I'll confide it". This is so 80's it isn't even funny. That isn't a bad thing, I just can totally see this being of it's time. Although, Diamond is really killing this solo. Nice to hear something that uses the same distortion as Cemetery Gates this early.
4. Latest Lover: This is pretty generic 80's I could almost mix this up for a number of bands. I don't know.
5. Biggest Part of Me: The beginning has synths that remind me of something I can't pin down. But this song turns into a pretty generic power ballad. Also maybe if the album was an Ep this would go over better.
6. Metal Magic: Do I like the title track, yes. To be completely honest, it makes sense this is how theyd sound. This is hair metal, but there are hints of like Priest in this. This was the first track i heard alone, and you know, I liked it. Honestly, outside of the vocals, this could be a priest song. I do like that Halloween-esque horror film vocal thing and its got tasty distortion on this. If I'm being honest, lots of glam metal/hair metal groups look and sound faggy. They just sound weak and don't deserve the Metal title. But this, while yeah it kind of is, its not half bad. I won't listen to it outside of maybe to remember because I forgot about it, but its not terrible. 
7. Widow Maker: I really don't know what to say other than, Priest track. Also terrible name for a song.
8. Nothin' On (But the Radio): I have to say, me personally, I think this is the stupidest fucking title ever. It bothers me a bit. What the fuck am I listen to, there is this beat in the beginning. It almost sounds like it's a joke, then it goes into a rendition of Hearbreakerby Pat Benetar. Shockingly, this chorus is more 80's than anything I've heard her.
9. Sad Lover: Ah, what could be better than hearing Diamond Darrell playing guitar on two song with the word Lover in the title, and it having a very ordinary word in front of it. To be honest that song came and went. Also I feel it takes too long with the fake ending and then how it comes back.
10. Rock  Out!: "With you cock out, like who this kid, it's just something I've seen Prince do. Its true. No matter what, I'm showing up Who gives a flying floating fuck What people say, or think? Cause end of the day, start of the day they all said we wouldn't get here anyway You blink, and Wolf Gang's in this bitch...". 

Overall I have to give this album a 4/10. Is it their best, no. Is it a piece of shit, no. I still think it's worth checking out where they started. I hate when people do stupid shit and try to cover up their past. We deserve to hear it if you released it. Even if it's an hour of you shitting, you released it. Let us hear it. There was a episode of South Park and it brought up an interesting point. Once you put out art and it touches people it not longer is yours, it's everyone's. It's for anyone to enjoy and have and hold and used for their own use. Hiding this and covering it up is like cover up all the embarrassing parts of history because no one wants to admit it. I'm also of the belief, if you are truly a fan of something you will be able to critically analyze and understand why you don't like certain parts of their career, or story or whatever it may be. At the end of this confusing pointless paragraph, this is pretty generic but if you like 80's glam metal or Pantera then just check it out. If you want to just hear it for shitts and giggles, then there's that choice too. But I've heard far worse music than this.

Fresh Juice - Blowfly

While I want to save these reviews, by this artist, for one per year this month is special, well 2015 October at least. This is the first Blowfly release for Oops! Label. A label that would be his home from this album until 1988's Blowfly For President. This is also notable for being the first album not to be released on Weird World. This album is sadly overlooked in my opinion. It wasn't ever reissued on CD alone, and it's easily the best album of the 80s.

1. That's What Your Pussy's Made For: At 7 minutes this is a long track. Compared to his other 3-5 minute tracks, some albums even less. This is also a very educational song, and not in the way that his 1974 track Sesame Street is. No this is a relatively straight song, and yes in terms of serious. I wouldn't have pick up on it until I saw a review of the track. Someone mentioned this is a serious track, and I revisited it and damn! This is a lot deeper than just fuck you. Now obviously there is humor in this track, but the subject matter brought up, especially in the beginning of the track is kind of weird. It's kinda of a portrait of a girl who is destined to become a very sexually active girl. Not the kind that's like a mature, you're a woman make you're choices. It's more of a young girl who probably is confused and lost and that makes her feel good. And it's not necessarily because of her, but because of the unfortunate events of her surroundings and childhood. You know the sad thing is this song could very easily be about a real person that anyone could know. At the end of the day I think this song shows why sex education is an important part of growing up, and why it isn't cool to take advantage of kids. People are only more fucked up then they were in the 80's and I doubt it's getting any better, or it ever will..... And seriously, I may not be the smartest or deepest person, but this truly is worth checking out and thinking about. Musically it's pretty solid and very 80's new wave. It's like a perfect marriage of his 80's out put and his 70's funk. And it also have the stereotypical Fly everyone loves, but I wish the whole song told that girls story instead of the guys too. I think that's just another chance to make a gay joke. And it could have been, in a different time, a perfect chance for him to mention she gets AIDS or something. Although he did kinda do a version of that the followin year with Child Support with the Funky Party Band using his real name Clarence Reid.
2. Too Fat to Fuck: You could look at this one of two ways, Blow being Blow..... Or a song that's anti-obesity. But in reality it's just what the title says. Again the music here is great. I mean this isn't the funniest song of his, it's also not the best on this album, but it's still a solid track. It also have this disco vibe to it. Like I could picture, with different lyrics, being in Saturday Night Fever.
3. The First Black President: Easily one of my favorites from his Oops! era. Actually this might be one of my favorites. The playing here's on par with the Weird World releases. If this was done by a white person today he'd be crucified for how racist it is. I could only imagine South Park doing something the level of this songs "UnPC". I love this and it's hilarious, it's like the opposite of Obama. Obama is very diplomatic and acts very calm or "white". But for this song picture a hardcore gangster getting elected. Not a rapper like Kanye West or anyone how isn't probably that "tough" I'm talking about a guy who snorts coke, promises birth control in every purse and chitlins in every pot. Also one who gives his weed to Pope John Paul (but not by choice). I actually could imagine the events of this song happening in an episode of South Park. This song isn't the worst, the part 2 is more unPC but I love this one and it's following adventure of the First Black President. The backing track to this is phenomenal, it's so funky and reminiscent of Rap Dirty. The only bad part is he didn't continue this through the 80's. 
4. I've Got to Be Free: Oddly enough this doesn't even feel like its fits on this record. I mean it almost sees straight. It's a very romantic song, seriously. I mean if he took out the dick lines, this would be a love song. And I mean it's not like a complete rewrite, it's more of a few clean ups here and there. The only track I can compare this too, is like I Need Love by L.L. Cool Jay, but a tad dirtier. The music here is very 80's and cheesy now, but I mean I still dig the shit out of it. The only bad part is it does go a little long at 5 minutes, but it's still pretty solid.
5. Business Deal: I wonder what this track might about, P.S. I know I heard this record before but I'm gonna pretend I haven't. And in seriously the horns here are great. This almost sounds like it could fit on Disco. This really is catchy, and it really reminds me of Kurtis Blow. This song also reminds me of The Residents album Demons Dance Alone, but played on the horns. This is a very fun song, and it's pretty funny.
6. The Vampire That Are Miami: Tell me, does this get more Halloween than this. The classic tale of a Vampire who comes, eats woman's vaginas dry. Who other than Blowfly can clean up this mess and save Miami. Summoning The Incredible Fulk saves the day (blowfly alter ego of sorts - he transforms into it), and everyone's happy. The music here is very similar to Porno Freak, you could almost sing the song, but this is still a great track. This track is great and I love love love every second of it. Lots of his best tracks are story tracks though.
7. She's Bad: "insert Dolemite reference". This is more of a slow jam funk rap number. Also that bassist is awesome. I mean this is what I assume is Fly's take on a love song.
8. More Than One Pussy: Who doesn't want that. This melody reminds me vaguely of Just The Two of Us. This topic is insane, but you know I really like the sound of this song. I feel like this would offend someone, but then again who cares. I don't care if it offends someone. The point being, God created more than one woman so us men can have different women to do certain things with.

Overall I have to give this album a 8/10. This is like the other albums from the 80's. When it's great it's fricken great, when its not its just ok. There isn't a bad song on this thought. And it's so fun, if you were having a college party of something I'd suggest playing on this on Spotify if you knew everyone doesn't mind some cuss words and some profanities. The only album from the 80's I've yet to hear is Freak Party, but so far this is the best. Though I do like the On Tour '86 feeling of the original albums. Up next is hopefully another review. The only set in stone review is 31st's so lets see what happens.

Filth - Swans

If I do Halloween Month next year, which I mean it was a lot of fun, I think ill try to the schedule of about one ever other day, (Mon, Wed, Fri, Tues, Thurs, Sat repeat) or something of the type. Anyway this is the debut full length album by Swans, it follows a Self Titled EP released the prior year. This album was recorded in April of 1983 in New York, produced by Michael Gira, and released on Neutral Records. This is also, I think, their only release on that label. One thing I want to say is based off the cover, and title, I imagine the album will contain some form of "chains and whips" or other type of kinks. It's arguably "filth"; the club at the beginning of Irreversible, the activities Frank makes fun of oh so often..... Yes you guessed right. Now I don't like those activities, but this album also gives me the image of the total debauchery of Sister Ray, but more serious. The Heathen activity will commence, and pleasure is the only absolute (insert other art film nonsense). {Note: Anything said that offends is not meant in a serious manner, just in a stereotypical/socially accepted "facts"}. So with all that in mind, why not review it for Halloween?

1. Stay Here: This is very noisy. Like the best comparison I can think of is Everyone I Went to High School With Is Dead, minus the electronic pop through. There is a marching rhythm to it that makes me also think of Walk, but this is much darker than Pantera. With Pantera I'd think, they are gonna beat me up, with this I think I'd be best to avoid them. It might not be safe to hang out in the part of town they do. Now that that being said, I'd go to that part of town to hear them play, it's just I wouldn't stick around. I do kinda laugh a bit at those growls at the ending. My mom always says, when I listen to any form of screaming "he's constipated" and the way he's doing the vocals at the ending make me think he might be. Not that that's a bad thing..... for the song at least. Also for whatever reason, it makes me think, this whole song and album, Sister Ray. 
2. Big Strong Boss: On the tail of my Village People review, I feel like this could be a title of one of their songs. Not really but who knows. This is a very robotic feeling song. The rhythm could easily be done doing with Devo if they were doing, and honestly not a type like real, metalcore/heavy metal type song. Like I imagine a bit of a real machine making this sound, or at least they replicating the sounds and rhythms with their instruments. I also think of the Devo cover of Satisfaction. I also think of the song Critical Acclaim by Avenged Sevenfold. This would be sick if they did they type of guitar thing, like using the same distortion just playing this, that Syn and Zachy did in the beginning of that song following the organ intro, that riff. But that's pretty impressive that I was album to connect so many dots 20 seconds in. I have to give them credit for that. This also have a bit of a punk feeling to it. Like I could see a punk band playing something similar, musically speaking not sound wise. Technically the genre is No Wave though. And this might be the weirdest comparison I've done, it kinda makes me think of "Robot Roll Call". At 3 minutes this does get old kinda quickly, but that's because it's just the one thing and repeats. It's not bad, I just wish it wasn't so long.
3. Blackout: "I really had a blackout", I can actually sing it to this too (that line). Opening very heavy on drums, this feels like the beginning of an album. Like I feel like this could be titled Blackout if the album was titled that, or this could also just as easily be titled Intro. I mean this is.... I don't feel like this is as together as the last two. Though there wasn't really much, outside of those connections (in my head) going on in the last track. Don't get me wrong, I like minimal stuff, and minimalism...... but I think it is more compelling on To Be Kind. Also I like the evil, deep, Axl Rose esque voice. You know the really low one he does on Use Your Illusion.
4. Power for Power: For me, personally, the intro would be much better if there was something else going on. Like maybe throw in a solo, or a fill or anything. I mean, there isn't much really to keep your intrest. I mean at least songs or pieces like In C an some others numb your brain from the repetition, this just kinda........... shuts your brain off and you kinda, for me, have to focus. It's not the numbing where you can't focus, it's the you watch the same episode of a TV show for the 5th time in a row, all in the same day, can't focus. I like the powerful percussion towards the middle, but hat's not enough to keep my interest. Like I feel like if I do anything on my guitar, and play it over and over and over and over it'll work of this track. I think that people can do interesting things with songs like that, but it's hard when it's the whole album.
5. Freak: What kinda one is it? could it be a Porno Freak, or maybe a Super Freak. This starts with a neat "tape rewind" sound. I think it's an interesting departure from what have been mostly a sonically similar album. And Honestly, for that reason it might be may favorite track thus far on the album. It's really noise and a sonic whirlwind. I get the feeling of being inside of a tornado when I listen to this and the guitar only helps that. The sort of fade in and out thing it does. And that stop, pretty awesome. It also goes by pretty quickly.
6. Right Wrong: This song is kinda clearer. The other tracks prior were a bit more muddy, where this I can make out everything. I might be crazy, or maybe I just got used to the production here. But I think this feels.... fresh (?) and different enough to what I could imagine being a side 2. I don't know the vinyl track listing, but I imagine it like that. I mean this is really cool. I can really get into that track. The drums sound like they want to hurt you, the guitar sounds like it's pissed off and if I had the bass taken out I'm sure I'd kill my ears. The bass here is more muddy, like I can't really pick out what it's doing, but overall it's a bit of a nice change.
7. Thank You: "for letting me be my self again". This is another track that is noticeably cleaner. I like the double rhythm things. I can't think of the term, but like that drum thing he's doing. Like The Rev did on Almost Easy. Not the double bass, but the kind of timpani thing. The thing they do in the beginning of The Stroke by Billy Squire. I also like the double bass pedal thing on the drums. 
8. Weakling: I kinda feel like this would be a perfect title to a track for this album. This is pretty decent, I like the whole entire feeling. I could picture this being a stoner/sludge track if the production was a bit different.
9. Gang: This is a track has a primal feeling to it. Primal is a word I'd use to describe this album too. It's very percussive. There isn't much that happens really. It's cool sounding but I don't jive with the fade out, fade in twice in a single album. Unless it's a different part and not just the same song.

Overall I have to give this album a 5/10. When I look at this cover I feel like it fits the album. Now maybe it's the post-Money Store/NoLoveDeepWeb me but this album just attracts me to its. Kinda of like a horror movie attracts me to it in, though I don't really watch current movies often. That's a whole 'nother story, but regardless. While I don't love this, I definitely think it's worth the listen. It's dark, but the right kind of dark. I find myself liking the blue print and what happens rather then the execution or the over all outcome. I really dig the whole use of noise, but in terms of a whole piece of material I don't think its amazing, or mind blowing. Who knows, this album might change your perception of what is possible, that's the beauty of art. What I might pick up as hints or suggestions to add, someone else might find as the thing to stride for to equal. There are a lot of elements on this thing I like and while I feel like it's not amazing it may grown on me to. One thing I know for sure is, id I heard this in the 83 (or at least prior to the release of Cop) I'd be excited for what's to come. And I plan to review another Swans record, preferably as soon as possible. Also for the record I've heard other albums, and I do like some track by them much more than this album, but you gotta start somewhere.

Halloween - John Carpenter

This is the soundtrack/score to the 1978 classic slasher film Halloween. Funny enough, this sound track was released two years after the sequel's, Halloween II, from 1981. I saw this film a few years ago in High School, and I thought it was pretty great. I mean I think I need to re-watch it, but still. But since my friend Justin has released a new mini-album, coming the 31st, I decided to review the album that inspired it. I already heard it, I think it's pretty good, but let's here where this style supposedly (from my understanding) originated from. I could be wrong, but I'm pretty sure Horror Synth  started here

1. Main Theme: This is the famous theme to the film of the same name. When I listen to the recording though, without the images, I picked up on something right away. Something that actually pissed me off. There is a little loop that's about a second long, and it sounds like it's skipping maybe. I mean, don't get me wrong, I like this the whole feeling of the song is great. I just wish I could cut the bug zapper sound out. I can't really think of anything else to call it other than it's high and sometimes is buried but it still plays in my head. Even the drums aren't half bad, or the sample that is the drums. But I do like how the song gets larger and I imagine if it was orchestrated it'd sound fantastic with a similar arrangement.
2. Laurie's Theme: I think this isn't that bad of a track. I'm not 100% if there is or isn't a violin or a string instrument here, but regardless I think this is a decent track. Maybe not as good of a stand alone as the prior track, but I mean it give a mood.
3. Shape Escapes: A reprise of Main Titles. just about 1 minute and a half shorter. Also with the addition of a lazer sound effects. Basically that serves as the variation on the theme. But if I'm being serious I prefer this length for this track over the Main Titles over 3 mintues.
4. Meyer's House: I might be crazy, but this sounds like a more together version of Laurie's Theme. I had to revisit this to make sure it wasn't. Then there is this like chimes thing, not real chimes but it kinda simulated chimes. Before going back into the first part and the eventually into the theme. At this fucking point............... The theme has played on three of the four tracks. And it's very minute differences. The biggest difference in the theme is the thing that pissed me off was even louder than before, thought it doesn't bother me in this case... oddly enough.
5. Michael Kills Judith: Finally, this is unique to this track. It's very minimal, starting with just one tone at a time being held. I can't think of the exact phrase for what's happening, but I'm not to concerned with it at the moment. I do think the piano adds to it. It then stops and it just that one synth. I also love the dissonance here. I couldn't picture really any scene before but this piece really reminds me of that girl dying. So that's a plus, but I do genuinely think this is the best track so far on the album. Thought maybe the last time it plays the main part I could do with out. Like after about 2:46ish. I don't think it's all that necessary. I mean it does close the song more harmonically maybe, but there was a lot of dissonance so I don't see why they'd want to end it with consonance.
6. Loomis and Shape's Car: The titular theme, but this time with an new synth.... maybe. I could be remember wrong. Yea.
7. "The Haunted House": When this track started I had to stop the review. I got up and went to the bathroom. Now this isn't a terrible track, it's just I've basically already heard this before. And I still have about 14 minutes left of this album. Also the stupid fucking ending thing then silence then start thing again on every track.....!!!!!!!!!!!!!!!
8. The Shape Lurks: I'm gonna take a shot in the dark...... A another track that contains nothing really but the theme. Hey I was wrong, there is a dissonance that I really think creeps me out. I'm glad this is here. It's not very pretty and not only is it ugly (which here is a good thing) it ends and doesn't start up again.
9. Laurie Knows: ..... Refer to track 2, if you want to hear this. Guess what plays after this song stops................ I don't think I'll ever figure it out.
10. Better Check the Kids: This title makes me laugh, I imagine someone doing a stereotypical African American attitude you see in movies. I mean I just laughed, and I'm glad that I was excited. But the second it started.... that joy was slowly killed off. Don't get me wrong it's not that I hate this style, it's I can't stand there is so many tracks that literally have the exact same, or almost exact same, audio as each other.
11. The Shape Stalks: This is different, kinda. But in reality, I think this is more annoying and at this point I can't tolerate the minimalism-esque repetition. I like minimalism, but this album hasn't really done anything to let me enjoy it's repetition.

Overall I have to give this album a 4/10. I want to score films, that's what I'd like to do when I'm grown up. But the thing is for a sound track to be memorable right.......  Well not really. I believe it need to evoke whatever emotion or feel the movie/scene calls for. Now yes a genre helps you convey the style of the film The Good, The Bad and The Ugly has more of a spacious lonely wandering feeling. Not that it isn't epic, I'm just saying in reality it's mostly more vast and spacious, which the West probably was. Indiana Jones has an adventurous feeling that makes you want to be a part of his journey. Irreversible has a more uncomfortable feeling and uneasiness that adds to what's already a difficult (for some) film to watch. While this has an atmosphere, is iconic and is eerie..... I can't sit through an entire 33 minutes of what is basically Theme, other theme, theme + sound, new piece, theme again + newer sound. While in the movie it works, as a stand alone piece it doesn't even come close to something that I really enjoy. I mean those films listed above all have tracks that are different enough and have stand out enough moments to where Yes I enjoy listening and want to watch the film...... this makes me feel I better wait till I forget about the soundtrack because I might be focusing on the music more then the film.

Let's Dance - David Bowie

Album number 15, and overall number 17 (19 if you include Baal Ep and Peter and The Wolf). This is the album that directly follows Scary Monsters. That album is kind of awesome. This album is a big, huge leap from the former in terms of sound, players, and even producers and the label too. It's more of a dance album. It's also definitely more commercial, definitely less personal. I don't believe there are any real Ashes to Ashes moments. Not that nor Teenage Wildlife nor any other. This LP was also the first album since 1977's Low, to not be produced by on and off again producer Tony Visconti. It should be noted Visconti first started with David Jones on his second self titled album, and in the states titled Man of Words/Man of Music, back in 1969. Instead you have Nile Rodgers of the disco group Chic producing. He would return ten years later to produce Black Tie White Noise another more pop oriented record, for the time at least. Though it's much more artsy than this one. The other change was this was the first of 4 records, including the collaborative soundtrack to Labyrinth, on EMI America. And lastly the players, I don't recognize a single on for any album prior to this. I may be wrong here or there about it, but I'm pretty sure.

1. Modern Love: One of my favorite songs ever, this has such an infectious beat. This song makes me want to get up, sway my arms like an idiot, and not give two shits. This is such a feel good song, I wish the rest of the album was like this. Everything about this song is done right, from the performance to the vocals to the infectioustisoty to the instrument choice. It's something that holds up after 60 or so odd listens and multiple months of not hearing it. I have to fight my self to not sing along. I love the little piano and the sax solos and the just 80's this is. This is done right and much like other 80's tracks done right, that include sax, being Rio and Just The Two of Us I feel this isn't going anywhere. Honestly I can't find anything wrong with this track, other then why is it so good and everything else here pales in comparison.
2. China Girl: This is a cover of a song that was co-written with Iggy Pop and features on his 1977 album, The Idiot. My favorite thing about this track is that I watched a documentary. In the documentary Niles was the one who said he came up with the riff and said something like "you can't have a song called china girl and not have it convey something about chin". Something along the lines of that. So  Bowie was only racist in the slanting if his eyes for the music video, not for the arrangement. :') But seriously, I dig this track. And yes its another case if the originals better, this is an interesting arrangement and execution but not on par with the first. The singing here isn't really that anything, the best part is probably the bass, especially on the part "I walk into to town, just like a sacred cow". I love Carmine Rojas' playing, on the track at least. But in reality, even by way of soloing this is underwhelming. It doesn't even sounds like Stevie is playing. Hell I played a better solo on the spot while listening vs the on that made the record. The solo should be spit fire, Width Of A Circle esque. Packs a punch, this just ends like a little old lady, not powerful enough to hit anyone. It has a decent music video, just like the track before this and following. But look for the uncensored one, just because there is one. All and all Pop's version is the far far far far far far far far superior. This is the type of track the needs a General Turgidson character performing it vs a non personality driven person whom I can't quite think of at the moment. 
3. Let's Dance: The only track with a co-credit form Rodgers, this is the song where the album gets it's title. When I first started listening to Bowie I liked this song a lot. And I still dig this song, though 7 minutes of this can be difficult. I mean I can't really complain, there isn't anything wrong with this track. It goes at a good pace, it have interesting sound choices, a killer solo from SRV and even great vocals. Vocals that quite frankly, in a different song, could bring a chill down your spine. Maybe it's too many listens, maybe it's that it's 7 minutes, maybe it's I want another Modern Love but this isn't the best song here. 
4. Without You: "I can't live, I can't give anymore." Sadly it's not a cover of the classic track if the same name I just quoted. No instead this is a Bowie original. And hey another Stevie Ray guitar performance. Honestly I really can't say much about this track. I just started and ended. And even when I listen I still don't have anything to say
5. Ricochet: Question; if this track is "on the ricochet", will in then indeed "going to hit" me. Another original, but a terrible horrid arrangement. I mean hearing this and how off it is I'm not shocked Bowie has a track like this. Hell The Beatles, Led Zeppelin and any other hugely talented artists will have (regardless of if they stole a song, or about a back catalogs worth of songs) some tracks that just don't work. Some that sound off. That's what's called an demo, or an outtake or a track you don't use for an album. What I can't understand is how the fuck did this make it to the album. Upon re-visitation thought, closing my eyes and envisioning what's really wrong.... I got it. This is in it's simplest form a reggae number. Now this band, because most of it would go on to play on Tonight, would do a solid easy pretty reggae with the title track from that album... but here it just doesn't work. Not only does it not work, it could have worked if they took the time to rearrange it. Slow down the refrain, practice it more those two thing could have made it work. But the fact that they didn't do that proves, and clearly shows they either didn't care about the track or didn't track the time. David on the worst tracks here shows no emotion, but at least the backing track is either pretty great (Cat People) or good enough (Shake It). But on this track.... not it just doesn't.  And it could have..... UGH. And that's cutting the whole radio telecaster thingy some slack. It kinda just sounds like they just cluttered a bunch of Oingo Boingo tracks together.
6. Criminal World: This is a cover of the 1977 Metro track, off their self titled album. The original is actually a pretty solid track. I like it, but this cover.......... Well at least Stevie Ray plays the solo again. The original has feeling that builds up from the beginning. While I don't believe it has the full impact it could, it doesn't take away from it. It's still like a solid 7 or 8. Also that solo, and ending in the original awesome. Then you get this. Yes it is very faithful to the original, and is even faithful to the previous tracks and style of this album but I don't know. I feel like this could possibly be better and more exciting then the original. Thought the solo is lesser here than on the original.
7. Cat People: This is a noble effort, sorta. This is a re-recording of the track from the Cat People soundtrack. You know the song that he wrote the lyrics to and Giorgio did the music too. Bowie wanted to use it but he couldn't get the rights to the far far far superior version so they reworked and rerecorded it for this album. The original is very bare bones, synths and vocals and then the instruments come in. But it maintains a primal-istic feeling, like a primal urge. The first thing you hear on this is a guitar, and if I don't expect this to play I usually laugh. The instrumentation and Niles again has an interesting interpretation for the instruments but here the biggest flaw his Bowie himself. He isn't even trying. Where on the original I envy him and his vocal chops, here I feel nothing. And the backing vocals accompanying him for the "Putting out fire". I give them props for the rearranging the track and making it kind of an ambitious rerecording, the solo even sounds pretty solid. And what a tone, but Bowie literally sinks it when he's present. Hell this solo would have made China Girl a better song.
8. Shake It: " off" (?). Actually that's good advice. This is the last track, shake off the negativity and biases your forming towards the album. Allow yourself to view this, hopefully worthy of letting go of the past encounters that led to me beginning to accept the stereotypes of this album as fact, as a new experience and truly end on a high note. Does David do that? Will this be another blunder like previous tracks? Will I ever get to the point? Do I really care if i use proper English and grammar? Have I been watching too much Danger Mouse lately? The quick answer no to all but two. Also you can never have too much DM. But I will give them credit for reminding me of two artists that were putting out much better material during this period Duran Duran and Prince. And the backing vocals that don't really sound that great reminds me of The Mothers back in the 60s, those gave the song personality, theses...... don't.

Overall I have to give this a 6.5/10. Bowie has personality, just not here... minus the first track. He was probably too busy almost marrying Janet Majors to make a records, and also staring in a movie with Farley Flavors and Janet as a vampire. But then again.... I don't blame him. I'd rather do that, especially back in the day, then make a stupid album. All and all this isn't his worst. Trust me its not even close.... Well I mean if we were in 1983 and you were able to look 4 years in the future that's the worst thing he's ever done. But regardless I still have enough here go revisit this and even revisit the "not very good" tracks. So yeah. Also the whole, two Giorgio kinda reviews in a row was unintentional. Also a plus here is that it's only 35 minutes long. Also I don't know how to feel about Sammy Figueroa playing on this... he also played percussion on a favorite Mingus track of mine Three Worlds of Drums off his 1979 Me Myself and Eye.

Kill 'Em All - Metallica

This is the debut by the Big Four's most popular and successful band Metallica. Now my favorite, musically, is Metallica, but their personalities are pretty much shit. Well not all of them, more Lars than anyone else. But personal problems aside I will review their first album. This was released in 1983 and really is a prime example of a debut, I'll explain. Oh yeah I'm not gonna dwell so much on Mustaine's contributions to the LPs writing, except in track 2.

1. Hit The Lights: Fade in drums guitar and bass. Then a drum roll and some more feeling of a build. Here comes the riff, what a beautifully distorted riff. Then a scream, and then lyrics. This song is such a statement. Think about it, a bands first impression is their first album/ep release track. Back in the day, and when you listen to a while album you start with track one. This gets you pumped for whats to come and I can't wait to see, though I already know. The playing here is tight, like a machine and to think Kirk has only been with them for a short time. They sound well tuned and ready to shred. The solo is fricken great and he kills it. 
2. The Four Horsemen: Slightly slowed down and an added verse an bridge this was originally Mechanix. After they kicked Dave they took the song and fleshed it out. They matured it from a car to the Apocalypse. This is a scary song and it think it fits the theme. I I we're to make a movie about the end I would try to get this song to make an appearance if possible. Maybe a clip of the solo or something, but a part. This is an epic and it really is a well put together song. Sings like this with different tempos and time signatures make Metallica stand above Slayer, Megadeth, and even Anthrax and on their first album. This solo is so epic I don't think I can begin to explain the influence it's had on me. This is truly one of y favorite solos ever, up there with Hell Bent For Leather and Buried Alive. There are others too but just to wanted to mention. This is a strong and aggressive song to. You wouldn't wanna mess with this band. Te second solos sicker, but that's not really needed to be said. It's shouldn't change any aspect of the song, just I like the second more.
3. Motorbreath: I wonder if the title is a nod to Motörhead or if its a coincidence? You know, as much as I live this album it has some weaker songs. By that I mean they are songs I don't listen to by themselves. The solo here is another great solo by Kirk, maybe a little abruptly cut, but still great. I'm glad this is on the album, but it's hard to live up to the last two tracks you know. The solo is really whats the best part of this track. And the post solo power chords at the end. That's interesting. 
4. Jump In The Fire: This is an epic riff that I wish I could replicate. Not the greatest on this album, but it still tops most other bands. The chorus is so damn catchy, if after 1 or 2 at most listens your not singing along your a tool. Either that or your a parent who doesn't get with fun music. The pre-solo things is neat and I like the solo in the song. The vamp for the solo is cool too. The second solo is awesome here too and it really could listen to this albums solos alone. If only they released this albums solos on an album like Shut Up N Play Yer Guitar.
5. (Anesthesia) Pulling Teeth: Cliff gets to shine too. This is an interesting choice I think to have here. It's obviously to show off the bassist and his skill. The only complaint is his mistake before the change. It also like how're tempo changes and its like Free form. It's nice to leave that metal world and take a second to hear a bass solo. And also the title fits the song to a t, in the best fucking way possible. I think it's cool the band comes in later but still damn, listen to them jam. Cliff your sorely missed. 
6. Whiplash: This song brings us back to a more non instrumental world. This song honestly does take you back and makes me want to head bang. What keeps me from doing it is fear of "whiplash". Fuck it! Seriously this is a great track and kicks ass. Play this for any Mötley Crüe fags in the 80's and they'll melt. No offense to glam metal, but this is Metallica and were here to "Kill You All!". Another killer solo from Kirk and it is kind of a credo song. This is kind of like their own Motherly Love because it talks about going to towns and doing stuff. It's neat, just a though. 
7. Phantom Lord: This is the song I've honestly heard the least on the album. I honesty couldn't remember this riff. I only heard it a few times. Part of the reason is because its a little underwhelming compared to the other tracks. But this most resembles a song of Show No Mercy. That album came out in December of that same year. The solo here is pretty cool sounding and reminds me of Hell Bent a little. The post solo vamp thing reminds me a little of Fade to Black. I wonder if they reused that for said track. The chorus is cool, but just not really Metallica.
8. No Remorse: This has that punk attitude. The solo in the beginning before the lyrics is a fricken great idea and damn, those only thing better is a solo at the start (ie Eternal Rest). This is another great riff and there isn't much to say here that hasn't been said earlier on the review. That crunch, Damn! I also like that swoosh sound. Each solo uses the same distortion but different enough to stick out. Those harmonies, damn! I also love the double time and the singing in the double time. Great end, reminds me of the intro to the album. 
9. Seek & Destroy: Possibly the best riff on the album, and probably most memorable. This thing honestly just could put fear down your spine. If I wast a Metallica fan I could very much see this being the theme song of the devil and his minions. This song is evil enough to be a Mercyful Fate song. That's saying a lot. Whiplash maybe the bands credo song, but this is Lucifer's credo song. The solo is an 10 in my book and really need I say more. This fricken song is a 10 in my book. This is a 10 in any logical persons book. The riff is from a guitar player stand point something to aspire to creating your own of. From my musical trained ear, I'm no expert yet, but the sequences and the whole way this song is and the harmonies and everything theory wise in this song rocks me socks off. I love the tones as the pitches and probably why I love parallel 5ths.
10. Metal Militia: This is more the tempo of Mexhanix. Talking about your army on your first release, that gutsy and kind of like, we are hereto take over. So close to 1984 people were probably scared shitless. The intensity that started this mother ends the mother on the same not and energy and just mid blowing fun. This has some of my favorite singing by James. Its not my only, but i think its perfect for this song as kind of like an evil hypnotist. Join in on the way of the future, the "metal militia" are here to win. Propaganda if I can think of anything else. One last great solo, kinda. The marching makes this a much more anxiety filled wait for me to do Ride The Lightning. I can't wait, seriously. 

Overall I have to give this album a 8.8/10. This is the debut album and its hard for a band to have it all together for their first album. This band somehow makes it sound like they've all been playing together for years. Thrash is Punk meets Metal or vice versa. This album embraces all the aspects of thrash and probably helped progress the popularity of the genre, so Fuck Master of Puppets, the frost two are way better. I don't think the vocals need much description other than they work as are sometimes awesome. He sounds like a screaming banshee going to attack you. The shredding on this LP is hard to both reconstruct and beat. But over all an extremely consistent record and solid. 

I'll highlight my picks tomorrow because this is on my iPod.