5 Souls - Judas Priest

So I decided to break this review into two separate reviews, I originally planned to just do the deluxe version but I ended up wanting to do them separate since there is an EP of the bonus tracks. I don't really have more to add outside of the RoS album should be out soon and hopefully this once a week thing will work out I have already done an months work in advance. As in this is typed like a month before this is being posted.

1. Snakebite: This opens with a classic 80's feeling to it. One of the slower songs along the lines of You've Got Another Thing Comin', which this isn't actually that different from in set up. That isn't a bad thing, but I just don't completely jive with this. 
2. Tears of Blood: "Like tears of your blood, so now that your gone, embrace all that come, and die with a SMiLE". This song also opens like an 80's heavy metal cut, but the intro honestly made me laugh. There was a sort of Def Lepard feeling to it, like I could totally hear this being the rerecorded intro to Bringing on the Heartbreak. Then once the song starts it's faster and there is more agression than in the last track, but it feels like an older wearier Electric Eye. Like what Electric Eye would sound like if it was a person in it's 50's maybe. It's a solid tune if you get past that, but I just think it's okay. There is a solid solo, but honestly I can't retain a single note from it. Like Electric Eye, Living After Midnight, Hell Bent for Leather, You've Got Another Thing Comin', Painkiller, fuck I'd even include the section that replaces a solo in Breaking the Law there is no denying that you remember these guitar solos.They not only stick with you because they rock, there are some theory things behind it also, but point is it's very good and memorable. This sounds like a knock off of one or all of those.
3. Creatures: This track starts and I feel a bit unsure how to feel. Like I mean I've heard this before but I don't know what to compare it to. There is quite a bit of crunch and the song is a bit off. Then the chorus comes in and I'm like Metal Gods? This is okay, but I'm pretty sure I wont remember a part of it by the end of the review. 
4. Bring It On: This song isn't bad, but the lyrics are very cringe. The vocals also make it feel so cheesy that I can take Turbo Lover more serious. And isn't he fucking a motorcycle in that song..... Note I am aware he isn't. This is a better solo and the best thus far. This also is the most memorable that I have heard thus far, though it doesn't hold it's salt to the past solos from the bands heights. This also feels so cheesy, but I digress.
5. Never Forget: My favorite songs is the "lame" song. Ok I'm joking, but it's the sappy ballad. Now maybe it's because I'm a sucker for a pretty ballad, but this is the best (in my eyes) song I've heard before listening to the whole entire front to back. Literally, some of my favorite songs in history are the ballads by that German group, The Hunters. Kudos if you get the joke. This really reminds me of Wind of Change for some reason, either that or The Best is Yet to Come. Maybe more the Wind of Change that was on that 2011 Comeblack album. But I could literally go on for hours about the tones and what reminds me of what, but I know I wouldn't be interested in some snobby person's review that lasts forever. But let's go back about 93 words, or so. It sucks when people, a lah The Next Day, put some of my favorite tracks as the bonus tracks (or b-sides). Like honestly, screw Just Push Play. But really, this should have been on the album, almost any song could be cut to replace this. I get maybe it's out of place, but it's far better than at least 10 of the cuts from the actual album. {7/10}

Overall I have to give this track a 5/10. As you can see if you're fan you'll love this. But if you're not hardcore then I would avoid it, because it's nothing new really. This and Redeemer of Souls feel like they were just cut to fulfill a contract, or to go shit we need to make a new album.

Christmas with Tammy

What better a way than to close out the year with my main girl Tammy. While Ill never be one of her husbands, sad I know, I can still admire her and her music. So I wanted to say that while I am not expecting much out of this album, I still think it is a fitting ending you know.

1. Silent Night, Holy Night: This is an ok version of the song, it isn't anything new but I like it. It give you that warm feeling that you are supposed to get from the song. It makes me want to look at a fire and makes me think of christmas. Plus I like that organ. The harmonies and the echo sounds quite good.
2. O Little Town of Bethlehem: This feels like a Tammy version of the song. It's got the twangs that I've grown to become accustomed to on albums like Stand By Your Man. The strings here are phenomenal, and this is possibly the best version of the song I have yet to review. I think her voice works, I like it, the organ comes band and kind of peaks it's head out at different points. The swells are fucking great. Really, there is a punch to it, and the transitions are also very well. Honestly I'm surprised it's this good.
3. It Came Upon the Midnight Clear: A song I love done in a manner that I is similar to that last track but not as effective. I much prefer the last track done in the country manner than this one, or the Nashville Sound rather. That's not saying it's bad I'm just pointing out it isn't anything terrifically mind blowing or 
4. Joy to the World: This is a christmas classic, and it's done in a manner that I think is fitting of the song. This works for what it is, and I think the Jordanaires are for more effective here than on Elvis' album.
5. Away in a Manger: This is a first for the blog. I have yet to review this track, which is kind of weird. I have heard this song so many times at church its weird I am not hearing it more on record. The album is more or less what you'd expect at this point from the sound and style. It's solid enough, maybe like a 6.
6. Gentle Shepherd: I don't recall a song with this title. But it closes side one of the vinyl pressing of the original record. It's not that bad of a song, and it's pretty inoffensive. It's not overtly bad or anything annoying. But I'm pretty sure I'll forget it once the albums over. It's again not that bad.
7. Blue Christmas: I'll have a pleasant experience with this track. Like it's honestly inoffensive.
8. (Merry Christmas) We Must Be Having One: I don't think I have heard this song before. And honestly I don't mind this song, I got to say it's a nice change of pace. I mean it's a new song that works, for me at least. And the harmonies work also quite well.
9. White Christmas: This is another Nashville Sound rendition of a classic christmas tune. I like the strings on this and the arrangement is pretty solid. It's not mind blowing, as I've said before, but I like it. I could see myself coming back to this version.
10. One Happy Christmas: Eh, I don't know if I'm digging this tune. It's okay I guess, but I don't want to get 100 percent on board or give it a complete pass.
11. Lonely Christmas Call: This isn't a bad song, but it's kind of a sad song. Sadly at this point I've run out of things to say other than I like the vocals and the way she says the words. I like the backing instrumentation, but it isn't the best you know.
12. Let's Put Christ Back Into Christmas: I wonder what would happens if someone made this song today. This song is kind of stupid, if I'm being honest I don't really care for it. I mean this isn't really a last track, outside of the title. The rest of the song is a pretty bland arrangement considering what is on the rest of the album. It's not that it sounds bad, but it's just lets go out luke warm.

Overall I have to give this album a 6/10. This is a Tammy album, what did I expect. Something I wanna say is we lost a lot of talented musicians who, while I may not be fans of every single one of them personally, they played on something that some how helped shape the music that got me to where I am today. So I wanted to take this paragraph to just name them as a way of respect I guess and to condense this I decided to mention only those whom I haven't already mentioned earlier in past reviews. Paul Bley, Pierre Boulez, Jimmy Bain, Dale Griffin, Alan Haven, Al Caiola, Ray Colcord, Maurice White, Keith Emerson, Phife Dawg, Merle Haggard, Jimmie Van Zant, Lonnie Mack, Billy Paul, Isao Tomita, Candye Kane, Gayle McCormick, Nick Menza, Marshall Jones, Henry McCullough, Dimitri Tiomkin, Bernie Worrell, Don Friedman, Scotty Moore, Alan Vega, Bobby Hutcherson, Bob Cranshaw, TJ Tindall, Toots Thielemans, Rudy Van Gelder, Rod Temperton, Leon Russell, Mose Allison, Joe Esposito, Allen Zavod, Pauline Oliveros, Greg Lake, George Michael, Alphonso Mouzon, John Thomas, Carrie Fisher, 

Make It Big - Wham!

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

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

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

D-I-V-O-R-C-E - Tammy Wynette

I can't say I like country, it's more tracks. But I do have a bit of a crush on Tammy. I mean for one she's beautiful, and shes a pretty great singer. I contemplated reviewing her best song, Stand By Your Man, but as a while that album isn't that amazing. There were still some stand outs so I may, but who knows. I decided to review this, now, because why the hell not. I'm on a roll baby, and lets see how many I get done this month.

1. Gentle on my Mind: This is a Glen Campbell cover, which was the 1967 Title Track off that album. This has some nice finger pickin' in the beginning, and I like Tammy's vocals. This is a nice way to start off the album, and makes me want to.... It makes me feel like this might not be half bad. The drums and percussion have this sort of fun feeling to it. I mean it isn't a fun song, but it is kind of. Like I imagine if I played this it'd be sort of fun.
2. Honey: This song sort of reminds me of a song I can't quite think of the title. MacArthur's Park, the backing track if you took out the twang and country feeling. This is a cover of the Bobby Goldsboro tune from 1968. This song sort of gets larger, but it sounds good to me. It doesn't bother me. Two for two, damn Tammy you're impressing me ;)
3. Legend of Bonnie and Cylde: This is probably the wrong word, but this makes me think of skiffle. Damn, we got some nice guitar work, fills and whoever this session musician kudos bro. This is a solid ass song, all around really. Oh also this is a cover of the Title Track off another 1968 record, this time by Merle Haggard and The Strangers.
4. All Night Long: This is a slower tune, but this isn't bad. On Stand By Your Man I remember there being a few of these. This is nice that there isn't one after another after another. I might be wrong, but I think this is the first original. Even though it was written by Don Chapel.
5. Sweet Dreams: This is a cover of a tune dating back to 1955. I think it said the originally by the songs writer Don Gibson. Numerous artists would cover this Emmylou Harris, Patsy Cline, Roy Buchannon and even a collaboration between Chet Atkins and Mark Knopfler are the ones I know. This isn't that bad of a tune, more or less the same thing as the last track. But it goes by fast, and it doesn't bore me.
6. Yesterday: This is a cover of the famous Help! tune by The Beatles. This is a pretty solid cover, but I think it's kind of a hard song to mess up. I mean it kind of falls in with the other covers I've heard that aren't as good as the original. But at least this has a bit of a country twang and the backing harmonies are nice. Plus, glad to hear Tammy's pipes on this tune.
7. D-I-V-O-R-C-E: Alright, this is a phenomenal track. I've never had a divorce, but I kinda of imagine this would give me comfort if I was going thought one. A great written pop song is catchy, it gets stuck in your head but it doesn't fade. It can also stick to a theme or a style and does in creatively. Now like I said I have never been divorced, I'm not even in a relationship, but this song paints a very vivid image of what it'd be like to have a young child. Be getting divorced and trying to not upset him, by way of spelling out words for him to not understand. This is a very powerful, simple musically, song. And it's odd how much it "hits home" with me, without ever having an experience for this to "hit". I think that's part of being a good writer, you make someone else feel you, feel your situation, make it seem real. It's not fairy tale, not something where everything will be alright, its the end of something.... It's life. The only thing anyone can assure you in life is death, and in which its an ending. And another reason this is great, it isn't a track that asks you to feel bad for it. It doesn't force you, you just naturally feel. It could be me, but as far as country goes this is one of the best songs ever written. 
8. Come On Home: This is okay I guess, I mean it's nothing special. I've heard it before on this record, but he singing is the only thing at this point saving this record. I really hope there aren't any tunes that are in this style after this. Give me something else to bite on.
9. Where There's A Fire In Your Heart: See this is why I love you, and upbeat dancable tune that is pretty damn fun. I'm also digging that slide guitar. The only real complaint is the fade out. It kind of happens quick.
10. Kiss Away: Another sort of slow ballad, well at least I got a change of pace. So I mean.... And this isn't that terrible. Honestly, I'm kind of suprised by how not bored I am. These vocals are killing me, in one of the best way possible.
11. Lonely Street: I wish I knew this track prior to the Magic Whip review, I could have made a "this is not a cover of the 1968 Tammy Wynette track." Although it was Lonesome...... Whatever here we get a track this is pretty nice to close this, and even though it is very similar sonically it isn't to repetitive. It's a nice little touch.

Overall I have to give this album a 7/10. Okay I'm either loosing my mind, but I liked a country, Nashville sound, record. Yes it was Tammy but still. That music usually bores me. Maybe I'm going crazy, maybe after hearing two days at work of new country and hearing how it is more garbage bull shit than a lot of hip hop music..... I don't know. I do know this is pretty damn solid, and I think you should check it out. Maybe my next review should be Aids-a-delic:D...... By the way, I will do one of those albums, just not sure which I'll do.

Bat Out of Hell - Meat Loaf

A review that's pretty much been done since November, I finally decided to finish this for the new year (12/28/15). This is the first solo album by famous American showman Meat Loaf. Though this is his first solo record, it isn't his first appearance on record. He first appeared as half of a duo, with Cheryl "Stoney" Murphy, in 1971 under the name Stoney & Meat Loaf. After that, in 1974, he was in the LA production of Rocky Horror Show and that Cast produced my favorite version of the show (which I reviewed here). Then in 1975 he was the only one from the 1974 cast to be in the movie, or Picture Show rather. Well Curry was in the original cast, so I didn't include him. Now I do know more information about Meat, and some history about the songs, but that's not the focus now. The focus is, as always, on the music. So.... lets talk that instead. This 1977 classic rock classic features songs, all of them, written by Steinman and produced by Mr. Rundgren. On top of that, this album also happens to have some great musical talent playing here. The list of players including Todd Rundgren, Roy Bittan, Max Weinberg and Edgar Winter. I want to say something fast before starting the review. Jim Steinman wrote these songs. Every song on the album was written by him, and Meat Loaf doesn't have any writing credits. Just remember that. Okay cool

1. Bat Out of Hell: This opens the album, and its pretty solid. I have listened to this half a dozen or so times. I've concluded it is, in simplest terms, 9 minutes other peoples music hodgepodged into one "epic". This mixing and matching can work but when you get to the down and dirty the mixing and matching is of popular 70's sounds. The intro starts with piano arpeggios. Which, being played by Roy, reminds me of Bruce. Then the song goes into a progressive rock feeling before reminding me of a mix of You Ain't Seen Nothin' Yet, Jimi Hendrix's guitar playing or an arena rock guitarists and yeah. The the song goes into a little piece that I can sing another song over, I can't recall that though off the top of my head. Followed by a very Bruce part reminiscent of Thunder Road, it could almost be a variation. I'm serious, sing the words to the rhythm, it works. This then goes to the chorus which is not the epic chorus I wanted. Look at that damn cover, you need to feel the rush, you need to be able to play this while you drive off a cliff at 150 mph to your impending death and feel no regrets other than I feel the music. With the build up, the pay off for the whole "I couldn't take it any longer" part of Paradise is the level of epic this song needs, but it doesn't reach. Then it further drains its epic-ocity by using Brian May-esque guitar fills. I mean even towards the end it reminds me of the style parody, or homage, that the Flight of the Conchords did with Love is Your Weapon of choice. While I enjoy the song, enough to have it on my iPod, I think there are far better songs that contain just about every part of what makes up this song. Also the vocals sound like they were stole from In The Jungle at the fade. Like the ending of the song (the harmonies). Also i checked and that sings old as shit. I mean yes, I do enjoy the track and I think it's a great opener to drive or speed too. But without the thrill of the speed and the rush of doing something wrong, it looses some of it's magic. But most of the album is like that, you need that danger to add too it. I feel like that was intentional though. And yes, those moments it's great, it's fucking great.
2. You Took the Words Right Out of My Mouth (One Hot Summer Night): This is another epic sort of title, I can imagine a story, hell a movie based off the title. The track starts off with talking back and forth. Now it may seem a bit drawn out and boring in the intro, but trust me. It isn't as indulgent, though if this were an art movie that'd totally be the opening credits over a black screen, as Steinman's 1981 follow up Bad For Good track Love and Death and an American Guitar. That's the little intro but the for the length of an entire track, which clocks in at 2:38. This track, were presented with here, only lasts 45 seconds and features Steinman and a woman named Marica McClain. It's kinda dumb, but the guy wanted I guess. I jusr feel its so out of place on this record. Its almost as if they threw in some artsy bull crap to make it more sophisticated. I mean, if what they were saying made some damn sense I might be mode compassionate. This song reminds me, in the beginning of maybe The River-era Bruce and the verses remind me of Christmas, and maybe Born in the U.S.A. a bit. Like maybe if it is an outtake from that period that was scrapped. Either that or Darkness-era. But then again this has too much instrumentation going on... Well maybe not. I don't know.... I have to think about it, but I do know it's on one of the lesser albums. This song screams Christmas though. I'm completely serious, it even has a sleigh-bell played very prominently though the song. There is also, with the backing vocals, a very clear Ronettes/Wall of Sound inspiration. I mean, this isn't bad, it's just not that great. I don't think I'd care if that title wasn't so memorable. 
3. Heaven Can Wait: This would be cool, but I don't really agree. Also I've seen tons of titles or things saying "Heaven Can wait" and that usually mean "its my cop out to commit this sin". That has nothing to do with my enjoyment of the song, its just a pet peeve of mine. I do enjoy the parts where you can tell Roy is playing. While this isn't overtly Christmas, the feeling I get is a very "standard" type song. Like this song has a feeling that if it was written 50 years earlier or 40 years it'd be a vocal jazz standard. I feel like if I dug into the notes of this song, it's be pretty interesting, but I don't do that because I'm not a fucking theory genius and don't claim to be. Maybe one day I'll revisit this and add more, but this song is a nice song to follow the last song.
4. All Revved Up With No Where to Go: This is a pretty sick title, if your into bikers and biking and all that jazz. I'm not in any way a Harley Rider, though Ghost Rider is pretty bad ass (comic book/movie/song). There is really something holding this back from me really being able to even focus on this song. The fact being, it screams Bruce Springsteen. I could almost swear Clarence is playing that saxophone. I mean seriously this could be a cover of Badlands. After all, this song is pretty similar to it. There is only one section of the pre-chorus where I could maybe say Bruce wouldn't do that there, but this track is very indebted to Darkness On the Edge of Town/The River era Bruce. Then there is a middle section, I wanna call the middle eight, where it sounds like a Rocky Horror track. That Rocky Horror section is easily the better part. This goes back to the main part before closing in a similar to the way Rose Tint My World ends.
5. Two Out of Three Ain't Bad: This track escaped me for the longest time. I eventually looked it up, read it, and well it still didn't click. It wasn't until I came back right be for the review and just listened for the hell of it that it clicked. This is a sad song, the woman is the one rejecting him. In Paradise he kinda lies, I am figuring he just isn't sure and might think he's in love but isn't really, but he's kinda the bad guy in that situation. I think this is the only track where he's the victim, now I could be wrong.... But I'd like to this this is the only one like that. But this song is more of a Heaven Can Wait instead of a Bat Out of Hell. Actually the best comparsion might be either All Revved Up or You Took the Words Right Out. A decent track.
6. Paradise By The Dashboard Lights: One of the best songs ever, and one of the funniest. Not funny in the way Weird Al is, funny in the way that God Only Knows is. That's not a funny song, but it's funny that it is a perfect encapsulation (?) of young people (or a young person rather) in love, and how it's kind of unsure and foolish (so to say). I look at this song as when the dreamer turns into a horny college kid (they're 17 in the song but still, maybe late high school). This song is about two people about to have sex, and the lead up to it. The girl doesn't want to until she knows he loves her, and that he will love her "forever". If he believes that he does okay, but I'd say he probably is more on the horny side considering he said, instead of an answer ("Let me sleep on it" and he'll "tell her in the morning"). But regardless he eventually say he does, but after the sex he "prays" for the "end of time". The best part is he wants the end of time so he can "end his time with you". Then there is other stuff that kind of adds to it, and there's more stuff to pick a part at the end of the song, but that's not what I want to focus on in that paragraph. Now the music just gives this little story an amazing epicness that makes it even better. Rosalita is funny in that it has to be true, I can't imagine that Bruce wrote that out of the blue and wasn't inspired by any real life events. This song is a very real life event, loosing your virginity.... kinda, most have lost it young in High School or can somewhat relate to that love vs lust of teenage years. Rosalita also plays like an epic play in it's own right, because of the changes, thought this changes more. This musical mini opera is on par, probably better, than A Quick One's title track. And the thing is it's changes styles from the straight forward piano heavy rock & roll that with different production wouldn't sound out of place in the 50's, to the soulful breaks in the songs beginning. Hell it even gets more 50's sounding after that, even adding doo-wop inspired vox. This is followed by a quick little interlude that has some funk guitar, before going into a baseball narration (done by Phil Rizzuto), over a straight up funk rhythm section, telling us just how far he's getting. Before being stopped by something that reminds me of Rocky Horror, where the girl (sung by Ellen Folley) needs reassurance, as mentioned earlier. Meat Loaf's reply, "Let me Sleep On it", has a more doo-wop (sorta). If it was at a slower pace i could see it being a bluesy or doo-wopy section. The ending goes back to that rock and roll style. But to be completely honest I love this track. One last thing, this is one of those rare tracks my parents used to listen to when I was younger, and usually those have somewhat nostalgic liking for me, this track transcends that and I like it on its own merits. And I still haven't gotten sick of it after 15 or so years of listening to it, another is Just Like Heaven. Also listen to this driving and feel the rush of that build up, and its pay off, before " I couldn't take it any long" damn is that powerful. It makes me want to get a Hog to ride just do that part. I looked at this before I posted it and was like, damn. The reason is because the lenght of this review (everything) could at least be doubled if I kept adding to this to get it perfect. And then I  could add even more to it. This song is just so damn good, please please please please listen to it with open mind. Please! {11/10}.
7. For Crying Out Loud: Closing the album is this and its title is rather humors. But that isn't really a huge part of this, or play are part in what I have to say. I think this is a solid track, the introduction has this very pretty melodic vocal, piano part that really is just heavenly (not heavenly but like Ear Candy to me). That whole entire first section is pretty solid. Then the song ends and strings come in and it becomes a bit of a Don't Cry For Me Argentina. But other instruments coming in take me out of that frame of mind a bit. This is a very epic guns blazing, hell raising ending. If this album opens with a motorcylce ride, then the album ends with an epic Thelma and Louise "cliff jump". This song just feels like the ending. After that string section that later adds in rock instruments it goes back to a more soft ending that would totally be the Don't Cry For Me section. Alone the arrangement here is pretty gorgeous. I mean if you get the right singer to sing this it'd bring anyone to tears. While I don't think Loaf is the singer to bring me to tears, I think you'd need someone with a personality to sing it that way. I'd love to hear an orchestral cover of this track. Like if the London Symphony Orchestra or one of those did this, that'd be awesome.

Overall I have to give this album a 7/10. No song do I think Loaf does a bad job, its more what he's given to work with. The biggest flaw is how epic this is supposed to be, yet how not epic I feel listening to it. The songs borrow from other songs so heavily its crazy how people now haven't nit picked it to death. Serioulsy, my biggest problem, and really only problem, is the songwriting. Now positive talk about the album. Paradise is the definitive, in my mind, rock opera. I love Tommy, and Quadrophenia, but that one song is more epic than anything Pete has ever done. Even though there is only one song here I can say is cherished and well never go anywhere, its already proven that to me. I'd give this a listen, and if you like it, look at why rather then just blindly listening. I kinda wanna review Rocky Horror, but if I did I'd review my favorite version (PS not the film soundtrack). It's between the original London Cast and the Roxy Cast. The film version is the worst in my opinion, in part because of one of the "loves of my life".... Damnit Janet!

At Home With Screamin' Jay Hawkins

It may have taken forever, but I finally got a 1950's review done :). Up until today I had one for every decade from the 1940's to 2010's, with the exception of the 1950's. I hoped In The Wee Small Hours would be the first, but that will be up soon enough, and I also want to do one for every year starting in at least 1950 maybe 1945 (album's as we know today weren't really released until about the 50's). I don't get why I always ramble, but anyway. Continuing the Halloween theme of my reviews we continue with this the debut album by Screamin' Jay Hawkins and features the original recording of I Put A Spell On You. The thing is there are albums that are titled I Put A Spell On You but those were reissues of the album. This is the original. I'm super glad they finally added to to Spotify after forever and love that they finally did. Also something I want to note, for those who don't know, he was a boxer.

1. Orange-Coloured Sky: This is a cover of the 1950 Nat King Cole track. And this is a pretty great track. I mean it's exciting, up beat and infectious. I mean I kinda wanna get up and dance to this track. Great presence, get vocals with energy. And damn he on this track alone earns the title Screamin' Jay. I listened to the original and this is if Nat chain smoked and did a bunch of upper, and so did the band. Another quick note, when I first heard this I imagined it playing in the movie Elf. 
2. Hong Kong: Only one of a few tracks that are originals. It is also musically similar to the progression of I Put A Spell On You. Except this features, what I assume, is him attempting to fake Chinese. Well at parts of the song, but it's so not even close. I mean I can barley kinda think of that as being even faux-Chinese. Most of it sounds like gibberish. I kinda think this may take another listen or two, but I isn't nearly as good as IPASOY.
3. Temptation: This is a cover of the 1937 Bing Crosby track from the film Going Hollywood. Love the eastern feeling. And his voice adds to it, and makes it more musical. Like I doubt he hits the notes Bing hit, but I feel like this is how a normal person in his vocal range would sing it. I seriously can't find anything wrong with this track. I also love the bass in this track, it really reminds me of something I could hear John Zorn doing in one of his more conventional Book of Angels composition. Actually this could be one of those. I also love the set up this give, it's kinda of a prelude (eastern part) for what is to come in the next review.
4. I Love Paris: This is a Cole Porter track, my favorite of his being Let's Do It. I dig the classic feeling of the track, but I also like the accordion in the beginning. Or at least the accordion-esque instrument. This has a guitar that I could imagine Django playing, but not in his solos. Like in the vamps parts maybe. It's got a swing to it. Also he does the faux Chinese, which I now know isn't because he does it in the Paris song. Again, surprisingly, another solid track.
5. I Put A Spell On You: One of my favorite songs, and the best version of the song. The only other rendition I fancy is the Nina Simone version. But regardless, how the fuck could you not love this track. It's so creepy, and just.... not that this makes sense, but when I hear this original recordings horn and everything verses, I just think of the word Macabre (thought the correct term may be cabaret). Also a fucking great saxophone solo, thought maybe a tad to short. But I mean it's so laid back, it isn't horrifying. I feel like if this was played straight, and made today you'd be shitting your pants. I can't believe I have so little to say about this, but it's also so well known I doubt everything hasn't been said about it.
6. Swing Low, Sweet Chariot: A traditional song that is pretty great. I really haven't heard a bad verison of this song I can think of. And taking me completely by surprise, he decided (or the arranger or producer) to go the full out Gospel A Capella route. Though there is an pipe organ in the background. I kinda feel like crying when I listen to this. The only bad part is there are some parts where it's completely silent in between Jay's vocals and the choirs. Or at least you have to really listen (headphones) to hear that it's all together, vs parts just cutting out. And by the way I did cry, well just a bit. This also reminded me of a gospel album I listened to not to long ago. From 1967 The Edwin Hawkin Singers track it's Pray For Peace.
7. Yellow Coat: An original song by Hawkins and Irving Nahan. This is straight up Rhythm and Blues. Like this sounds like it could have been in the Blues Brothers. And I imagine The MG's playing the backing music. Or at least the basis of the MG's. The major difference between the two is, I'll return to this track. Where as for the BBs I don't think I'll listen to them play more than the initial time. 
8. Ol' Man River: This is a cover of the Hammerstein & Kern track from 1927's Showboat. This goes down the sole, piano vocal route. Well mostly, there are bursts of other instrumentation, which are as uppity as Orange-Coloured Sky. Also once the song ends, it goes for a jazz reprise. Like a big band vocal jazz rendition that I could imagine Cab Calloway maybe doing. Althought Cab would sing higher.
9. If You Are But a Dream: This is a track that dates back to 1913 and was originally used as a part of the revival of The Honeymoon Express. Anther track that I kinda am not feeling as much as the earlier track. I think the thing that keeps this track from not working for me is the whole 50's rhythm and blues, doo-wop, I-vi-VI-V style progression. Now I may be wrong in the exact progression [used in the song], but I was talking more about the feeling I get.
10. Give Me My Boots and Saddle: This track is from the 1937 film Boots & Saddles and is originally sung by Gene Autry. And the second this song starts I figured it was a Gene Autry track. It's very country, cowboy, western vibe. Though the guitar is borderline surf feeling, esp during the chorus. I also like that guitar solo. And another solid sax solo. The surf aspect makes me like this, more so than if it wasn't here. 
11. Deep Purple: This is a cover of the standard by Peter DeRose. This is a cover of the song where the British hard rock pioneers of the same name, got their band name. Before that they were named Roundabout. I kinda feel like this would be a good closer to the album. It's got a very sleepy feeling, and the same kinda of nite time feeling that I think of When You Wish Upon A Star. It also has a music box (?) or a harp twinkling. I can't say I love it, but it's still pretty solid.
12. You Made Me Love You: This has a very drive in feeling. The kind I think would be better fit as maybe not the closer. It also has the doo-wop piano. So technically be default I can't hate this song. I can not like it, but I can't hate it. While I don't like this, or think it's anything special first time though I have this feeling. The feeling is I'll be listening to this multiple times after this.

Overall I have to give this album a 8/10. Taking me by surprise, this is fucking great. Easily one of the best albums I've heard from the 50's. The album seems to kinda slow down in it's quality after what I am figuring is the first side. But regardless of it's downsides, check this bitch out it worth the listen. I could see this possibly being, at some point a 7 or 7.5 but I also can see it growing on me too. So only time will tell. Something I've learned over the years is if an artist is good, and you love a song on an album, usually there's another (at the very least) good song on that album. And while I have proof that isn't necessarily true, read some of my reviews, I still believe it. This album is a perfect example if that. Another strong point is the LP doesn't really repeat itself, outside of Hong Kong. All the tracks are different enough to get thumbs up, and it certainly is in no way a boring album. 

Hats Off To The Bull - Chevelle

This is the sixth album by Illinois Alternative Metal band Chevelle. I heard of them before, but not until my cousin's boyfriend burned this CD on my computer. This group has been around since 1995, the year I was born. I don't know what more to say. I think that the album art is Ok, but I'm not huge on it.

1. Face To The Floor: This song kind of starts out like something that reminds me of Disturbed. Which now that I think of it, they formed around the same time Disturbed did, and they are both from Chicago. I hope that the album isn't like this. It kind of also, in a way of Tool. I don't know if that makes any sense to anyone but me, but that's what I kind of hear.
2. Same Old Trip: The beginning of the song the guy's voice kind of reminds me of Max Bemis of Say Anything. What I've heard by them I'm not huge on. But I've also only heard a song or three by Say Anything. I think that this is like Disturbed. I don't honestly think I could tell the difference between this or the last song.
3. Ruse: There is a riff that kind of sounds like Egyptian. I kind of, if you stretched it, like Come Out And Play by The Offspring. I know that's a stretch, but that's kind of... yeah. But only for like a second or two. Then it kind of turns into Radio Metal.
4. The Meddler: This song flows from the last. The guys vocals sounded like Keith Moon's on Tommy's Holiday Camp off  The Who's 1969 classic Tommy. But that's only for like literally the first two seconds. Then it turns to Disturbed.
5. Piñata: The riff in this song is kind of cool. Unfortunately, this album kind of drained me too much to like this song. The guys vocals kind of reminds me a little of Serj in this song. This song kind of reminds me a little of Figure it Out off his new album Harakiri. There is a like 20 second thing at the end. I don't think it works for them. 
6. Envy: This song kind of has a cowboy vibe to it. Nothing Special, at least for me.
7. Hats Off To The Bull: This hasn't gotten any standing ovations from me.
8. Arise: At this point I'm just kind of waiting for the album to end. It's not as bad as The Lost Children thought. This song isn't half bad though. {6/10}
9. Revenge: This song isn't anything amazing. It kind of reminds me a little of 2001's The Sickness.
10. Prima Donna: This is the second to last song. I could see this being a Say Anything-esque song. It's not terrible.
11. Clones: I almost wish they switched up these two songs. This is a heavy song. I don't think much of it. I wish the album ended with Prima Donna.

Overall I have to give this a 4/10. I didn't really think of much going into this album. I could see that band playing at Uproar. I went the first 2 years, 2010 & 2011, because of A7X and then them ETF & Black Tide. This band fits on a boat with Disturbed, Three Days Grace, Papa Roach and all the other Radio Metal.... That's an insult. I do like that they are brothers thought. That's kind of cool.