Ride the Lightning - Metallica

So I have been listening to so much Jazz lately I lost track of reviews. So I decided to pick this album because I know it quite well, and while I doubt I will have any new insight, I still wanna do it. Okay now back to the review, or into rather. A growing trend in media seems to be revamping old ideas for today's sound. Like classical music, but it's rock and is supposed to "kicks ass". Or let's revisit out 80's albums and make a new album, but with new production. Which in all fairness, sometimes you need to go back to move forward (and some people have pulled it off). Rejuvenate that love or passion you once had, and then take the drive and continue forward. So they follow the album up with a fresh sort of breathe of air. It might have been off putting at first, but there are glimpses of something nice and interesting for a thrash band to do in decade 3. Then for whatever reason they take 5 years to follow that up, but the final product just seems to take ideas from elsewhere and their 90's albums. Hardwired is not a good album, it's not terrible and I do not see it being impossible for someone to enjoy the album. I have lightened up on it, but that's because I also haven't listened to it and only remember being disappointed. The only thing is that it can never amount to their 80's out put or even their 90's. Why? Well what happens when you run out of ideas? You either go back and look at old ideas and renew them, or you push ahead and try new things and do things you never thought possible. Fuck if they put out an EDM album, it'd probably suck, but at least they weren't back tracking. So in honor of that disappointment I felt I needed to review my favorite album by the group. This is the second album by Metallica. This is also my favorite album by them. This album kicks ass. Now this album is also somewhat historical. Yes, Dave Mustaine co-wrote four of the songs on Kill 'Em All, including the first four bars of each solo. But here this is where the writing is better than on the prior album, and also you got some of the best songs Metallica ever made.

1. Fight Fire With Fire: Opening is a great, really kicking off the start of a more focused album. I imagine it surprised some fans of the band to hear acoustic guitars opening up the record. I mean I could imagine me going what the fuck, if I want already exposed to their later stuff. Okay the drums do bother me a little bit, but the song is still freaking great and has a fucking awesome hook. The song is angry and has this energy to it that makes me wanna headbang, in usually opposed to that because I feel dumb. But this is an exception. The solo is not that memorable, well parts are, but it isn't as memorable. That is until the dual leads that are harmonized I wanna say a third or fifth apart. I could double check but I wanna be fast. I think that is the best part of the solo to be honest. And there is a great punch that comes with this song and shows that even though the opened different it still fucking rocks. 
2. Ride the Lightning: I think that this is kind of cool. People thought this was about the horror of Capital Punishment. But James later said he supports it, and this song is about a man who faces it for a crime he didn't commit. That gives the song a story, and an interesting one. This song also paints a picture with its words and the music even has this sort of lightning bolt feeling. The fast guitar chords, the cymbal hits and even the sort of clouding up the mix a bit. and the sort of thunderous clouds that I could almost see this being (if it was an instrumental) a tone poem about a thunder storm. The guitar solo is so fucking sharp and it could be ear piercing but sounds so fucking good and is very memorable. I also love how the song has a bit of a change with the solo and then it starts up with a dual guitar thing. So freaking good. Also I think Lars drumming actually fits this songs tone and theme quite well. Also how can you not love that opening riff.
3. For Whom the Bell Tolls: Again another nice touch having those bells in the beginning. The bass is the lead on this in the intro and the guitars power chords sounds like thunder clouds. The track really is constructed extremely well and the guitar makes you feel l your going to trudge into battle. I figure the walking pace of the drums helps that quite a bit, but again musically another stellar song. Even the lyrics and the delivery feel like its people chanting about to go to battle. Revisiting this album I wonder if Cliff was the real brains or at least creative force of the band. Well either him or Dave. This again is a very memorable solo and song in general. I love the ending and they basically do the break down of Raining Blood two years before it came out. 
4. Fade to Black: A very nice change of pace, very sad and depressing. The song is about suicide and musically and lyrically I feel its handled quite well. Lyrically its not a master piece, but it isn't as shallow or corny as it could be. There is a real grit to the tune. I mean look at some of th later post-Black Album lyrics... Odd they'd go down that road and wouldn't progressively become better lyricists. Unless.... No, they couldn't have phoned them in on newer albums. I also want to point out on the CD this works perfectly from the last track. Also as if the soldier wants to die bow that the battle is over, for some reason or another. Like a pseudo-protoOne. This really is a gorgeous song and really evokes sadness, misery and just finality. The second half of the song, is a great change and I mean it isn't that shocking of a change but it is like a "beat change". The first half is the sorrow, and the second half is the follow though. This really is a great moody tune, as I've said now I don't know how many times, but I really have yet to grow tired of this or any tune on this album honestly. And that solo, the only thing I wish is it was turned up a tad, but other than that I mean it works.
5. Trapped Under Ice: Based on a demo from Kirk's days with Exodus this song Impaler. Note: this demo was later released, rerecorded, on Exodus' 2004 album Tempo of the Damned. I honestly don't think this would sound out of place on Kill Em All. It's very fast and probably the best example of speed metal here. I mean not to say the songs aren't fast, but this is like a shot of adrenaline, and a much appreciated one. This song is really solid and has some great moments, but the fact that it is a bit faster than the others is a nice contrast to the slowest/"lightest" song on the album, the previous cut. Plus it kind of is a return to the charm of the last album.
6. Escape: This is the only tune I can never remember. Honestly I just can't ever remember it, hence me not having this a "bold" track. I mean I can remember all the others why can't I remember this. And to be honest, other than it could easily be transformed into a sludge metal/groove metal tune, there isn't much here for me. I mean yeah when I hear the chorus I remember it, but it doesn't stick with me. Sadly this is the weakest cut here. But I'd prefer one weaker cut to more or less an entire albums worth. There is some nice moments, but this feels like I don't jive with it. Honestly I'm having trouble retaining anything other than the chorus, but even that I doubt I'll remember.
7. Creeping Death: Another killer fucking tune, and possibly the best of the album. Well with the exception of maybe the closer. Written about the plagues of Egypt and Kirk co-writing the lyrics, this really is a heavy hitter. This is a song that I think even now, on newer live albums/releases, it'd be hard for even this band to fuck up. This also returns to the sort of thunderous thrashing that was earlier on the album. Great solo harmonies and this really is a great cut. I also like the change that makes it more chaotic, and yes you've basically hear this earlier on the album, it's nothing new, but it works very well here. The chant makes it seem all the more evil. Which is odd, I was always taught the Egyptians were the bad guys in that scenario. I guess it comes down to perspective, of which if you think sort of a subversion of Christianity, like what God doing is "evil" or whatever, check out Wormwood by The Residents. They got some odd stories that actually are in the bible. Judas Saves is my favorite in terms of thinking. Regardless great tune as a penultimate track.
8. Call of Ktulu: This track was originally titled When Hell Freezes Over and was co-written by Mustaine. Mustaine later released When, a reworking I believe if I remember correctly, in 2001 with Megadeth. This is another track I can't imagine them fucking up, like really it's handed to you on a platter almost just don't fuck with it. The electric guitar arpeggios are reminiscent of what would come on the future albums and, to a lesser extent, Fade to Black. The really great thing about this is this track builds in a fucking phenomenal manner that is just a bit baffling to me. This so fucking kicks the shit out of Pulling Teeth, Orion and definitely Suicide & Redemption. This is really just a great tune that while you can argue nothing much happens, it keeps your focus for all 8 minutes. That truly is a large achievement, especially for this type of song. There isn't really anything new happening here that hasn't happened on other tracks throughout the album. It's almost like a sort of overture, but at the ending, and instead of featuring the themes it just takes that elements instead of exact notes. Killer ending.

Overall I have to give this a 9/10. Don't get me wrong, thematically the lyrics on these Metallica albums are awesome and inspiration to write better lyrics/stories. But I don't think they are the best thing ever. Now I think this is the best album by the group easily, but its not perfect. Its so fucking close, but not quite there. It's heavy, memorable, and definitely worth a listen. Also as a side note, let's hope that in 2031 they release the follow up to Lulu and not a St. Anger II in 2023. But according to past behavior (1988/2008, 1996/2016, 2003/2023?).

"Weird Al" Yankovic in 3-D

This is the second album by Al and is followed by my favorite album of his Dare to Be Stupid. This album thought was released February 28th, 1984. I originally planned to do this before the release of Mandatory Fun, an album I still occasionally listen to tracks off of to this day. Since it's been a while why not do one of his classics. This album is fun too and why not, I mean everyone's back at school we could use some fun.

1. Eat It: I love this song, and to be honest, still find it really funny. This is a parody of Beat It by MJ. I used to love that track, back in my early days of getting into music. Now I'm not so keen on it, nor am I that keen on really anything by MJ, with the exception of the classics (Got to Be There and Ben). Rather than being about disagreements, and gang shit or whatever the fuck this is about (being tough?), Al makes it about eating. You really can't go wrong there. The honest truth of it is, looking now, I like this version so much more. It's like hilarious, the silly little intro and solo still make me laugh. Those backing vocals too, they did a really good job with this one. I don't know how I can still love this, but like when I hear the original I can't even sit though it anymore. Really, that's kinda of a a fact. But back to the solo, I love it so much and that explosion. 
2. Midnight Star: This is an original, this song is an "ode to" a made up tabloid. Like a magazine and what not you'd find at a store or something. While this isn't as great as the last track it's still a solid tune and I think it works here. I think this is a pretty funny and silly song, and I like those keyboards on the song. You can tell it's from the 80's or so. This is a pretty decent song though, and I looked it up and he said most of these headlines were real. I really like the arpeggios at the ending and the outro to the song is pretty fun and this is a solid 7 or 8. Probably more liek a 7.5 or so.
3. The Brady Bunch: This is the Brady Bunch theme. kinda, to the music of Safety Dance. I like the original version of the song, but to be honest I don't know. I'm not really feeling this song so much, I get the joke but I'm not feeling it. I've seen the show before and it kinda fucking sucks. So yeah, but whatever. They did a solid instrumental cover though.
4. Buy Me A Condo: This is a style parody of reggae music, and I really dig it. Like in all honesty this song kinda got me into reggae :D.  I mean I've heard other bands and songs I've liked, but it wasn't until this that I was able to get into Marley. I'm not a huge fan, but this song is great. I kinda love every aspect of it.
5. I Lost on Jeopardy: This is a parody of one of my favorite songs, Jeopardy by Greg Kihn Band. I love that sort of funk feeling to the keys and the instrumental cover is such a good fucking cover.... damn! If not for Al it'd be easy to mix the two up, well that and Don Pardo. This song is hilarious and it's really fucking great.
6. Polkas on 45: This features a bunch of songs, it's a polka melody. The tracks here are Jocko Homo, Smoke on the Water, Sex (I'm A...), Hey Jude, L.A. Woman, In-A-Gadda-Da-Vida, Hey Joe, Burning Down the House, Hot Blooded, Bubbles in the Wine, Every Breath You Take, Should I Stay or Should I Go, Jumpin' Jack Flash, and lastly My Generation. This also happens to be one of the best ones he has ever done, and the only song I was unfamiliar with at the time of this review was Bubbles. Actually it also has some of my favorite songs here, I love Jocko Homo and Smoke on the Water is still pretty solid. I LOVE Sex, Hey Jude and L.A. Woman. In-A-Gadda-Da-Vida is a song I've kind of grown tired of, but I like this rendition quite a bit. That goes for Hey Joe and Should I Stay/Jumpin' Jack. I know I basically said a whole lot of nothing, but this is a lot of fun and a great track. Plus it's super catchy and makes you wanna revisit it right after it happens.
7. Mr. Popeil: This is a style parody of the B52s, according to Wikipedia. But it also mentions that Al said it's not a style parody. This is also is a song about Sam Popeil, who's daughter sings on the track and has sang with Zappa. This is a fun enough song, and I mean it's not something I listen to outside of the context of the album but I do like it. The female vocals on this remind me a bit of God in 3 Persons. So obviously that makes me smile. :)
8. King of Suede: This is a parody of the King of Pain by The Police and is about the owner of a clothing store, who is the King of Suede. This is a good "cover" and while I'm not in love with the original version I do like it and this one. Plus this is so fucking goofy. Where the original was written after separating from his wife [Sting], this is basically a commercial that I could imagine seeing on TV if this was the 80's or 90's or even cheesy ones today. The Perkins reference made me smile too.
9. That Boy Could Dance: You know this is an original. The one thing that I have to say is that it isn't as good as the originals of Dare to Be Stupid, but still enjoyable. This is another number that's well enough and it's fun. I dig the saxophone in this and it screams 80's. I could imagine hearing this in an 80's film that someone was playing in the intro or on their boombox.
10. Theme from Rocky XIII (The Rye or the Kaiser): This is a parody of Eye of the Tiger, and now I think is funnier to listen to than it probably was back when this came out. It's making fun of how many films there were, and kind of like eventually he'd be too old to fight and the movie would be him doing something not as exciting. For example, buying a deli and working there. I kinda don't wanna say anything else, because I love how un-Epic these things he does are, over the music to the Epic pump up song people love. I dig the tune well enough, but this makes me smile. Now I know he in the one film he still boxed, but it's funny because they resurrected it and he kind of was "to old to fight". Al predicted the future :D.
11. Nature Trail to Hell: This song starts out reminding me a lot of the intro to Black Sabbath and Mother. This is I think the best original he did, thus far in his career. Digging the "strings" solo, and damn is this cheesy. Thus making it the sweetest ear candy known to man, to me at least. This song is proabably the best original song here, and it's proabably one of the best originals he's done. I love horror films and I could see this being an 80's slasher film. The instrumental is also really neat, like they did a really good job there are sections and kudos Al.

Overall I have to give this album a 8/10. This is a solid album, fun to play and has some memorable parodies of great tunes. I know I didn't talk it up that much, but really it's fun and reminds me music shouldn't always be serious. Harmless fun isn't a bad thing, I just wish people who did that today did it as good as him. At the end of this album there's really only one thing to think, Does Humor Belong In Music? it's up to you to decide

Rising Force - Yngwie Malmsteen

This is the debut album by Yngwie Malmsteen, Swedish neoclassical metal/shredder. This album is pretty solid, I'll say that off the bat, this album also finds itself often on lists of "Best of..." lists. I figured I should do this because of my recent listening to Yngwie. But what broke the camels back and brought forth the review is to show why World on Fire not only sucks, but it causes cancer. The line up for the album is one Yngwie on guitar, Moog Taurus (a foot operated synthesizer), and bass. It also features Jeff Scott Soto on vocals, Jen Johansson on keyboards and Barriemore Barlow on drums. 

1. Black Star: Opening the record we get a classical guitar introduction. I really like that and its a nice introduction before the bass and drums set up the actual song and the lead guitar comes in. I like the sort of building its doing and the synths acting as strings to set up the atmosphere. The dual lead guitars are great and I think add to the atmosphere and feeling. I like how this isn't overtly in your face. The guitars aren't overwhelming. I mean you can barley hear the bass, but the guitar is great sounding and the drums are still audible. There is a composition to this that is interesting and the bass during dual harmonies part that repeats is freaking great. Shame you need headphones to hear it, or maybe Jason Newson has an uncredited bass performance here :D. But this thing really is a great tune and a great introduction to what's about to come. Also I do have to admit I have a soft spot for these sort of epic early/lo-fi synth neoclassical guitar shredder type albums. I don't know who to explain it, but if they tend to have similar production. 
2. Far Beyond the Sun: Maybe my favorite song by Yngwie, along with I'll See The Light Tonight. There's a confidence here that may have been lacking on the last track, but I love the harmonies on this and damn is this thing great to drive on a highway fast to. It's really what Yngwie is all about, well back before he became someone stuck in the 80's. I really think his tone is great here, and the composition is also more focused and "fire!". Great stuff, and possibly the best trait of it being kinda fun and exciting to hear. There's is a glorious feeling when you get that sort of return to the head in the solo. It's pretty epic. 
3. Now Your Ships Are Burned: I hate myself, I'm a guitarist and I can't fucking think of the techniques he's using. This is the first song with vocals, from Jeff Scott Soto, but the intro is pretty great. There's a sort of Scorpions vibe, but maybe sped up, to this track. Something with Uli playing on it. Jeff is a solid singer, and the instrumental shines here to be honest. I love the sort of vamp in the middle and how it has a part for the bass to shine. That's a nice little touch, it isn't just Yngwie's guitar (though he is also playing the bass, so you could argue he's doing it to show off). I don't know, I don't think it's that. 
4. Evil Eye: I really like this composition a lot, and it opens with a solid classical guitar intro. I don't think it over stays it's welcome but I think the transition works for the song. The down side is its based off Bouree, and since I don't know the entire composition by heart I can't say what is or isn't just a variation, or if it was just inspired by the track. When the song starts it starts out epic and feels great. I like the double hits of the drums, the gallop (can't think of what that's called). I really think the instrumentation and how everything is working together to make a sort of hypnotic feeling is great. I could almost see this taking you down to hell. The little changes here and there keep the track from becoming stale. It works well in my honest opinion. I also love the vamp section for the dueling keys and guitar and then the dual keys/guitar. Damn! This is fucking spit fire. This really is a well put together instrumental composition. The guitar solo towards the ending is nice and when the track slows down that's also a nice touch but yeah. It's solid and I love the ending, that's a really nice touch. Something different I guess you know. I've said I in this tracks review haven't I.
5. Icarus' Dream Suite Op. 4: This track finds itself based off Adagio in G minor by Remo Giazotto. Now that being said I really dig this track and its very epic. There is a great laid back and almost heavenly feeling to the beginning of this tune. The keys almost make me wanna say Angelo Badalamenti sounding, though this predated Blue Velvet and Twin Peaks. After that some gorgeous acoustic guitar comes in with some great keys and a nice guitar wailing in the background, but not too overtly. I like when the other instruments come in, and the transitions on this is pretty great to be honest. This track feels like it deserves to be the six minutes it is. I mean I like majority of the track here, but some feel like they might go a bit long for what your getting i guess. This is justified. I really like the sequence in the track also, I mean it kinda takes you out of the song, but I do like it. I also love that guitar and the sort of like multiple guitars playing at the same time transitioning into that being played on electric guitar and a band. This is top notch bru. I do like the distant acoustic guitar sounds on this album a lot, I don't know why but I do. I also like the playful lead that comes in and it just feels fun. This also reminds me a bit of Love to Love by UFO (an all time favorite of mine). 
6. As Above, So Below: Now this is where I think the album kind of loses some steam. Not in that this is bad, but in that I kinda feel this should end the album. The organ intro would be a great transition into the last track, or to close the album. I mean don't get me wrong I dig this tune and move the harmonies. I also like that Jeff's back, but I feel like this should have finished the album maybe. I really like the vocals on this in the chorus. I mean again Jeff is a bit confusing. I think when he's singing in there are times he doesn't sound like he's hitting the notes but then the long high notes are glorious, and I am chorus is fucking great. I don't know, also I think the sequence here works very well and doesn't take you out of the song. The guitar work and the key work on here is, guess what I'm gonna say...... Top notch. No really, this thing is fucking great. The thing I can't pin down is the vocals though, but I don't think I may ever. Now after that outro I'm kinda checked out. Like that's the most logical outro, for what is presented on the album. 
7. Little Savage: This should be track 6. I mean yeah I like this song, but after that last track and sitting through the rest of this album I don't see how this enhances or really adds to the album. I mean there's a part of me that loves the slower solo part, but then there's a part that goes, why why why place this after that last song. I mean maybe the solo section is worth it to be here, but place it one track before. I also like the harpsichord, but yeah I like harpsichords so. I also like the keys on this quite a bit, but again at this point in the record there isn't much of a point I guess. I mean the way this ends might have even worked better if the organ followed.
8. Farwell: I think this would work as an ending track if it sequenced from As Above, So Below. Like the organ maybe ended and the sustain from it carried over into this. Or the acoustic guitar and organ crossed and the organ became the guitar. Or maybe a few seconds of silence to let the organ die off and then you hear the acoustic guitar. Then you get the book closer you wanted Yngwie. Which yes its your first record, so I can't be super mad, but I mean I wish you would have done one of those you know. 

Overall I have to give this album a 8.8/10. My friend Justin (his review here) mentioned he didn't like virtuous-osity-ness shoved down his throat, Here it feels natural, and lacks the cockiness (though has confidence) of his later albums where he doesn't need to change his sound or style or even practice playing. I'd go as far as after Trilogy it goes down hill. This works because it's fresh, then, and well its also kinda fun to hear and maybe try to learn the lead guitar lines, licks and sweeping. Plus these are all memorable, and don't sound exactly alike. It doesn't just have one or two songs that are only revisit-able on an occasion or greatest hits/anthology collection spanning a career, there are multiple songs that should appear one of those. These songs here are all solid enough in their own right, and deserve to be heard. I like this record quite a bit. 

Make It Big - Wham!

Since I am deciding if I need to review 4 or 5 ones this month, I'll do a quickie. This is the second studio album by the British duo that is Wham!. The reason I finally decided to review this was because I recently saw Deadpool and can't remember the last time I laughed so much at a movie. That is not even close to an exaggeration. So I figured I'd review this 80's big seller. I mean I can't say I'm a huge fan of the group, a few songs are okay, but why not do a review right. That's never stopped me before. Since I'm here I want to note I'll also be reviewing Heaven Adores You and untitled unmastered. this year too.

1. Wake Me Up Before You Go-Go: Opening the album is the number that is pretty hilarious. Maybe it's because it was a fun song back when it came out but what I've noticed us things that are more, state of the art or trends, sound dated as soon as someone figures something better sounding. But lke the second this song starts I hear that 50's nostalgia, and this song is so...... I don't think this is as good as the closer. Because at least that I can laugh, but also get pleasure by way of "this is actually good". This is more of a, this is so cheesy, but not in a good way. Also the last minute could have been cut, or it could have been condensed by a minute. It's really not necessary.
2. Everything She Wants: This song, is, I actually don't care for it much. Like there isn't much of a WHAM! here. This isn't anything overtly big here either. I mean yes, slower parts are good, but this is like..... this is one of those terrible tunes that's in a night scene in Miami Vice. This isn't terrible, it's just. It reminds me a bit of a lesser Duran Duran tune too.
3. Heartbeat: YEAH!!!!!! If done slightly differently, including the vocalist, this could be a Born in the U.S.A. era Bruce. I feel like this would be a little deeper and not just a straight froward love song, maybe not, but who knows. I can do the chorus with his voice in my head singing it. Hey maybe he'll cover it in his new 2010's acoustic/band tributes he's been doing live.
4. Like A Baby: This song is so boring. Maybe back in the day it wasn't but this song is just so, like..... I can dig slow jams and ballads and Spanish sounding guitars. I really honestly can, but this is just so fucking smooth jazz lame 80's horse shit. Why couldn't he have went the direction of Sade on this tune. They make music like this, kinda, and it's good. It' isn't boring, it doesn't go in one ear out the other. Ya killin' me Georgie.
5. Freedom: Later remade or sequel-ed, I'm not sure, on George Michael's 1990 solo record. I will say this, this is, so far, the best song on this thing. I mean I don't think it's amazing, but I do think it's a much better song than the others up to this point. I prefer parts of the 90 version, but I also like version of this one that aren't on the other.
6. If You Were There: This is a cover of the 1973 Isley Brothers track off their 3+3 record. I heard the original before I listened to this version, and I original has a funky feeling to it. I mean it isn't my favorite song in the world, they have much better songs I think. This is a pretty faithful cover, with the then current instruments. Like there is a keyboard on this instead of a clavi. This is just a bit more 80's. But the major difference is the vocals. I mean I don't love this, thought I do kind of like this version more than the original. 
7. Credit Card Baby: I'm going to guess they were fairly new, or gaining popularity at this point in time. Also I cringed the first time I heard this. Also seriously, cut this fucker. Sugar Pie Honey Bunch.
8. Careless Whisper: This is the song that, even though I get a laugh from it, I also love it. I mean it's pretty hilarious and amazing at the same time. On the one side, it so screams 80's from the saxophones to the music video that reminds me a bit of Miami Vice,  to the synths, and the overall atmosphere. At the same time it's great, and is actually a well written song. Something I've learned is it takes a well written song to last the passage of time. My all time favorite part of this song is the bridge. I can't not sing along to that, and this is regardless of how off pitch I am. I need to be able to get it. It's so fucking good.

Overall I have to give this album a 4/10. While the band has some solid tunes, there are some more filler and lesser tunes. This could have been a solid 7 Ep of like 4 tracks maybe. But I'm not really feeling this outside of the bolded tracks.

Tonight - David Bowie

This review has been sitting on the "fill in the blanks" pile now since at least December, maybe even earlier. I figure its time to get it over with. This is the follow up, by about 17 months, to David Bowie's commercial album Let's Dance. This though, was followed up by, minus Labyrinth, 1987's Never Let Me Down. This album, like the previous, Let's Dance (and not Ziggy Stardust Soundtrack) features some co-written songs and some covers. Though David seems to have always have a cover song on albums, from at least Hunky Dory to Aladdin Sane, and from David Live to Station to Station. There are other examples, but I just want to get to the point. He must have gotten lazy on this thing. And even though i read he thinks (or thought) of this as Pin Ups 2, its not all covers and he co-wrote some of the covers he is performing. But when all is said is said and done, lets go to the review. Don't fear, Cherry Bomb is up next, and should be up within the week.

1. Loving The Alien: One of only a very few songs that I truly like, on this album. Not just enjoy or can tolerate, actually like. I actually think the better version is the 2004 acoustic rendition of the track that appeared on the 2010 Reality Tour CD, and I think it was released on DVD in '04 also. The only problem with this track is its very cluttered. There is a lot going on and it sounds like too much going on. Also I don't like the way it was edited. I wish it would flow better between the sections of the song. But beside that it's a great track. The sad thing is that it doesn't flow so well. And he's made sides of albums flow, he needs Tony. 
2. Don't Look Down: A cover of Pop's 1979 track off his New Values LP. There are two other covers from him and they are both from the 70's and he also co-wrote them with the Stooges front man. This song is not as fun as the original. The original is, while not one of my favorite solo Pop track, it is still better than this.This is very ska and very dub reggae ish. Like this sounds like an 80's take on a track I'd hear Sublime or Bob Marley doing that is boring. And the backing vocals again, reminds me so much of Wings on their soft rock tracks.
3. God Only Knows: This is a cover of the great song by The Beach Boys. Now without comparing the two I would have to say that the original, another example on this album is Tonight, is better. By a lot, a lot. Like I mean when I listen to this I just don't get any pleasure out if it. And to prevent a relisten to hear and give more details I'll say what I remember. His vocals, the arrangement, the playing, lack of charm, lack of interesting harmonies and worst of all it doesn't cause a tear in my eye or rip at my heart, unless its a heart attack or tears of pain telling me to avoid the track. :(
4. Tonight: This is a cover of the track he co-penned with Iggy for the Lust For Life album. While the original moodier and darker version by James Newell Osterberg, Jr. was the best version and haunting in its beauty, David decided to make this into not only a reggae number but also a duet with Tina Turner. Now this version isn't terrible, but after you hear the original you'll know your allegiance. I actually enjoy the happy feeling I get from this. This track version is also very fun to listen to. It's also fitting that he cut out the intro that explains what the song is really about, since there is a woman singing with him. Now I don't want to spoil it, but I like how the cover was actually reworked it into something fitting Bowie and kept it from being a piece of crap cover version. I also like how this was changed into more of a two lovers singing together vs the originals one side perspective. In cutting that intro he basically changed the whole entire story. Like he changed what his version was about and its a significant change, not a change the pronoun in The House of the Rising Sun change. somethings on such a different meaning I'm lost for word when trying to think of another example this extreme. {8.7/10}
5. Neighborhood Threat: Originally on Iggy Pop's 1977 album Lust For Life, this is another track that Bowie decided to cover for this album. This was also co-penned with Iggy and Rick Gardiner. The latter was also a member of The Stooges, for a short time. And damn this is so 80's if it wasn't on an episode at, least in the form of an instrumental, on Miami Vice I'd be shocked.The verses sounds a ton like; like it's crazy similar to, Dreams (?) by Van Halen, and that track came out two years later. The pre-chorus sounds like Bang Bang. Hell this whole entire track is a prelude of what was to come on the Glass Spiders tour. But I can't stress that this is no where near as good as the original. Also I plan to add the song when I figure it out. 
6. Blue Jean: This is one of only two tracks sole penned by Bowie. While I live to see his name solo again, this is one of the lamest songs on the album with his name as the writer. I mean, yes it's fun and a decent track. But I've grown away from the song. This sounds like it would actually fit on Let's Dance but might have been cut last minute or something. Whatever the case I just have fell out of love with the song. Even when I did like it when I was in grammar school I never loved it, more of a like for it. It was never a Space Oddity or a Ziggy Stardust. It was more in line with Let's Dance or the Cat People redo. I hope that makes sense.   
7. Tumble And Twirl: This is another co-penned track with Iggy Pop. Something about this.... screw it, I think this is a dumb name for a song. I mean it just kinda bugs me. And well this song is so Oingo  it's just.... the only good part I think is the quiet part that reminds me of soft rock with the acoustic guitars.  That sounds like something I'd hear on Venus And Mars, most likely, by Wings. I get the whole feeling of this track, and honestly it's not horrible, it's just not up to Boingo quality. This might be the most blatant copy? of Dead Man's Party, though that track came out the following year. Though I am digging the acoustic guitar tone for the solo.
8. I Keep Forgettin': This is a cover of the 1962 track originally recorded by Chuck Johnson. Other artists covered this track include Ringo for his 1983 Old Waves album and Procol Harum for their 1975 Procol's Ninth. So at least there are other people who know this song and probably like it, and it's not another Iggy Pop cover from the 70's. And to be completely honest this reminds me of Oingo Boingo. The track I have in mind particularly is Goodbye Goodbye. Like serioulsy everything about this track reminds me of the group, from the horns, drums, vocals performance and even the chords and the rhythm pattern. The only thing is Goodbye Goodbye is louder and more upbeat. And maybe replace the guitar solo with a saxophone. But the intro sounds very similar to Modern Love's drum beat. {7.8/10}
9. Dancing With The Big Boys: This was was co-penned with Pop and Alomar. If I am correct Bowie once said this Is the track that was what he was going for on the album. This one came out best or something like that. To be completely honest I've heard the song, obviously if I'm reviewing the album, but its nothing that special. I mean I guess if you listen front to back its a nice ending but still. 

Overall I have to give this thing a 6.3/10. The biggest problem here is Bowie must have had writers block mixed with lack of interest mixed with no drive. While his name does appear in six of the songs writing credits, 3 of those six are covers of Iggy Pop songs. The worst thing is this slump wasn't just for this album, thought it also appeared on the prior too, it continued on to the next album 1987's Never Let Me Down. Such a terrible title for something that does every time. But anyway this album does have decent tracks, but Davey just isn't up to par on this. The best way to enjoy this is front to back (to hear them all), then periodically listening to the other tracks alone and revisiting them over time. And also not taking them as serious as his other material, but that should be a given. I should also mention, for as harsh as I was on him for sound like Elfman's new wave ska legends, some tracks on DMP were also uneventful and kind of boring so. Who knows, maybe it's just my tastes and sonic pleasure areas. 

Night On Bröcken - Fates Warning

I found out about his band through a Last.fm chat room or something like that. I visited it because of a thing for Black Tide. The first song that I heard by these guys is Buried Alive. Well I guess that these guys are a progressive metal band, which helped form progressive metal, from 1983 and Connecticut. This is the first Progressive Metal album I've reviewed. I'm not huge on progressive metal, ie  

1. Buried Alive: I've heard this song a frickin ton of times. This was the first song that I ever heard by these guys. The riff in this reminds me of Judas Priest. The vocals also remind me of Rob Halford's vocals on Priests old school stuff from the '70s. This song is a frickin awesome way to start off an album and gives a good impression on this album. The solo on this song is a heavy metal solo that in a way reminds me of Hell Bent For Leather's guitar solo. (That is one of my favorite guitar solos ever). This is a just Bad Ass song, and is one of my favorite songs I've heard, and I can think of, that were released in 1984.
2. The Calling: The riff in this song sounds like on that would be on Killing Machine or British Steel. This is a very cool sounding riff. Yeah the chorus and the vocals and everything about this song remind me of Priest. This could seriously be a cover version of a song by a tribute band, that sounds like them. There is a part where the riff and song gets more intense and leads up to the solo. This solo is cool cuz instead of all over the place it's only a few notes but strummed fast. Not super fast but fast enough.
3. Kiss Of Death: The riff in this song reminds me of something off Peace Sells album by Megadeth. The beginning is kind of don't mess around, angry feel to it. This also reminds me of Priest. I think that the drums on this song are really cool. I wish the bass was easier to hear in the mix, instead of it being buried in the back.The riff also reminds me somewhat of Barracuda by that sweet ol' Heart (get it). This song is a little different from the rest of the tracks in the matter that it is much more heavy metal oriented. And also this is, thus far on the album, the best and longest solo. It is a few seconds short of 1 minute vs the other songs solos that are probably 30 seconds.
4. Night On Bröcken: This song defiantly sound like a Maiden song. NO DOUBT IN MY MIND. That's why I like this. It reminds me, kind of, Translyvania. I know a lot of song remind me of that, but they do. I wish that this was instrumental, it would be so much cooler and powerful. This song is one of the strongest song on this album, big time. There is a power and a feel that I get from this song that pump me, like Shadowfax. There is a breakdown and they use wind chimes to go into that. This reminds me of Strange World's guitar part in the beginning arpeggios. After the arpeggios are done this goes into a song that reminds me of like a "power filled" power ballad. It almost reminds me of Scorpions 1975 In Trance except more power behind it. The second half of the song VERY much so reminds me of '70s Scorpions. It ends with that same Strange World thing. {10/10}
5. S.E.K.: This reminds me of the beginning of They Need A Million by the Scorpions off their 1974 album Fly To The Rainbow. This is a pretty song and a good way to lay back and have a break from the rest of the songs. And I think a good way to end a side on a vinyl.
6. Misfit: The riff and the drums in this song are cool. The drums are more hear-able in this track. I think that this feels like it is together. Also you can hear the bass on this song better than on one of my other favorite songs Kiss of Death. The riff in this song is right on. This has a solo that reminds me of, well what do you think. None the less it is fucking sick. There is a part in the lyrics where it says "You live by the sword and die by the sword". That whole entire verse where that is said reminds me of Iron Maiden's song Flash of the Blade, which appeared on 1984's Powerslave. {9/10}
7. Shadowfax: The instrumentation of the beginning of this song are perfect for an instrumental. It has this Medieval feel to it. It reminds me of Iron Maiden's first album. Not so much a particular track, but I could see this being on that album. The whole entire song is set up like one. After the intro just after 2 minutes the song goes on fucking steroids and goes into seizure mode. The song gets more intense than any other song on this album, excluding the self titled track. Not only is it fast paced and length wise, but it cuts. WHY!!!!!!! {10/10}
8. Damnation: There is a whole Children of the Damned feel to the beginning of this song. There is an acoustic intro to it and it sounds pretty. It is kind of touching, considering that this is like Children of the Damned, which is one of my favorite Maiden songs. When I listen to this song all I can do really is picture that song. I'm not saying that theses guys copied them, all I'm saying it that it sounds similar, but it a very good way. This song is a fucking bad ass mother fucker.
9. Soldier Boy: This song is good, I think that it is very... Consistent. I don't think that this is all that amazing of a song. I think it is a little to similar to the rest of the ideas of the songs on the album. I'm digging the solo, just not really the rest of the song. This has so much potential and it isn't met. I feel like the way this song is that it fucking take me away. I mean the solo is awesome, just not the rest of the song. There is dual harmony guitar parts, much like Iron Maiden and Priest often do on older stuff. There is also an evil laugh in the song. At the end of the song it sounds like something is collapsing. I do think that that is pretty cool sound effect and a cool way to end this album. {7/10}

Overall I think that this is 8.8/10. I liked this album. There were some duds on this album, so that hurt the score I gave it. Now there weren't a ton of those. In fact I want to get this on CD and on Vinyl in the future. The album gets a lot better after if you try to forget about track 2. I think that the album is a little consistent on the sound of the songs. There isn't that huge of a variation among the tracks and some sound similar. That isn't that much of a problem for me when it comes to this album. The only thing it does is bring down the score. By the end of this I almost want to start listening to the Iron Maiden self titled album.