Done with Mirrors - Aerosmith

Today I decided to review an album that I... I don't know, why the fuck not do this. It's not painful to listen to and I quite enjoy some tunes on it, even if they aren't top notch. This is the eighth studio album released the Bad Boys from Boston themselves, Aerosmith. Yes, it is not one of my favorites. I still like it, regardless. This is both the first album after Joe Perry and Brad Whitford rejoined the band, leaving in 1979 and 1982 respectively, and first to be released on Geffen. While they were away Joe formed Joe Perry Project and released 3 albums from 1980-1982. Brad also started a band with Derek St. Holmes, singer for Ted Nugent, called Whitford/St. Holmes. I don't know if it was a group or just a collaborative album. I do know it was released in 1982, and its follow up in 2016. That being said, it has been some 5 or 6 years (1979), since these guys all played on the same album together. So I kind of look at this as a test to see if the magic was still there.

1. Let The Music Do The Talking: This is a reworking of a songs that was the title track of the 1980 debut album of Joe Perry's solo project the Joe Perry Project. It has some different lyrics, a fact I have only ever read and not noticed. What's more noticeable is the faster tempo, kind of. That and the much more Aerosmith feelinjg to the song, which isn't solely because Steven is singing it. There is a this sort of the classic era vibe, mixed with shapes of the Geffen era to come. Well even though technically started with this album.... I mean more the good stuff from the 13 year period (85-98). This is a solid hard rock number, that while not the greatest tune, it isn't half bad. It does remind me of Draw the Line, which is actually quoted in the solo, but not nearly as good. Well maybe not as memorable as the classics would be a better way to put it. It's fun and a great way to show they're back and start the album off. 
2. My Fist Your Face: That's for sure! This song is not too bad. It's memorable in that I know the chorus and the hook to the song. I mean maybe I listened to it more then I thought back in 8th grade, but I recognize this. The song itself though doesn't hold up. I mean I was never heads over heals, but it could easily be forgotten if I hadn't heard it and it want ingrained in me. I guess the worst part is it's kind of generic. It also kind of reminds me of Pump. 
3. Shame on You: This is another tune, while I know it by heart and can recall what happens I can't say I love it. I enjoy it, but outside of occasion refreshers I can't say I like it. I like the riff there is some punch to it. 
4. The Reason a Dog: "Has so many friends, is he was his tail instead if his tongue". Ouch, the song itself isn't anything special. Very bare with some arpeggios and sounds like a rehearsal or them playing it the first time before its done. Joey was right about this sound like it wasn't finished. 
5. Shela: I like the drums on this and the guitar tone and riff, quite tasty. I like the replication of a siren with the lead in the intro. This song feels like, outside of mixing, it was done. This song isn't too bad and has a lot of nice parts. But the vocals aren't really anything that mind blowing, to me at least. 
6. Gypsy Boots: The guitar in the beginning puts me off a bit, but I like the song itself. Its kind of fun and has a nice vocal harmony that harkens back to Toys title track or Bright Light Fright. Actually this sounds like an 80s redux of Toys in the Attic. But the head is so bland and kills the songs momentum. Doesn't murder, but halts the song. Also great solo honestly, but this "head". Are you fucking me? The solo reminds me a little of Last Child. 
7. She's on Fire: There is some nice acoustic electric guitar in this tune in the beginning. This remind me of a later song but I can't think of it at the moment. This is another passible song. Nothing really mind blowing but you'll remember the chorus. The rest is kind of filler to be honest. Also there are timing and synchronization errors. And there isn't any thing wrong with my Cd because there aren't any scratches. I like the bass that thunders in the track. Nice solo, but the rest of the song takes away from my enjoyment of it. 
8. The Hop: I really dig the drums and the dance feeling to this. Its another fun song that just needed a bit more care. Like I feel like this would be a song that was recorded during the Get Back sessions. Which this kind of could be compared to kind of.  
9. Darkness: This is a bonus track that is exclusively on the CD version of the album. At first I didn't like this song, but then when I heard this in it's entirety, a few times, it hit me. This is one sick fucking song. I really like the band stand vibe. We also get an 80s piano ballad to end the album. Its a very welcome change of pace. I like the Duke Ellington vibe I'm getting from Steven's phrasing at parts. Reminicent of Take the A Train. I also live the tempo change and how the song actually feels urgent and flows. This could also be compared in feeling to Round and Round. This is a bit of a chaos to it but its welcome. Even if the lyrics are kind if cliche. The solo works but not mind blowing. 

Overall I have to give this a 6/10. First off, this is most definitely not one of their best albums. But one thing I love about these songs are that I still, after not hearing one of the songs for at least probably like a good year some even more, I know the choruses to almost every song and know the melody. There is also this weird sort of atmosphere to the songs. Not off putting but it feels almost like there's air. Maybe it was done digitally. I mean I enjoy this over all more than my overall experience with some of the later albums, now at least. Look at it as a transition from the band they were, to the band they would become. Not to say Pump or Permanent Vacation are bad albums, but post 89 isn't very positive in my opinion. Also I want to say I think this was important for the mere fact it was raw, like they used to make, and I guess they realized they couldn't do it anymore. 

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?).

The Stage - Avenged Sevenfold

This is new studio album from Avenged Sevenfold. It happens to be album number 7 and is their first for Capitol after a stint of 4 albums with Warner. This is also their first with new drummer Brooks Wackerman, brother of Chad Wackerman who drummed with Zappa for almost the entirety of the 80's (81-88) but then also did some overdub work from him I believe in 1993. Whatever he was Zappa's last drummer. I'm kinda glad they dropped in in October instead of December, though... the name is kinda... it's really stupid. Once I saw the credits I'm glad they have a nice variety of instruments that's probably a stupid thing to note but I think it works.

1. The Stage: So the first time I heard this I was not really excited. I saw the title and the single cover and though it was kinda dumb. Once I heard the song I didn't hate it, but I didn't like it either. I mean it isn't a bad song... but it felt like they were doing what they've already done before but not as effectively. Like where are the "chances" being taken and what not. I hear the melodic direction, and the aggression but I don't really feel the aggression or the punch. I really do like the ending though, with the nylon string guitar. Thought I feel like that could have been worked into the song better maybe. Like I don't know, it flows but not as well as it could have.... I don't know. The biggest fault though, imo, is the vocals. They don't really work with the delivery for this track. The opening reminded me of Not Ready to Die, played by Jason Freese, and the song portion kinda reminds me of Carry On or Flash of the Blade at first. The song isn't a travesty but I just don't jive with it the way I do with even Heretic. While Requiem is a song I still dig, and needed a dozen or so listens to appreciate.... I'm not getting anything here. The introduction should pump you up and take you there and it should only grow in its awesomeness. This just kinda doesn't go anywhere and the more I listen to this the less I feel a connection to it. Though I like the drums. The solo is pretty solid and I like how it slows down for a sort of feeling that I've heard on, Victim if memory serves. But again it's okay, but does nothing for me. And most insulting is I barely remember anything once it's over. Even right after I hear the album. I also wish the transition into the nylon string guitar was done a bit better maybe. 
2. Paradigm: This is pretty aggro, but again I'm finding error with the vocals. The feeling I get is there should be a swagger with the vocals in that intro, but I'm not quite feeling it. The drumming sounds great, and that growl sounds tasty but one of my initial impressions was "I feel like this needs more listens". The solo is pretty nice though, even though the first part doesn't do much. The second part has a punch and some power behind it, but it seems too buried in the mix for it to be fully aggro. I definitely think it should be turned up in the mix. 
3. Sunny Disposition: This introduction reminds me a bit of Waking the Fallen. I'm thinking Radiant Eclipse but heavier. The first time thought it seems a bit dizzying and I'm assuming this is intentional. The horns are a nice touch you wouldn't expect, though I feel strings could also add to the song at accenting the vocal line. There's also this Planets feeling to it a bit. Like it feels like a few different songs mixed together and blended to make this song that I don't know if it's a mess or if it's weird in a good way. I mean I get they wanted horns but not sure if they fit this track. It almost feels like ALPoH. It's kinda a jumble fuck. But worst of all it's too long. 
4. God Damn: What a bland song title. Whatever happened to Warmness on the Soul, Desecrate Through Reverence, Clairvoyant Disease, Lips of Deceit. While you may go, corny or lame, you can't deny those paint a picture in your head and make you think for a second. God Damn makes me go " okay, well I don't know if this'll be good but I don't care for the title". The song part is okay and the music isn't half bad. In fact the music during the chorus I've even warmed up to. I'm just not feeling these chorus lyrics, though as I've said I do like the harmonies and the sort of contrast to the verses music. It's lightens up, apposed to the aggression. And they just pulled on my nostalgic heart strings ah-lah, Desecrate Through Reverence/Heretic. Those fucking drums. I don't mind the solo, and I don't mind that Spanish Sidewinder section. But again this doesn't really do anything. 
5. Creating God: I can feel the weird feeling of this, and I like the four on the floor but I'm feeling like I've heard something like this somewhere else. This reminds me of a radio friendly type song, that while not really that weird people might go.... hey that's weird. I feel like, this'll be single. I'm calling it, this sounds like it was written for the radio. Especially the chorus, even though I think it's probably one of the weaker songs and isn't really challenging to me. I know I haven't read the lyrics to this song but the words I hear are having me scratch my head. Not in a I don't get it, but more of a I don't like this. The solo works, but I'm not feeling this one overall. The vocals are what kill it for me, the music is just okay, but the vocals kind of put it in this coffin. Though I guess that riff doesn't work to my savor. That's correct use of that right? Who cares.
6. Angels: This song, I don't know. I do like the eerie atmosphere to this one, it's kind of something I didn't expect and I'm glad they kinda keep in for the entire track. The solo is a nice solo, this could have used strings though. The second solo, played by the good old Papa Gates, is much more interesting I think than Syn's. I will say this track would benefit from that nylon string guitar at the ending more than the title track did. Though I'm not sure they would have worked with the next track as a segue. I want to point out the thing that kind of warms my heart a bit is that chorus, it sounds a bit like a mellotron is being used. I'm pretty sure they aren't using one, but it reminds me of one a bit. Like sampled strings, but a primitive one.
7. Simulation: So I do like the sound effects and the sort of electric piano sound that happens during the verses and the whole atmosphere that is created here. It sounds more like an organ, but whatever. It works for this type of album cover, well the intro at least. Now I feel like the two sections should flow better. Like the effects sound hold over into that drum roll for a few seconds before he starts talking. I think the whole drill sergeant thing doesn't really work that well, but they're going for chaotic. I'm not sure if this works though...... the idea is a cool idea and it kinda of reminds me of a variation of the Nightmare music video. Like maybe what they were saying but you couldn't hear because of the song. The nurse is actually Val, Matt's wife. I wanna point out the more I hear that part the more I cringe. I do think they achieved chaos in the song but I kind want more. I've recorded more chaotic stuff, though it's not complete yet, in my basement. They say that River James Sanders, who's Val and Matt's son, and Tennessee James Baker, who I assume is Zacky's son are backing vocalists on this track. I didn't hear their voices the first time though. I assume it might be mixed in though to the chaos. I guess the whole AI thing has to do with this track, whatever I'm not really digging into that bullshit. I'm more interested in the music and the profound nature of the lyrics. The most upsetting this is like nothing, I mean yeah the chaos sounds cool, but like I'm not feeling anything. I mean, to be honest, I'd much rather listen to Oxygen or For Adolphe Sax or I don't know something more chaotic. I will say though, after Val talks that solo is fucking tasty. Top notch and it is almost worth playing this song to get to it. Almost, but again, not completely. I mean I guess the evil prayer on Requiem is cheesy, but that song is not only bad ass but it works.
8. Higher: I don't think this works on spotify, you can't have interruptions in the middle of the songs. Like I feel like that completely ruined my impression of this song, given how it started. Fucking asshole commercials. I do like the song, but I didn't get the full impact until I picked up my CD copy. I did like the ideas going on and what was happening in the song, like the different flavors mixed in there. The piano and the multi tracked vocals work I think. I mean there is a bit where I'm like... eh, but for the most part I liked that introduction. Now the song starts and I'm not feeling that as much, I do like the sort of odd time to the riff. I can't pin the time signature, but it sounds like there is an extra 8th or 16th note. I like it. The chorus is nice, but first time thought it's too short. The vocals though, like they hurt my ears at parts. I like the sort of choir that is behind the prelude to the solo. I could be wrong, but did I correctly count 4 over 3. The choir that sound like its out of an 80's or 90's song. It kinda reminds me of Like A Prayer a bit. I don't really approve of the effect on his vocal, but I think it works. I like that piano that has a little part for just like two seconds. There are a lot of nice details in this song. It isn't prefect, but I like parts. And the piano towards the ending reminds me of Epic. It's a decent track {7/8}.
9. Roman Sky:  This opens promising, with a guitar that hark-ins to the ballad off the last album. So why are they fucking with his vocals. This feels like a shitty version of Crimson Day, or at least a version that doesn't click. I will say, the guitar is still pretty solid and I wonder what key or mode or scales he's using for this. But the strings are a bit irritating me, like the best part of the song is getting burried. And I guess as it progresses the instruments balance much better and the song unfolds into a solid track. But that first minute and a half or so is like a bit cluttered. The balance is all fucked. And I guess I could nit pick the balance with those strings are very fucking. Okay it's supposed to be gorgeous and heartfelt and pretty, and it feels generic. They are pretty, but it's not pulling on my heartstrings the same way Acid Rain does. It has it's moments, like during the solo, the arrangement works very well. In fact I hear some Malmsteen in the solo. But like I don't know, I don't think I can bold this track, there are to many moments it's off for me. And those two songs I compared this two, I actually went back and revisited them to hear why they work and it's because the lyrics are much better first, the vocals also are more effective. But you feel the emotion and the guitar doesn't come in and out it kind of plays it quite, until the solo. It's kinda like too much at once isn't good. Both of those ballads have phenomenal arrangements, this isn't really. Simple but effective, this is not simple and not effective.
10. Fermi Paradox: The drums introducing this song has a nice feeling to them and I like energy of this track. The intro also reminds me a bit of a not stripped version of something off Hail to the King. I still think the guitar should have more punch, but it works..... But I'll admit, the second the vocals started I made a fact that was like "did someone just shit down here". The vocals ruin this song, and the energy just dies. Like instantly, though I do like they guest guitar work from Yngwie. That's a joke by the way, but it sounds like something I could hear on one of his record. I like the vamp for the solo, and the solo itself works fine. Also I am aware of the Fermi Paradox, but I forgot what it was called. Like I have heard of it, I just didn't recall what it was called... if that makes any sense. The whole, we can logically assume this exists but if it does then why don't we have enough proof to suggest that it even could exist. Also I can't be the only one to cringe when I hear those "AMSR" vocal part. No, not good.
11. Exist: This albums sonic attempt at making a Save Me, or rather an epic closer kinda. I will say it's a pretty solid track that needed multiple listens, it's much more effective than Book of Souls.  longer cuts, and the composition is pretty nice. There are lots of sequences and classical touches and I think it's a well arranged track. There are parts in that intro where I feel it's up to the power of Save Me.The dual lead in the one descending riff is awesome. I also like the other descending riff, even though it also ascends. The horns reminds me a bit of Planets. Actually this could be a mix between Save Me and Planets. There is this sort of solo before the vocals section come in and it give me goosebumps. Loving that tone, and then I really love the electric "acoustic" guitar that leads introduces the vocals. I think the vocals are fine here, and this part in and of it's self is a great song. Kind reminds me a bit of Gunslinger. It's also a nice contrast and way more relaxed, and is a nice contrast of what happens later. Everybody sounds good here, though I am not crazy about the effect on Matt's voice. It doesn't ruin the vocals though, just a slight nit pick more than a real problem. I also love when the strings come in and I'm glad they had them come in... thought I'm not crazy about the drums at that part before the chorus. It kinda felt odd, or maybe off a bit. Like kinda oh lets put something rather than work I guess. I don't know. I really like the bass line in the track and everything works together to progress the song and the details are really nice. The transitions and developments into the solo are nice too, thought I don't think the solo is mixed loud enough, but that's just me. I do like the keyboard sequence here, the guitar also has a nice accent feeling. And I really like what's happening here. When I saw Neil deGrasse Tyson I kinda rolled my eyes. I was like wow, they would.... or anyone would really. I understand what he's saying works, but I don't think it sonically sounds that good. Like the way it is like it was over the phone in the background. Not really feeling that, but I think the words work I guess. The only thing is eventually there should be a part where Syn just fucking shreds. They probably kept it out to have the focus on the the words, but I don't know I kinda what that solo to add so there's something more to hear beyond listen 3 or 4. Also I mean I get what he's saying but I kind of disagree. Basically people are very shitty and self absorbed partially because we only see us. We need to realize how truly insignificant we actually are, and maybe then we'd "grow up". He uses bigger words to convey what he's saying, but I don't think people'd be less shitty if we did that. Maybe I'm misunderstanding that, maybe he's just saying he doesn't get caught up in the retardation that is us. But people have been around for how long? We still have many of the same problems like war, corruption/manipulation, intolerance, pride, ignorance, willingness to be ignorant among many others. So I doubt that'll ever change. If it somehow did, it would eventually crumble and we'd be fucked in the ass again, its only human. Well never be a Star Trek society unless you force us to be against our will. But this is a great tune and probably the best one here. The 15 minutes is justified. {8/10}

Overall I have to give this album a 7/10. My initial listen I was unsure if I liked, it was okay and I was satisfied. The one thing though is it didn't feel like Avenged. That's not a bad thing, but that's also not a really good thing. After a few listens, like enough to where I was like... "Okay, this is what I think" I realized something. I don't think I'm gonna be listening to this album by the time the next one comes out. Hell two months from this review I probably won't. There is something about it that just doesn't click for me. The other bands I've out grown almost completely, I like this more than them. But like, Brooks is a solid drummer, but I'm not sure he should have wrote with them. Though they kind of have to change their sound because they don't have The Rev anymore, and Arin's gone, so I don't know. I will applaud them for kind of throwing me off the trail of predicting what will happen next. So many bands make albums and I can listen to 10 seconds or 30 seconds and know what's gonna happen or have the basic idea. In fact, most of those bands you can listen to three songs and you've gotten more out of that than listening to the 11-15 tracks. I respect they aren't going back, or stripping down, they're pushing ahead. There's a lot of good ideas on this record, but like so close. I wonder if they were trying to do a more complex version of the last record. But they also made a less effective one, the tracks on that that are good still are good. I don't know, I think I'd rather revisit "We got it from Here.... Thank You 4 Your service." or for sure Blackstar and maybe untitled unmastered. I guess it's just depressing I bought two CDs this year, and one of them I only have to complete my collection. Ill probably do the next album by these guys but my stance on my fan hood has been shook. Maybe l'l do my favorite album of their next.

"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

Low - David Bowie

Yes, the time has come for me to review his "master work". The album considered by many as one of the best albums ever. Now when I say this, I'm referring to the 11th studio album by David Bowie. Now I personally love the hell out of this album, cover :D. This is supposed to be based off a promo poster for the movie he was in "The Man Who Fell To Earth". There's pretty much where The Thin White Duke is from (the film). This album is the first in the Berlin Trilogy, all of which were made with Brian Eno. I've actually enjoyed this thing from the first time I listened to it, but it wasn't until he passed that I really could say there was a connection with me and that record. Maybe I know what it was like to be at a low, there was other stuff besides just his passing going on. I mean life gets you there from time to time, but you learn and grow. One thing for sure I can disclose right now is, I can't say how many times I listened to the first half (or the entire thing as a whole) in the car while I drove to and from school. It's like a lot. So without further a due, does this live up to the hype? Is it a bunch of hipster bullshit that is buying in to a subpar record? Is Eno responsible for its level of brilliance? Am I qualified to review albums? This and many more will all be revealed to you below. So please feel free to say I'm full of shit, as I delve into this master piece of ambient/avant-pop/.

1. Speed of Life: This opens the album and sort of takes you to another place entirely. Like really, even though Bowie has since said (paraphrased) "Station to Station is just a rock version of what we were trying to do on Low", it still sounds pretty different. I guess I can see that comparison, but this is so different at the same time. The textures here are gorgeous, so are on the others, but this really just makes me want to dance. There are rarely instrumental intros that get me pumped and basically an immediate feel to sit through it, once it clicks. It just works so well as this albums opener I don't really know what to say. I love the dance feeling to the track and I love those icy synths that send shivers down my spine. The player are really doing something here that and I really just wanna re-listen to it once it's over. It also have a feeling of driving, like a broken up car is speeding down a highway or something. At least in my mind.
2. Breaking Glass: Where the last track was sort of bittersweet, there was a joy but it was mind of damaged, this is more of the damaged man trying to find joy. But he is sort of disillusioned by his fears and anxiety. Now I'm not saying that what it's about, that's what I'm saying it sounds like. This is also more "jagged" and abrupt and loud. I mean this isn't Merzbow territory or Boredoms but this definitely is less poppy than say some of his other stuff. Though I still love it.
3. What In The World: What do you expect when you get Iggy to contribute harmonies on this. I've heard this song at least 20 times and I still can't figure out that like Mario sound in the beginning. This track is another fast track, but I really like Pop's echoed backing vocals. I also really like the harpsichord sounding synth on the track. The textures on this thing, and whole album are great but still. I also really like the chaotic feeling and almost disoriented feeling you get towards the ending of the track. I think it's pretty damn good.
4. Sound And Vision: This is my favorite track off this album. This is also the track that I think is key to understanding this album as a whole. It's quite literal, it's not cryptic, it's like about as straight forward as you could possibly lyrically without taking the time to explain it in the song. This is both upbeat, but the way it's sung makes it haunting. It's happy, but it's also kind of down. It also has some great synths, very poppy feeling and that sigh in the beginning is so fucking great. Also I couldn't not mention that lead guitar playing the melody, fucking great shit. Mary Visconti, or Hopkins, comes in and is the female backing vocalist on this track. I really like her little thing she does and then Bowie comes and there's this vocal, then distorted vocal, I don't know if that's just on the CD or if it's also on the vinyl. Fucking phenomenal. Plus that saxophone, damn.
5. Always Crashing in the Same Car: A favorite of mine, its so smooth and chill. Very laid back and fun. The more I listen the more I love this thing. There is the obvious literal interpretation of him  crashing the same car continuously. This song also has meaning to me, because while it's about literally crashing a car over and over, I still cry when I go.... wow I'm doing the same shit over and over again. There is also a mellow feeling to the track that is almost deceiving. Well not almost, it is deceiving. There is also a top notch solo on this track that thank God for Carlos.
6. Be My Wife: This was to Angela, his wife, the two of which were going through problems. I guess he left America then went to France, or Switzerland, and one live in one place and the other... I don't exactly remember but there was just shit going down I guess. This song was looked at as his final plea to keep his marriage alive. Sadly they were divorced by 1980. But as for the song it's much more of a rock song and is pretty straight forward, hahah. No it's not to crazy or complex, though I do loves me some four on the floor. There is great playing from everyone once again and it's a great tune.
7. A New Career In A New Town: This is a great tune to close side 1 and is just fun. There really is a feeling that its like going through somewhere for the first time and feeling that feeling of a new beginning. I love the distant synth and that drum beat keeping time. It's so fucking good, and it's just like once it starts and that harmonica comes in.... I can imagine exactly what the title suggests. A hopeful song, but also shy and unsure of itself. The playing here again, thought much better than the last track, is still amazing.
8. Warszawa: Opening side two we get something entirely new for him. Nothing on any of his prior albums remotely resembled this. Eno is supposedly responsible for the chords to the track, but damn if this isn't barren. I mean I could see if Chernobyl happened in the 70's this song being written about and for that. Don't get me wrong this is amazing and can send chills down your spine, but its also gorgeous at the same time. There is a haunting beauty to the chord progression, the sounds, the textures and the everything basically. This could be the most realized song of the style on this album. Like the albums masterpiece, which isn't something new. It's crazy to think the only things used were a minimoog, piano and Chamberlain played by Eno, and of course David's vocals. I guess the lyrics were based on the recording of Helokanie by "Polish folk choir" Śląsk. I still love the fuck out of this and also this kick the shit out of anything John Carpenter could even try to do. That being said, this was written by Eno with the vocal stuff from Bowie. Also the 8 minutes don't drag on at all, honestly, they are well earned.
9. Art Decade: I like the little electronic flares that pop up in the beginning. This feels almost like its underwater and really has some amazing textures. There are these like sleigh bell things and then these little flashes that sounds like something darting by. The title is a play on the words "Art Decayed" and I assume "Art Deco". I could be wrong, but I doubt its "Decade" as in 10 years. I don't have a ton to say about this track but I really is hypnotic and relaxing. Not as much on edge as the last.
10. Weeping Wall: This is basically a variation on the song Scarborough Fair, which that kind of does bother me a bit but I guess it makes sense. I mean I love this instrumental none the less, but that does deduct some points there. I personally love percussion, especially pitched percussion. I wonder if Reich inspired this track, if not for the lead synth I'd say this is very minimalist. It is very repetitious, but I still love it. I also love what I'm assuming is treated guitars. This is also very hypnotic, and I'm kinda waiting to ear the song progressively disintegrate as Come Up to Show Them Does.
11. Subterraneans: Closing we get the whole band back together. I really like the bass in the beginning and this very much feels like a Residents track. This is very quiet and I almost feel like was supposed to have strings. There is a ending feeling of this and that saxophone kinda of reminds me of 80's music, but not like in a bad way. It feels very sad and this feels just distant. I would like to see the track get nice and confident and grow, but this is more realistic. You don't just get out of it right away, even once you've accepted it. It takes time to heal and this is the ending. I also smile when I hear echoes of futures songs and ideas on later records by him in this.

Overall I have to give this album a 10/10. Okay, do I think this is the masterpiece everyone else seems to claim it is.... I mean if you mean in terms of nothing wrong, then yes. I mean the more I listen to this the less I find error. I have to actively seek out negative aspects in the songs. There really is nothing wrong with this album. Sadly I have to say I agree with this being one of the best albums ever. I think part of what the appeal of the record lives in the fact he was at the lowest point in his life. While that might be lower than I'll ever sink, everything is relative, you can probably relate using your lowest point. A drug addiction for someone may be rock bottom, where as depression may be for another or divorce even cheating. All those and many more it just varies from person to person. The fragmented and broken lyrics and music on side A are very transparently relate-able. A broken man trying to write and basically get his life together. There is a comfort knowing that you yourself, regardless of the dilemma, are not alone. When I listened to this record I sort of got a sense of comradely (hopefully that's spelled right) in Bowie. As much as the world sucks and is really pointless (outside of music) there is a sense of peace that once it clicks you feel. I can kind of understand why people hold this in such high regard. I don't think it's the best record ever, as with his other material during his prime it is amazing none the less, but it's not far from it. I also want to say, along with that comfort, there is a sense of hope in these songs. This really is great. 

Freak Out! - The Mothers of Invention

Today marks the 50th anniversary of one of my favorite, and one of the most influential to me personally, release #1 by Zappa. This also happens to be the debut album by The Mothers of Invention, bestowed upon the unworthy Earth on June the 27th, 1966. Where to start, where to start.... Well, I don't really know? I think this is one of the greatest records ever made, and should be on the lists for guitarists to listen to, and for fans of music in general. In fact I'd go as far as the only reason for it to not be on a top 100+ list is only if you Rolling Suck, or you've never heard it prior to compiling it to the list. It also happens to be quite funny, and is not super serious (well at some parts). All and all its just a really a great rhythm & blues record. I can go on and on forever about the history but why do that. I wanted to note for this review that i will not be using the CD, because that's the most common version of the album (the '87 remix/'95 Rykodisk versions). I will be using the original vinyl mixes (Disc one of MOFO), and also my vinyl copy of the album. Why? Well, why not do the original version for the anniversary.

1. Hungry Freaks, Daddy: Opening the album we get this, this rocker that just takes you there. With the help of Elliott's lead and the other Ray's tamborine, but it's the song in general. Something nice about this is it has something to say and it says it,  being pretty funny along the way (kinda). I think the lyrics are straight and the point I don't really think this could have opened better with what's present. Plus that solo, damn Winged Eel Fingerling.... 
2. I Ain't Go No Heart: An instant classic, I love this song so much. This is a bit less punchy, like it doesn't feel like a rock song with a punch as much as a rhythm and blues number. This has a timpani and feels very large, again we get some great playing and this song is so crafted, and sounds so great. I love the middle eight and it's so fucking large. I'm serious you could easily turn this into a big band television/orchestral piece. Also that ending......... he's a bumber every summer.
3. Who Are The Brain Police?: A complete change of tone. The first two tracks where upbeat, fast and exciting. Upbeat as in not downers sonically, this couldn't be any more opposite. This sounds as if you were on a bad acid trip and your senses were slowed down. There are moments, during the verses before the refrain, of the Umpalumpa song. The thing is, that came out 5 years after this. This also is pretty trippy, as mentioned, and I think (as much as it sounds like I'm sucking his dick) a really nice contrast from the first two. The sound isn't boring, and overall it sounds like a nice change of pace really. I can't every begin to tell you how much I love the freak out in this thing and it's such a fucking great song.
4. Go Cry On Somebody Else's Shoulder: A doo-wop classic, sung by Ray Collins. This is a solid tune, and does a great job of replicating the sound and style. This isn't quite as silly sound ling as say, Oh in the Sky, but its a got some boy soprano from Roy. This tune also works and feels like its fit in a movie from the 50s very snugly. Great tune that really "is very greasy". The song progresses, though it's probably an inside joke, it contains one of my favorite lyrics about khakis. And the song becomes more silly after that but it's still done pretty straight for the style. Also fuck, Eugene that's some fucking fire piano playing.
5. Motherly Love: This is rather funny. I could be misreading this, but I feel like when you hear Motherly Love its like (and as the lyrics hint) love from a Mom. But the lyrics also hint at it being "love" from a Mother. Thus is a solid R&B number, and just rocks. This also has some funny little sounds here and there and some nice playing, as with the rest of the record. But it's solid bro.
6. How Could I Be Such a Fool: This is a song that's grown on me oh so much. It's sort of weird, where the others thus far rocked or were kind of shallow this song musically is sad. Like I feel like Zappa could be making a joke, but this song is so fucking good. Like if he wasn't a cynic I feel like this could be a great break up song. The arrangement..... Fucking Amazing, and it comes and goes so fast. I feel like it is like a relationship, grasp it and get what you can and give what you can to it while its still here. This might be one of best songs here to be honest. Also Carol Kaye plays 12 string guitar on this track.
7. Wowie Zowie: This is a fun little ditty that could very easily be a children's song. I feel like he was going for that too with some of the lyrics. But then, I mean it's bizarre.... I still love it. The xylophone makes it more playful but it still has the that great hook. 
8. You Didn't Try to Call Me: This is another huge song that is phenomenally put together. Pet Sounds is a masterpiece, fuck that noise everything here kills that fucking notion. This song is a great and I really don't have much to say other than this is hilarious, but sonically it's great.
9. Any Way the Wind Blows: Another break up song, another classic. This song is very memorable and has that fun Wowie Zowie feeling but is a bit more serious maybe. You know the whole gauntlet of what this album puts you thought, why can't all music be this compelling, fun, exciting, scary and interesting. Also there's a neat background to this story in the liner notes of the original Lp
10. I'm Not Satisfied: Is it wrong to find this track funny. While it isn't as mellow dramatic as the lyrics, well extreme, to ITIGKM this sonically sounds like a "depressed" teenager. Don't get me wrong, it's a great tune, it's just it fits so well with this shallow, one dimensional character. Like really, I can't help but laugh at this song. The music is so big and so large, as with all the other tracks.
11. You're Probably Wondering Why I'm Here: This title is a bit misleading. but it's such a weird song. Like really, it's got that kooky feeling to it but I also feel like it might be a love song. But then again, most love songs aren't really that deep, so maybe it's just the satire :) I love the music and the lyrics have me rolling on the floor and I can so fucking quote this. The call and response, in the Zappa's dead pan. Plus I caught that Caravan reference.
12. Trouble Every Day: One of the best blues song ever. Seriously; not only does the music have balls and kick ass, the message is equal to that of the music. Actually the lyrics might be more relevant today than back then, at the very least are still relevant today. This really is s song to aspire to pull off if your a musician who isn't just in it for quick doe, but rather the are, craft and power of music. Really, I'm serious, flawless.
13. Help, I'm A Rock: On the vinyl this and the following track were the two sections of one track, but for the sake of the way the thing is why not. This is a bizarre track, which I don't really know how to describe. I know the rhythm section is really doing a great job keeping the beat but the voices sound like they're freaking out. This also has some kind a funny stuff, but it feel a bit like an experiment. There is a section that changes but I believe it to be the In Memorium of Edgar Varese but yeah, hear it yourself, but I personally love it.
14. It Can't Happen Here: Another quotable tune, that is just all kind of wonderful. I love it and it makes sense that it follows what just happened. Also this is an all a capella tune. Well that's at least for most of it, there's this piece spliced in there..... it's fucking great. Feels sort of improvised. I also think parts of the next track, or parts of this track, are in the next track. But they mention Suzy.
15. The Return of the Son of Monster Magnet: "Suzy, Suzy Creamcheese. What's gotten into ya darling" what a way to end the record, that voice introduction then go straight into the Varése quote with the lion or whatever it's called. Love the drum beat in that beginning and this is the sound of chaos. I really think you need to hear it yourself, also it's nice to hear it not so reverby as on the Freak Out! cds. I love sounds and how stuff works and Zappa obviously know how to do dat shit. The thing picks up pace and starts to sound like white noise almost. As the song progresses it becomes complete chaos until it becomes a sort of reprise of It Can't Happen Here then going into a sort of Mr. Bungle/Were Only In It For The Money/Lumpy Gravy thing for the last four or so minutes. It's really something to hear, not only does it make me smile, but I love every second.

Overall I have to give this a 11/10. I didn't highlight anything because there are kind of all my favorite songs. Actually upon re-visitation I might like this more than Abbey Road. Even if you think his humor is stupid, his writing is to silly, or his music is to complex to swallow; I am under the belief there is still something here for you to find and take home. From the novelty to the political messages to the blues rockers and doo-wop tracks. From the avant-garde experiments and musique concrete compositions to the down right and instantly quotable song. No matter your taste, no matter your style, there will be something for you to take from this 1966 classic double album. And to be honest, these songs are so damn catchy I can't imagine you not coming away with something you sing. I mean I can't stress that enough. This is the perfect starting point to get into Frank's enormous body of work, and its also one of his best. Also if I didn't make it clear, check the lyrics out, it'll be worth it trust me.

LISTEN TO THIS RECORD, I couldn't fit it in the Albums to hear before you die with the amount of characters in the Blogger label section. 

St. Vincent

This review has basically been done for almost two years. Seriously, So why not finish this up and get it over with. Cleaning out the Draft section. This is the fourth album by Annie Clark. I found out about her when Strange Mercy first came out back in 2011. Now I waited to listen to this album until the day it came out, not even the singles. Now I had to run out so I listened to the singles before I left, then the rest when I got home. I still plan on reviewing this this month, and also her other stuff too, but soon. I put this off for a few days to let it sit with me and to grasp this talked about wit. Now years later, heres the review.

1. Rattlesnake: This is a good opener to this album. Throughout my "review process" for this album I've revisited all of her prior album, with the exception of Ratsliveonnoevilstar. Off the bat there is a bit of a different feeling, more distorted and electronic. There is some really nice phasing on this tune, and I feel like the woman on this cover made this tune. The lyrics, in the chorus are also sort of "odd" but it just works. This is pretty catchy, and they beat is solid. I feel like this is a solid tune to open the sound of the album, and give you a pretty clear picture of what might happen. Also great solo, it works here well.
2. Birth In Reverse: This track was released as the first single for the album in December 2013. This is a very good song that has only gotten better as I listen to it more. I love the singing and riff playing sort of the same notes. The digital distortion on this track real sounds nice. This is very much so a song I could see being able to dance to. Also that solo, I love it. Annie this is amazing, and this sort of little fills and in between verses those are just great. I mean I love it, sometime people could get stuff like that to work but it's just great. Also the drumming reminds me a bit of Chad Wackerman. Might not be a valid though, but sounds very 80's. I just love tune it's so fucking fun.
3. Prince Johnny: This was released as single number three for the album in May 2014. The vocal choir is great in this tune. It completely makes this tune. There is a very heavenly feeling from that. But they guitar kind of keeps it from that. Not to say the guitar doesn't work, it's just..... It's very much so the right kind of odd. Plus great groove. Just check it out, I dig it.
4. Huey Newton: The title of this track reminds me of Fig Newtons. The drum beat reminds me a bit of Housequake. I do like this song, and think it's a great addition to this art pop record, it's just not a favorite of mine. I could see it growing on me, but you know I don't know. There are moments where, if they went in this direction, I could see this being an Eisley song. It's a nice little change of pace, and the guitar riff reminds me a bit of Deep Purple. You know, if Fireball was made today. That sort of pick up towards the end, nice touch.
5. Digital Witness: This, being another great or amazing track, was released as the second single for the album about a month after the first. This is such an odd song, but odd in the best way possible. It's got a swagger to it that impresses me. It actually reminds me a little of a digital version of Dr. John or New Orleans music. That is until the choruses. This sounds like the big single off Love This Giant. The vocals are great here and that synth bass line, great. I think what makes this so good is Fripp could have though of some of this guitar work. This song sort of, in a way, hardens a bit of Fashion. I think I already made that comparison in a review from this month (maybe Fripp is just on my mind) who knows. It's the tittle details and the sharp playing. 
6. I Prefer Your Love: The music fits the words so well. It's romantic sounding and a really enjoy it. While I'm not 100 percent enthused with the "to Jesus" line. The thing though is, it's her music and if its true then I think she has the right to say it. This first actually, it's very heavenly and the sort that I think Panda Bear didn't pull off really on that new record from 2015. This is very pretty layered and sounds great. I really couldn't ask for her to do anything else to this song. Really, even those little water sounds..... great touches.
7. Regret: This was released as the last single for the album in August 2014. I don't really know why this was picked over I Prefer Your, but you know. This isn't as great as the last song, but has a very laid back feeling. There is a groove and feeling, it's just not as great as the other singles, but still pretty good. I like he instrumental parts the most though. Thats really neat sounding.
8. Bring Me Your Loves: The way her voice is distorted and messed with reminds me a little of Aura off ARTPOP.  This is a very bizarre song that I really like that it's weird. I have a crush on Annie, shes pretty but she's also an amazing musician. I love talent, it's really cool to me. I wish this song was weirder, but you know still this is pretty odd. With song great synths towards the ending, like really great.
9. Psychopath: This is a track that, to be honest, isn't for me a lesser Birth In Reverse. It's kind of like an underdeveloped version of the song. The pre-chorus has some extra sounds come in, but then the chorus comes in and it's so damn pretty. Now lately I've been screwing up my hearing and need to listen to music quieter for it to heal, so I imagine that chorus would be better with loudness. I also love the acoustic guitar that comes in during the solo. That whole part of the song actually reminds me a ton of the band Eisley. They have a song called Wicked Child, which is on Currents from 2013, and to be honest I think Eisley did it better. The solo even reminds me of BIR. While I don't think it's a terrible song, I just think that it's not on par with some of the other great tracks here.
10. Every Tear Disappears: I actually dig the title of this track a lot. There are some pretty cool titles here. The intro also reminds me a bit of The Car's tune Just What I Needed. I mean really, it sounds like it. This has some nice sounds going on, one of which reminds me of The Residents but anyway. The vocals remind me also of Stacy at points. This is a nice penultimate song.
11. Severed Crossed Fingers: This track sounds like it could be on a tribute album for Sgt. Pepper's. The track is very psychedelic and reminds me of one of the Paul McCartney music hall Fixing A Hole type songs on that album. There is a synth that sounds a ton like a harpsichord. This is a pretty good ending I think to the album. The bridge part reminds me a lot of the orchestral section of A Day In The Life. The way she is singing and it's intensifying reminds me of that part. The solo at the end of this track reminds me of a song that I can't recall at the moment. It's really nice and a great closer.

Overall I have to give this album a 7/10. I know Annie's music and wanted to let it sink in a little before I reviewed an album.  I think that time is what helped it so much. At first I couldn't listen to this thing front to back. Now I know my favorites and the tracks that are not. I'll return to the former, and most likely not to the latter. But a good summation could be that this is honestly what ARTPOP is, not Gaga's faux art. Now "art" is very hard to define but I think it's when you put you heart, soul, feelings, and love into something. Art is created, in my option, when your expressing something. It could be as deep as a moral dilemma, to as light as you're hungry. If its basically a labor of love you can say its your work of art. If you throw it together in a day or bs meanings to shit, that's not art. Only you can decide what art is and how much of you goes into it. And there isn't any argument that Annie didn't put "Her Love" into this thing. 

The College Dropout - Kanye West

In honor of So God Help Me, or SWISH, I decided to finish this review that I started back in 2012. Actually it's dated 6/14/12 to be exact. I didn't do much to it but I started it back then. This is the 2004 debut album by well known rapper Kanye West. I guess this took four years, 1999-2003, to record. Well I know stuff about him. I've heard and reviewed his 2010 My Beautiful Dark Twisted Fantasy and 2013 Yeezus albums in full and scattered tracks off his Late Registration and Graduation albums. Thought I wasn't in love with it, I still bought a CD copy of it. The latter I cared for even less, but bought it the day of release.

1. Intro: This is a vocal introduction skit of someone talking and telling Yeezy to play something "for the kids". The guy talking is Deray.
2. We Don't Care: No this isn't an MGMT cover. Hey, this is a positive message right. I mean even if it's a joke, I am not really laughing. But even more so this track isn't as hard hitting as Jesus Walks, Never Let Me Down or Spaceship. Those songs kicks your ass, this kind of.... well I'll probably forget it once the albums over. This basically segues into the next track by way of Deray.
3. Graduation Day: Not digging that Deray thing, and if he keeps popping up I'll probably get annoyed. The ending and the autotune and the soul vibe, I could see this playing on the radio if it was longer or if this and the prior track were edited for a single mix.
4. All Falls Down: This track features Syleena Johnson who is someone I don't know. Well I looked her up, she's gorgeous and she's also Sly Johnson's daughter. Her father is someone I know from his 1976 Total Explosion album. I actually like this intro, but maybe if West just shut up in the beginning but it is what it is. As much as I dig the fuzzy guitar towards the ending, the repetition gets annoying.
5. I'll Fly Away: A title that reminds me so much of Sinatra. This is a very Sinatra esque song, maybe not in this rendition, but I could see him singing this maybe. It's kind of a stretch, but still. This is very gospel though just vox and piano. Its actually a cover. 
6. Spaceship: This track features GLC and Consequence. This also contains a sample of the song Distant Lover by Marvin Gaye (soon I will be able to add that link ;)). The sample of which is just ear candy to me, the way it's pitch shifted and it's the chorus. I love it, it's fricken great. I also love the follow from the last track into this one. I actually like the beat and think West does a great job here. Not just Mr. West but also the other rappers featured. Damn there is this just urge to start playing Let's Get It On front to back and do a review for that now too.
7. Jesus Walks: This is the albums crowning achievement. I couldn't possibly get all the shit I need to say done in one listen of this song, and not because I need to dissect it. I can't type fast enough to keep up with the track. The thing I can get done in one listen is that it's sad seeing how this is a very heartfelt song and how fame and little stupid dumb shit can make someone, whom I assume believes, just dwell on such dumb superficial shit on Yeezus and MBDTF. It's very sad.... But this song is an emotional roller coaster of guilt. 
8. Never Let Me Down: This track features Jay-Z and also J. Ivy. One of about only and albums worth of track I really dig with Jay on it. This is another track that is gonna need another listen. I mean the fricken, this instrumental just makes me cry every time I hear it front to back. J. Ivy reminds me a little of AESOP Rock. With tracks like this it kind of melts cynicism away and reminds me to not just do a shit job on the review.
9. Get Em High: Talib Kweli and Common both appear on this, the 9th track of this LP. Did Pharell produce this beat. This reminds me a lot of Lapdance, it's distorted and compressed sounding. Well at least Talib knew he was an asshole back then. Maybe this was his warning to us what would be his future. Not musically, but that asshole comment. I do like that girl talking part who is Sumeke Rainey. That's probably my favorite part.
10. Workout Plan: Not digging this, though I like the sanding sound. The fact that this track has women gossiping and talking  the "beat" remind me of the women filing their nails. Now this may or may not be intentional, but I enjoy it none the less. To be straight the nail file sounds not the topic or words of the track. This is like interlude intro for the following track. 
11. The New Workout Plan: Probably the most complex track on the album, this has a lit going on. Also I need to say, I love the violin in this intro. By far the best part of this track is the strings. The violin is played by Mimi Bel-Ari. It's so eastern sounding, which I looked her up and she is from Israel. The vocals at the hook are unmistakably Slim Shady inspired, hell I could see it being him. The only thing is this would be on like Encore or The Eminem Show. So his lesser albums, though Relapse is probably his worst by far. The vocals talk boxed (I read the credits before I heard the track) sound very vocooded and reminds me of Daft Punk. This is a fun song, but I mean this should have been like on an Ep maybe that'd be pretty fun and cool. I gotta give him props for the whole shifts in parts. There was a lot of thought that went into this track. But that guitar reminds me of something, but I couldn't put my tongue on it. 
12. Slow Jamz: This track features one Jamie Foxx and also Twista. This sounds a ton like something Lil B would have used as a beat. But this sounds like sonically there is a little bit more attention to detail, so he might not use it. I prefer Twista's line, it's pretty fast and sounds pretty cooler instead. And Jamie Foxx his little thing, not huge on it. It's still a solid track though. I could imagine if Frank Ocean was older he's be on this track.
13. Breathe In Breathe Out: Feat. Ludacris as a guest on this track. I'm not huge into him and I've never been interested enough to really sit through an album.  I do like the beat and the guitar that sounds like it's on a phaser. Also love the violin moments. Not huge on the vocal rhaspiness in the hook.
14. School Spirit (Skit 1): Shut the hell up.
15. School Spirit: Solid beat, and pretty great piano sound. Just not into the lyrics, thought I can dig the vocal melody. I just don't give a fuck about him telling me about fraternities. 
16. School Spirit (Skit 2): Shut up again bah
17. Lil Jimmy (Skit): Again, except this is supposed to be funny.
18. Two Words: This track features the contributions of fellow rapper Mos Def, Freeway and also The Boys Choir of Harlem. Awesome beat and intro and frickn harpsichord. An d that frequent guitar, a great track, and guess what else freak'n violin. AHHHH!
19. Through The Wire: So frickin God's Father mixtape it isn't even remotely funny. But hey, that's a good thing. The flows are even somewhat familiar. I guess.
20. Family Business: This is a solid ending to the album, much better then the following track.
21. Last Call: This is one of the worst songs I've ever heard Kanye do. No offense but 12 minutes and 40 seconds is a long time to tell a story of meeting Jay-Z. It'd be much better if it was shorter. You know this would be a lot more hart warming if Kanye wasn't the world famous arrogant person people love to have.

Overall I have to give this a 6/10. The best thing is that this is one flowing piece of music in a way. The thing is though, it's long. really long. I love strings through out. Not a single complaint in that department. I'm gonna need to check the samples on this album they are pretty solid. I think the next upload is the one I already alluded to in my last review. Also then on to more music that will help me.