Outlandos d'Amour - The Police

Today I have a very easy, simple review to do here. This is the 1978 debut album by The Police, the UK's best at mixing Reggae and Punk and also new wave. This cover I have is the original UK version, and while I prefer the US version, it is what it is. For the longest time, I've considered to one of my favorite albums of all time. I actually don't have much to say about this album other than I hold it dear to my heart and it has memories for me. Now not all memories are good, and can often be debunked. That made no sense, point is let's see if this holds up.

1. Next to You: Opening we get a solid number with some nice drums. This is a punky feeling song and has such a catchy chorus its so good. I love the drums in this track and think everything about this track is a great opening to get you excited for this record. It sticks with you and the track slows down a bit for the solo, which sounds out of the Joe Perry playbook on like Draw the Line. The transition back into the drums and the sing works very well and the song goes by quite fast. Great opener. 
2. So Lonely: Great great tune and a favorite of mine. I love the guitar tine and can inky imagine how it sounds in vinyl. The drums are solid and the sort of ska feeling is great. I fucking love this chorus and I can't tell you how engraved in my memory this song is. The second it started I was like fuck yes. I love the little touches and the lead during the verses. The harmonies are great on this and so far there batting 2 for 2. Another great solo. While maybe not as good as the last, there are parts that are great in this one. And once it picks up and is in the feeling it works and the bass you hear. Also I wanna say that two seconds of harmonica actually is a nice touch. I know its super short but I think it works. The breakdown is very nice and I love how Gordon is joined by other members. It feel like an angry teenager who is lonely and mad because of it. 
3. Roxanne: The, some could say, over played hit by the group. I myself have over played it, and haven't actually listened to it for a very long time. I mean I still love this and it is also engraved in my consciousness but I think the reggae beat and the laugh at the beginning works very well. The lyrics to me work very well and I almost picture someone playing on the streets singing to or about his lover who works the streets. The baseline in this is also freaking great and I love how its on their two 8ths on the first two of the 1. Does that make sense. I hope its in four four and NY math is correct. I don't know and don't care. I fucking give this song. 
4. Hole in My Life: This song may not be as good in my opinion as the others but us a great change of pace. I love the vocals on this and they works very well. The reggae beat and the punk vibe to the drums. Is this actually ska, correct? I really like the chorus and I love that bass tone. This actually kind if reminds me a but if The Beatles on say...... Revolver. I don't know why, or exactly what song but if you read this and hear The Beatles in this track let me know. This is a very well constructed song and I live the piano in the track. I am glad it want just done straight you know, they add to the sings and have it grow. The bass reminds me a but of Zappa's 80's bands but also Macca on a later Beatles record. I ale love the ending a great thing I didn't expect. 
5. Peanuts: This always made me laugh a bit. Like what the fuck. I actually really dig this drum beat and I like the sort if proto-Synchronicity feeling to this. This is also one of my favorite songs by the band. I love how everything sounds together and it is like a sped up version or a faster version if the track mentioned. I also love the noise that is the solo. Honestly, its freaking great. I wonder if Frank came in and played the solo for this. Kinda reminds me of Zomby Woof a bit. Its pure emotion. The electric piano/synth on the track is something I forgot about but I'm glad its there and I really like that part, though it doesn't do much. And I love how I get exactly what I wanted at the ending. Chaos, though is wished they guitar came back. 
6. Can't Stand Loosing You: This is another song I've listened to so many times I might do legit review without even listening to it while I do it. Originally I dug the song, but now looking back i find a humor to it. Where it was once, kind of dark I have grown to have a dark sense of humor since those initial listens. I really like the sharp guitar on this track and find the lyrics to be humorous. I also love the catchy chorus and it comes and goes quite fast. 
7. Truth Hits Everbody: I really dig the riff to this song and this this is a nice change of pace. While its nothing completely different it kinda has a different vibe than the other tracks. I really like the harmonies on this and love the new wave feeling. Its a rocker. 
8. Born in the 50's: This is another rocker, but more of a rocker. This has a bit of nostalgic I'd assume for the band. The song its self is just okay, one of the weaker songs. I do think again though its welcome as a change if pace. Its a lighter type of track without such sharp guitar. It isn't that different than Can't Stand Loosing You, with that in mind. 
9. Be My Girl - Sally: I like this song and it kind makes up for the last track. The guitar intro is awesome and the bass accompanying it works very well. The vocals in the beginning are okay and it isn't anything on here you haven't heard really. But what I like about this track id the weird as spoken word thing that I wanna say comes out of nowhere. I like that piano in there, and it takes you by surprise. Its got this weird ass feeling to it, but I won't say who sally is. Then the sing fades back in and you just laugh now that you know the who Sally is. This ends with a weird shriek and is fitting to come before the instrumental track. 
10. Masoko Tango: Closing is an instrumental that time has only done this in its favor for me(?). That's not proper English, but who fucking cares. While there are vocals I don't know if its actually anything. The bass on here is phenomenal and the drums keep the beat very well. I really like the guitar on here and this has a odd feeling to it. There's also these swipes of effects that come and go in different places. Almost like sped up/reversed feedback. I like how it kind of gets drowned in the effects almost as the song progresses. The effects wouldn't sound out of place in Revolver. I really dig this track and live the drums and that weird ending that fades out. 

Overall I have to give this classic at 8.5/10.  I think this holds up and is a really fun and simple record that is worth checking out if you haven't heard it before. Solid record and really good.

Witchcraft Destroys Minds & Reaps Souls - Coven

So to kick off my less Halloween-tackular-bonanza-onzi-Month-A-Palooza (fucking let me die please), I have decided to do an album I've been putting off for a while. Why have I been putting it off, because I forgot about it to be honest, the review. This is the debut by Chicago satanists Coven. I chose to initially review this album because it predates Black Sabbath by a year, also another funny thing about this is there's a member that's nickname is Oz. Also Jinx used to do devil horns on stage before Dio was performing. She also gets naked in the gate-fold, but she's much cuter on the cover than naked (IMO). This was pulled after only a short shelf life because of the satanic themes, remember this was 1969, not 2016. But whatever, I still dig this thing and am reviewing it. Oh also, check out the wikipedia page, there's a really interesting story about the songwriter for the record. Not occult odd, just kind.... well you'll see.

1. Black Sabbath: This is a shot for shot remake of the film of the same name. This opens with a sort of groove, that I wouldn't expect to be here. It's a very interesting sounding sort of vamp over the vocals. The keys, or effects add this sort of horror film eerie dissonant sounds. I like the guitar tone, and I think the vocals and are sort of added too, during the long notes with that echo or dissonance.  The songs has this sort of pivot with drum rolls and it does into a much harder rocking part. That ends with sort of cadence, but I love it because it makes me wanna sing a patriotic song sort of. Not really, but that's what comes to mind. I really like the bass and the sort of marching feeling that is hypnotic and could be them summoning something. I can't believe they fit this much shit, in the best way possible, into 3 1/2 minutes. This is a really well put together track that has great flow and the "pivots" work and don't detract at all.
2. White Witch of Rose Hall: Okay, off the bat I'ma be straigh, this is a phenomenal track. I could so easily see this being a soul song, if it didn't find it's home on this record. The percussion is pretty solid, though it kinda sounds a bit off a parts but it's all good. The vocals here are great and the groove and forward pushing drive of this song is great. The piano sounds fucking great and they even were able to throw in some variation. Fucking James Vincent, I gotta look into more of his shit. I really like the percussive sounds they got on this track, and it's kinda like outta nowhere. I'd never in 1 million years expect this to be on this type of album.
3. Coven in Charing Cross: Ah. Classic titular band track. This song has a very psychedelic feeling, but it kinda makes me smile. Hippies were like, happy and "peaceful" but it's funny to hear that mentality and sound for something more conventionally sinister. I love that group chant that makes it almost sound as if it's a cult, but this is a pretty solid tune. There is a song this kind of reminds me of, but I can't quite finger it. I don't like this as much as the last track, but I do still think it's pretty solid. The only thing I think they could have changed was maybe that last longer chant they could have had music or something going on to make it sound hypnotic or more textured. Like it happens three times, each time I think should be start stop start stop. Why not have it start, stop, then start then trip out. I fee like the sound could have been shortened, but I feel like based off the last two songs they could have done something really good with those two other pauses. Hell even reading the chant over the outro solo or having that phase out and then the segue in with a vocal harmonies and someone over it. I have tons of ideas for it.
4. For Unlawful Carnal Knowledge: This is a cover the the Van Halen album of the same name. But oddly enough this sounds much more reminiscent of The Doors. Maybe mixed with Uriah Heep's keyboards (only so slightly though). This still is a great tune, don't get me wrong. I love the grooves and the fucking bass player. Damn, I love that bass line (the tone). This could pass as a Door's reworking or a version before Jim joined the band. Hypothetically speaking of course.
5. Pact with Lucifer: This is a song that is kind of standard, it really isn't blowing me as much away as one of the other tracks. It's not bad, but it's kind just like a song with Satanic lyrics that could have been recorded at the time. This could so be a Jefferson Airplane song.
6. Choke, Thirst, Die: This is what my ex used to yell during sex, so as you can tell I have a sort of nostalgic connection to the song. Holy shit, does this remind anyone else of Soft Paradise. Mixed with Stange Days maybe a bit. There is a great solo on the track, I do really dig, but the song is just another song that kinda fits. It isn't throwing anything new at me. I do really like the vamp feeling to it though and the keys really sound great. There's a part where it sort of has a pre-solo vamp section, and they just go to the introduction. Like what the fuck bru, I get that it does pick up, but still.
7. Wicked Games: This is a song based on a cover of The Weeknd's hit Wicked Games, adapted to modern texts. This is a pretty solid tune and it's good a nice feeling to it. Again there isn't anything crazy here,
8. Dignitaries of Hell: This so reminds me of Cream in the beginning. Though I do like the keys added, like it gives a different flavor to the sound you know. Like an extra texture.
9. Portrait: of a picture of my parents, as I left for California? This is another track that fits, but it's a bit more organ heavy maybe. It kinda feels like a less intresting version of something happening on Fly to the Rainbow.
10. Satanic Mass: This track, at 12 minutes, is the longest by far and most unconventional track too. It's an actual "induction" into what sounds like The Church of Satan. It's creepy and in my option, something you only need to hear once, unless your an occultist or into paganism or satanic imagery, literally. I mean it's just kinda bizarre, it'd be like listening to a baptism on a record..... But into the Church of Satan. Not saying that its fucked because its for Satan, or whatever strain of Satanism it is. I'm more in the, its 12 minutes of an induction ceremony, so like do i really want to revisit this... Regardless of what its into. I don't know you know, its unique I guess but it is what it is. It also has a writing credit to Bill Traut (the guy who produced a number of singles and albums, but for me most notably the first four Styx records). #BillTrautIllimanitiExposed

Overall I have to give this album a 7.8/10. I like the record, there's a punch you dig. All terrible jokes, and confusing dumbass references aside check this out. It's a great rock record and great for Halloween. I think they sort of lost their creative steam after track three, but that's not a terrible thing. I know a ton of people who like songs that work together. It's not so bad it blends, but they all work on the same album. I just wish there were more parts that kind of threw in changes, and things out of nowhere (or at least changed it up a bit). Check it out if you think the cover, the themes, or anything about it is intresting. Hell even if it's just outta morbid curiosity listen to the last track. I think it can be summed up as if Jefferson Airplane, mixed with The Doors. And also if Janis Joplin wasn't boring as fuck. Side note: I wonder what this would have been if it was a live record.

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. 

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. 

The Drug In Me Is You - Falling In Reverse

It's funny how I've done the other two and not this one yet. I mean I've had this on CD since the day it was released, so I don't know why it took so long to do this thing. Maybe cus it was already out, who knows. What I happen to know, is the fact that this is the debut studio album by Falling In Reverse. Now when it comes to music you can't judge it by a persons personality. If you did that Dick Jagoff wouldn't be rich. I feel like I'm always backing up Ronnie, even though I probably shouldn't. I hope you picked up on the key words in the sentence. Does this thing hold up, and can I look past the nostalgia.... let's find out.

1. Raised By The Wolves: This opens the album and is a pretty solid opening. It gets you kind of excited, and I remember I was pretty pleased when I first heard it. I think it still stands up as a solid tune. I really like the electronics and the what could be programmed drums :D but I think it works. While I could see this bothering people, I think it works here. It's a pretty decent song and isn't too poppy or lame or whatever. I like the keys on this and funny ETF name drop. The only part I'm not on full board with is the whole, Guillotine "quote".
2. Tragic Magic: I remember going back and forth with this track. I though it was okay, but then I'd think it was dumb and stupid or pointless, then back to okay and so on. Okay, now off the bat I kinda cringed and this song doesn't really..... This is kinda of the other side of this record. Shit. I mean like it isn't terrible, but I just, I won't ever listen to this song again to put it clearly. I get, lyrically, where he's kinda coming from I guess. After all he was locked up in da klink for a few years. Also classy lyrics.
3. The Drug In Me Is You: This is the title track, and when it came out I was hooked. I remember listening to this thing about 100 times. I was obsessed with it. Now it's 5 years later, so I have to see if it "holds up". I mean, it isn't terrible. I think it's an easy listen and doesn't really bother me like the last track. It's decent enough.
4. I'm Not A Vampire: Ewwww, this tune. You know I only kinda liked this song at first but it kind of only grew away from me. I mean by the time the music video came out I was done with it. It's kind of a stupid song and I think more of a filler. Also the singing on this kind of bugs me. Like Another track I'll never return to again. I mean the solo's nice, but I can here solos better and far more intresting on other albums. It's kinda neo-classical influenced but really Jason Becker, Yngwie, Symphony X the list goes on and on.
5. Good Girl Bad Guys: Ewwwww. This song is kind of cancer. It's not as cancerous as say anything on Hate Me, but the only thing that's okay is the solo. But again there are much more memorable solos and cooler ones on other records I've heard. Montey even made more memorable solos, like I can't remember this even after just hearing it.
6. Pick Up The Phone: This is another song I can now say is kind of crap. Really I kind of don't get why I liked this so damn much. I mean they have a phone in here, and they did try some attempts at novelty (?) I don't even know I just really and kind of irritated a bit to be honest
7. Don't Mess With Ouija Boards:  This ain't half bad, and is kind of a Gulliotine cousin. But then when I revisit it, the click that was once there is no longer there. I think the best part is the double time, maybe if you could call it that. The solo is nice, but that transition from the solo after the verse...... Ewwww. Then the sort of breakdown. I'd rather listen to Pray for Plauges.
8. Sink or Swim: I feel like this is supposed to be deep, but never once did I find it deep. I guess another song that comes and goes, I feel nothing really. I guess the one part where it changes styles is okay.... kinda.
9. Caught Like A Fly: At one point I'd cry during this song, how fucking shallow I was. Actually I can't really even listen to this carnival barker until that part. How could would it be if there was a solo, that fit, in the beginning of the song. The piano part doesn't hit the same way it used to, all though I guess it's not half bad. The slower parts. If only there was a spanish or acoustic guitar playing along to that part.
10. Goodbye Graceful: This isn't terrible, it's okay. Decent solo, other than that just okay. I just kinda want this to be over.
11. The Westerner: This is essentially the grown up more mature fleshed out Day I Left The Womb. This still is a song I like and have to say is a solid track. I still think it's got the use of auto-tune to help and not criple the song. While I'm not as in love as I once was, It's a decent song.

Overall I have to give this album a 5/10. So does this album hold up years later. I know DIYLF is still awesome, I still enjoy dat shit, but diz shit..... I don't really know. Well I know how I feel,  as clearly expressed above,  but like what caused it. Maybe my tastes evolved over time. I am grateful for this record though, I learned I need to step up my soloing and make them more memorable and interesting. 

Killing Is My Business... And Business Is Good! - Megadeth

This is the 1985 Combat Records debut album by thrasholes Megadeth. FYI that was a compliment, if I said douchestep or something else non-Metal it's be an insult. I've previously reviewed Super Collider and So Far, So Good... So What! on this blog, and I figured why not get this one over with because it was fairly simple. This album features Chris Poland, Dave Ellefson and Gar Samuelson and was self produced by Dave. This is actually the last of the big four's debut albums to be released, Fistful of Metal was released in January 1984 this was released in June of 85. Just a fun fact.

1. Last Rites/Loved to Deth: Opening with a quote from a classical piece, that for whatever reason I'm to stupid to recall. When I look it up, I discover it's Bach's Tocatta and Fugue in D Minor. I think it's a nice intro, and once it ends and the song starts it has a nice punch. Now the "verses" kind of sound like a mess, like they don't really sound like they lined up correctly. As it progresses it sounds like it comes together better, and David Ellefson's poppy bass sounds like it fits better. A decent song, but the solo isn't really there.
2. Killing Is My Business... And Business Is Good!: This opens rather promising, and the vocals sound very demonic with the shrieks. The plays a riff, that almost sounds like a chase, and I love the bass and drums accompanying it... tasty. Nice and angry too.
3. The Skull Beneath The Skin: The way this opens I was expecting it to maybe be fast but this isn't as fast as some the others this far. This is fast but parts are slower when its just drums and the bass. This is a nice speed metal tune though, and tells the tale of how Vic became Vic. If your interested I'd definitely look up the lyrics. It's kinda neat, but then again Black Magic and Occult interests me. Not like I'd practice or believe it, but in the same way Ancient Egyptian mythology interests me.  
4. Boots: The infamous cover of the Nancy Sinatra classic. This is basically a thrash/speed metal cover of the tune. I mean is there really much more to it than that. I mean the stupid fucking beeps on the reissue sound terrible, laughably terrible. But this is an angry song and I like it.
5. Rattlehead: Ah the track named after Vic, one of the many metal mascots to grace album cover with the likes of Eddie the Head or Snaggletooth or even more recently the Deathbat. Even though it's named after him, its about head banging. I like the tune and solo, but yeah.... I mean it's not really mind blowing. 
6. Chosen Ones: This almost sound like it could pass as a Priest song. Really, I'm serious. It's actually a bit refreshing after 5 tracks of essentially the same thing. Yeah this isn't really THAT different, but it feels different enough I guess to where I like it. Plus tasty solo, and great bass fill. Plus the song is about Monty Python. 
7. Looking Down The Cross: A very beefy song topic, about the "real" last thoughts of Jesus. The song in its own is interesting and has a nice build into the song, which appears to fade in. I really like that solo and I feel like this song is being given room to breathe. This sounds like a Megadeth song by the way, and has that sinister feeling that they are great at. Also this is possibly the best song on the album, like really. It's the most unique, sonically different, and kinda has this sort of Iron Maiden bass gallop. This could pass as a Maiden song, but that's not necessarily bad. I kinda think this is one of the songs that I'll revisit, and while it may not have the punch I want it to have, looking back like none of these songs do. This really sounds like classic Megadeth, and I feel like if he revisited this song it'd be phenomenal on the level of other songs like Peace Sells or Tornado of Soul.
8. Mechanix: This is the original version of the Metallica classic known as The Four Horsemen. While the affirms rioted track is better crafted, this track is very fast and about sex using a car as a euphemism. This could basically be looked at as if you sped up the track and took out the nuances and structures and made it much more straightforward. I still enjoy this, thought you can't top the others

Overall I have to give this album a 6/10. This sounds very loose, and I like that. At the same time, its very one note. Like I feel like these songs were recorded live all in one take and the album was cut on track after another. I mean the songs fit together well, but like..... It's very self produced sounding.... Which it is. I also feel like there is a sort of demo feeling to the album, which isn't a bad thing, but it doesn't sounds as focused. Like all the songs are of the same mind set sort of. If you weren't paying attention it'd be easy to mix one into the other. At least their next album would feature a more cleaned up sound and more focused. Just check it [this one] out, its worth a listen or two. 

The Soulful Moods of Marvin Gaye

This is the 1961 debut album by the one and only soul legend, the man who stood up to Berry Gordy, the Prince of Soul, the one the only Marvin Gaye. I love Marvin and think he's great, that goes for everything about him minus the drug stuff. Though the '70s/80s is the cream of the crop, he has other solid records/tracks prior to those monsters. Before he was every woman's "man" he was every woman's "guy", so to say. Something I read some where was he was described as a "clean college boy" prior to 1971. On this cover he looks like a youthful fellow, maybe even a little stubborn. This was followed by the, better all around, 1962 album That Stubborn Kinda Fellow. That features the titular track, Pride And Joy, and also the awesome Hitch Hike. This was Marvin's debut though, and it was the #2 Motown release, second in chronological order to Hi... We're The Miracles (also that bands debut). This is basically a Jazz standards album. I'm not sure if these tracks were "standards" yet, but listen to any Jazz record by any artist and there's bound to be one of the following tracks, more or less. I always see

1. (I'm Afraid) The Mascarade Is Over: Opening the album we have a cover of the Magidson/Wrubel classic. Now the thing is, this isn't half bad. While he isn't really singing the way he would later, this ain't half bad. There is a charm to the way he's singing this song and I gotta support it. He's also singing restrained, he isn't really using the power he'd use on later records. Maybe he wasn't good enough, maybe he was just going for a certain sound, who know. I still dig it. My only complaint is its 5 minutes long, maybe cut it at 3 minutes or so. But I still like the song. 
2. My Funny Valentine: Of the many versions Barbra Streisand, Miles Davis, Carly Simon, Bill Evans, Chet Baker, Ella Fitzgerald among others. Actually, the original dates to 1945 and was by a guy named Hal McIntyre. I don't love this version, but I do like the drums when they pick up. But I mean I just don't really care for the way this overall sounds. I do like the  chorus, but I don't know how often I'll visit though outside of the novelty of re-visitation and the review. 
3. Witchcraft: Another track that I know, and I love this version. This is exciting, where the last two were more laid back and crooners. This really is a nice change of pace and shows good track listing. This is just such a fun damn song, I don't know if I like this or Sinatra's version more, but I love the guitar tone and the drumming. There is a nice guitar solo by someone who don't get credit. Fuck You Berry Gordy and you no crediting performers. This really is an early stand out and make you wanna listen to the rest of this thing. I love the head.
4. Easy Living: This is a cover of the Billy Holiday song track from 1950's. A laid back number, there is something about this that makes me wanna smoke a cigarette relax and reflect on certain things. This is a very pretty song, and I'll be damned if Sinatra didn't do a version (though Nat King Cole or Sammy might be better fit to do this). I really like the drums here, brushes on the snare. I also really like the guitar lines and it sounds pretty damn slick. I'd love to get a copy of the lead sheet to this track. Also I cant forget to mention that piano that opens and closes the track. 
5. How Deep The Ocean (How High The Sky): This is a famous Irving Berlin song. This is a other more laid back vocal jazz number. A solid tune, and this is a pretty solid version of the song. 
6. Love For Sale: This along with track two are very often covered jazz standards. Some other versions include the likes of Cannonball Adderley, Billy Holiday, The Manhattan Transfer. Written by Cole Porter my boy Marvin does a solid job. I dig the big swing to it, and there are some tasty drum fills. I like that guitar and the bass' tone. This kind of feels like a Bond theme. 
7. Always: This is a cover of the Irving Kaufman song of the same name that dates to 1926. This track has also been covered over the years by artists such as Paul McCartney, Frank Sinatra and Patsy Cline. The shuffle drum rhythm is really nice here and works quite well. I think the solo in here is a nice thing, a detail not in all the others. And I can't believe it's here at all, Marvin isn't even playing the guitar either. To be honest, I really like what the Soul Brothers did here. 
8. How High The Moon: By this song the formula and style is beginning to loose its interest. Yes if you listen oht of context its a swell rendition. I don't think this is the best song here, but I think (as mentioned above) swell enough. 
9. Let Your Conscious Be Your Guide: Is this a fun number that really doesn't sound out of place on a Motown record. With an organ, that sounds like it was in The Champ, piano that has that doo-wop progression, mono chorus vocals that sound large and a. I've performance from Marv.... Plus some nice drums, brushes. This is very revisit-able. 
10. Never Let You Go: Following the Motown sound, we get another hip dance number. I could actually see Smokey singing this. The chorus is a bit silly, but I still enjoy and dig the tune. There's a swing to that is fun, and great piano solo. I like the little details in the song. I wonder if this was intended for The Miracles, but then again the pianos a bit more rock and roll then they are. I could kind of see this being a cover on maybe Beatles For Sale or With The Beatles. 
11. You Don't Know What Love Is: This is a classic jazz standard covered by numerous artists. This song is really great and a solid haunting way to end the record. This is a solid cover and works well to end everything. I also love the arrangement. 

Overall I have to give this a 7/10. This is Gaye's debut album and it's packed full of Jazz standards. Now what's weird about this is I didn't really dig the vocals of Marvin throughout it this album, until I sort of learned to appreciate jazz more. After being a bit more versed on this, I kinda love this thing. I mean, its pretty solid and while not nearly his best, its not anywhere near his worst. It's pretty solid.

Village People

To closer this batch of 34 consistant reviews, note not all were done every day (some done ahead of time), I decided this could be the only review the would stand the possible drought. The one that might be my last for a number of months. This is the debut album by NY's own. This also happens to be the gayest of all the Village People albums. Seriously every track is about a city/town with a large gay population. Released July 18th, 1977 this is album has a bit of a confusing history, for me at least. When researching it I have read that the only member to sing on here is Victor Willis. It said they had professional singers do the back up vocals, and while I can see that maybe, I just don't know. I know Felipe was one of the first members, though three of the members were replaced before the next album for certain. It also makes sense because those people who were replaced were because the ones you see on the Macho Man cover had more experience as a whole of what the group was, vs those other three guys. But at the same time I read they had models pose for the cover, so..... I don't really know, or really care enough to spend more time then I did researching this. Although, you can see the group members on the Telefunken release and you can visibly see different members as the biker, and two or three other people who don't have a specific job I can make out.

1. Medley: San Francisco (You've Got Me) / In Hollywood (Everyone is a Star): While originally released as one track, on CD reissues they are both separate. The first song starts and you can hear the sound that the group had was present right from the get go. Though the backing vocals aren't the regular ones. It makes sense that they used different singers, that's really the best reason. The chorus is pretty decent, but that "magic" isn't quite there yet. This is This first song may not be amazing, but the second half (In Hollywood) is far catchier than SF, but it's decent and pretty good none the less. The transition makes you kind of get pumped from it, I mean not like super pumped, but it's pretty nice. Love that bass, and the horn solo is nice. There is definitely a build for this second half. It might not go insane or nuts, but it is a build none the less (I know I said that twice). Victor also isn't as emotive.... or excited and into this maybe. This second section is so catchy, so infectious I dare you not to want to grove along. I mean the whole section feels very show bizy, then the chorus.... tasty. This is pretty fun, the instrumentation is so musical it's like a fucking musical. I'm waiting to hear a louder backing vocal and then see this number in a play. Really I'm fucking serious. If this was redone in the style of their later records.... 10 outta 10. For now more of a 6 or 7.
2. Fire Island: Make me want to lift bro. Eh, at this point this sounds like it blends in with the first tune, and it isn't anything that special. I mean there is nothing that makes me want to dance. Nice woodwinds though. Although, I did learn to not go in "the bushes".
3. Village People: Not many bands dare to have a self-titled track. Among the few Black Sabbath, Iron Maiden, Motorhead and Village People. This song, while still rather demo sounding, is easily the standout best track on the record. There is something, even though the rest of the album sounds like it isn't fully realized. But this just sounds like it's shit is there and together. This is the most Village People sounding this thing gets. And there is a power here that isn't really there on other records. I mean usually is seems almost jokey, but this sounds kind of not so jokey. Also great backing track, it's got some gorgeous vibes (or xylophone) and harps. It really is worthy of a listen or 10.

Overall I have to give this album a 5/10. I think the biggest problem with this record is the fact that it seems more like an Ep and also that it's more of a demo. This isn't anything mind blowing, but I still like that title track. It's worth a curious listen or so.

More, More, More - The Andrea True Connection

This is the debut album by, then porn star, Andrea True. The story goes she was in Jamaica for a commercial, got some money, the money couldn't leave (for whatever reason) the country so she invested in a record. She then called Gregg Diamond to produce, arranged and write some song (which ended up being all of them). The thing is, that I can't get how this was released on Buddah Records. A label that dropped Captain Beefheart because he wasn't poppy enough, which makes sense, but still. After all the label [and it's subsidies] are responsible for helping artists release such singles  as  Lean On Me , Super Fly (Curtorm), but it also spawned the devil's bubblegum pop. With singles such as Yummy, Yummy, Yummy and many other pop hits. Now, as everyone knows, the Mr. Bungle review is waiting for me to watch Raw Footage, so why not watch some of Andrea's films before posting this. Plus she's pretty attractive, so why not do a little extra "research" before I complete the review. Oh and one last comment, Gregg had to have known she was a Pornstar.... look at these titles. I mean they aren't overtly, some are more of a stretch, but none the less. I mean I could see someone making an innuendo with any one of theses titles, with the exception of the Heart to Heart part of Fill Me Up (the worst offender). But anyway, who cares really. Let's get this review on.

1. Party Line: Blowfly, you sick perverse bastard, you have destroyed my innocence. I will now forever misread that as Panty Line because of you..... I'm kidding, but I do always read that in my head as Panty Line for whatever reason. This song is very slick sounding, and just sounds like a bunch of fun. I kind of feel like this is classic disco sound, It slightly bothers me this isn't in a movie with disco tunes. I mean for all the bullshit there are this isn't half bad. And even thought it isn't a "thought provoking character study" who the fuck cares. It's fun, and I'd boogie with you Andrea.
2. Keep it Longer: For you I will Andrea ;) This opens with some fun strings and it's just a fun old time. This kind of makes me what to just kick back, dance, and not give a crap about the world. I mean it's disco, what can I really say. I like that instrumental section and am diging the bass playing that is happening.
3. More, More, More: This song is a song you will know. I think it was recently in a Swifer mop commercial. This isn't surprising it's a hit, you can't get the chorus out of my head. I do like this song, the chorus is probably the weakest part for me though. This is so smooth I really don't know what to say. It just goes down like it's lubricated and just is pleasant to my ears. There are times where I feel like she's singing in that AFL or whatever where people like to hear the soft voice to help them fall asleep, but it's really a sexual thing. Makes sense, considering Andrea's career.
4. Fill Me Up (Heart to Heart): This intro kind of reminds me of the song, For The Love of Money (just a bit). This is also probably a stick out as my favorite track, besides the hit. I really like everything that's happening here, from the vocals to the guitar riff (back and forth) and the bass and the drums. The strings and the keys too are great. The only complaint is it's over 10 minutes long. Maybe a shorter version would have sufficed. Like if this was cut in half it'd accomplish the same thing as it would at 10 minutes. In fact the 7 minutes extended mix of Can't Stop The Music is more warranted than this 10 minute version.
5. Call Me: This closes the album, and all things aside this still isn't that bad. I mean maybe higher mixed vocals, but still this feels like an ending. There is just an completion feeling that come when listening to this long instrumental intro. While this is long too, it's not a bad as the last track. I also think the strings are more interesting, but who cares. This is fun, and this as a whole went down pretty easy.

Overall I have to give this record a 6/10. I mean it's clean and poppy enough to be on Buddah, it's just odd they associated themselves with a pornstar. As a whole I don't think any tracks here are bad, some are better, but nothing is overtly bad. While in reality I could have just done a quick, not track by track review of this, I still think you should listen to this. It's so slick, and shiny I feel like this IS disco. Or at least a sonic equivalent of what I looks like. I don't know if I'm doing the White Witch album, and if I can get my ears on a copy of War Machine I may do that.... but who knows. What's Your Name, What's Your Number is a solid track. Also I watched Lialeh, it was pretty solid for a porno. 

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. 

Days Are Gone - Haim

This is the debut album by sisters Haim. I've been waiting for this thing since the beginning of the summer. The one thing that sucks is in Cali it's always summer, in Chicago we have winter. This is perfect summer music. But whatever, I think after three years it's time to review this thing right. Well... Not three years, this September it'll be three years.

1. Falling: I like this tune, it still seems pretty awesome. I mean I think the whole feeling of it is pretty nice and I love that bass. The vocals are really nice and the echo effect is pretty sick. I mean, there is an electronic element I think is working extremely well here. Also nice guitar solo, great tone too. I also love that "steel drum" sound towards the ending of the song. Nice little touch 
2. Forever: I already reviewed this tune on its EP. I still dig it and it's pretty fun, to be honest. 
3. The Wire: The opening of this reminds me so much of Eagles, until the vocals come in. I mean it still sort of reminds me of it, but it is much easier to take. This is a fun little ditty, that isn't really serious. I mean it could be, but I think it's best when taken as not a serious thing. I like the tones here and the synthesized bass on this things awesome. Then the strings at the ending are another nice touch. 
4. If I Could Change Your Mind: This song is very 80's. Is that bad, no. I actually think it's kind of fun. It has that same feeling as Forever. I mean it's a different track, but there are some similarities. Also I love that whatever synth that sounds like chimes. Damn is that awesome. The handclap break down is another nice touch. 
5. Honey & I: I really like this tune. It's pretty awesome and it's catchy. I like the backing vocals, and there is just something here that I didn't originally pick up on when the singles came out but with the record.... There was a sort of magic. I mean not Star Wars magic, but there is something that just clicks on this track. The overall feeling of this is pretty great and it feel like a 90's tune updated.
6. Don't Save Me: This is a fun song, but it isn't as fun. The vocals remind me a bit of Stacy from Eisley at points in the vocals. I mean this song is very much in the style of the album, but at this point there isn't anything blowing me away. Like the hits happened, this is a bit weaker. 
7. Days Are Gone: I wanna say my girl Alana, she's my favorite, is singing this. I'll check, but this has a weird vibe that is also sort of accessible. Really the only thing I can think of that has a sort of odd but easy to listen to feeling is Fashion. Though that's weirder, but still. Nice tune. 
8. My Song 5: I like this song a lot, it's weird and I guess a garage band sort of demo. But I do really think this is a nice little addition to the album. The kind of dubstep feeling is kind of nice here. I think it doesn't overwhelm and work nice. But really I do like how this kind of breaks up some of the similar atmospheres songs. Nice guitar work here too. The remix with A$AP Ferg is pretty solid also. Plus the single has Alana'/s ass as the single pic......u You really can't loose with this one. 
9. Go Slow: Another track on the Forever Ep, and well... I like it more than I used to to be honest. 
10. Let Me Go: This opens with singing and an atmosphere. I kind of feel like the singing could be like an outtake from maybe The Wire. Or repurposed lyrics. This is pretty solid, with an intense verses section. I do like the percussion and and I'd love to see what was used to make this sound. The solo also works here, I like it. Solid tune and a nice surprise. I wasn't expecting this. The guitar also, towards the end, reminds me of Bond. That riff. Also the keyboard thing at the end, nice touch. 
11. Running If You Call My Name: I don't care for this introduction much. I mean it works, but I'm not feeling it. And I know the live version of this is superior to the album version. This sounds too, produced? I mean it's pretty but, I want something to get me pumped or to give me closure. I'm not getting that here all that much. 

Overall I have to give this album a 7/10. This is a pretty fun record, what can I say. I think a lot of its strength come from the little touches here and there. That on top of th solid song writing, you have a solid album. I'm glad I decided to do this review or this month. :) It's always nice to hear something good again for the first time in a long time. Hopefully LP 2 throws left hooks and more sick percussion. 

Motörhead

Recently, Lemmy passed away. Now I can't say I'm really a fan of this band, but I can say the first string of albums, at least up to Iron Fist (I haven't heard most of Another Perfect Day yet) are pretty solid all the way though. Of those albums, I remember this being my favorite. And while it's been a long time since I heard this album, I still remember enough to still fell the same. I may not be directly affected by this news, he has been in and out of the hospital numerous times these past few years, but you know it's better. No more worrying, no more him being sick. As much as it might seem weird to take it, for some people, I think death isn't the end. He's going to live on in the hearts of the people who love his music. That is where, more or less, he affects me. Many artists I love have been influenced by Lemmy so I really can't not do something to show I appreciate that he has, somewhat, affected my tastes and likes in music. Okay, this isn't the first album recorded, the first one recorded was On Parole. That was released in 1979, but features tracks recorded in 1975-1976. These were all recorded in 1977. The tracks ther were rerecorded were tracks 1-4 and 7. Also by reviewing this I'm going to reviewing everything released between 1977 and 1982. And probably Mean Machine (one of my favorite tracks by them).

1. Motörhead: This is a track, written by Lemmy, that was first featured as a B-Side  to King of Speed by Hawkwind in March 1975. Then obvioulsy, as stated earlier the whole On Parole, and now this 1977 version. I think this is probably the best recording of the track. When I hear this I think if punk. Like punk that is considered punk. Not hardcore or any other kind. Just punk. This is pretty raw, and sounds like it was done in one take. This song straight up rocks, killer playing, killer solo. This hasn't gotten old and I don't see it getting old any time soon.
2. Vibrator: Here's a factoid you may not know. This song was written Larry Willis, and another guy who isn't as important really, who was in early UFO. All that side, this is a rocker, and it really feels like punk. Like I could see Bonnie Rotten (haha) singing over this and it being on a Sex Pistol album. Or if Iggy sang over it it'd fit snugly on the Stooges debut or maybe Raw Power.
3. Lost Johnny: This is another straight forward track. There isn't much to say about this track that I haven't said before. Though this isn't as good as the last two track.
4. Iron Horse / Born to Lose: I really think the drums in this track are pretty cool, maybe it's my copy, but the bass is mixed way too low. I hear it doing some things, where I think it's interesting, but that could also be my imagination. I can't really make it out. The solo here is nice, but it's still nothing to write home about.
5. White Line Fever: I don't know if I ever heard this track but it always made me laugh. I don't know why, the title, but it just kind of did. Now that I hear it... I can say that it is very much in line with the other tracks.
6. Keep Us on the Road: There is a different feeling I'm getting from this track. While I can't pin it down, I can say this. It's nice for a bit to have a kind of different feeling. This is probably my favorite track so far that isn't the title track.
7. The Watcher: I really like this bass line, it's opening is pretty cool. This is very different from the rest of the tracks and stands out. This isn't my favorite version of the song, I prefer On Parole's version, but this is still a solid track. I do really like the ending, with the solos but there is something that I've heard with this same general melody at that part. I can't quite pin it down. Also I dig the phasing, reminds me of Hawkwind.
8. Train Kept A-Rollin': While the best version, seriously, of this is the 1974 epic by Aerosmith I still like this song. The Yardbirds have a great version, Tiny Bradshaw's original 1951 version is pretty great itself. I don't think I've heard a version of this I don't like. This is a pretty solid cover of the classic, and it's pretty similar to Aerosmith's version. I mean, besides maybe the change in the solo and vocals there isn't much new brought to the table with this verison. It closes, but it's not that much of a satisfying closer.

Overall I have to give this debut album by NWOBHM legends Motörhead a 6/10. This album has a more traditional punk feeling to it than later albums. Though punk is always present, to some extent, later records are more crushing (rock/metal). You could also argue on tracks like the title track and The Watcher there is still a Space Rock influence. Maybe I'm nuts, but I can imagine if it were a tad different it'd be one. This album is still a solid listen front to back, it's just that there isn't much variety. I don't know.... It's still fun to listen to . I feel like I should pick an album I know would get a better score, but I don't know. Maybe next time. Also, I can't wait to pick up Blackstar.