Done with Mirrors - Aerosmith

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

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

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

16 and Savaged - Silverhead

This is the second, and final studio album, by glam rock group Silverhead. It was released on Purple Records and features Michael Des Barres, one time husband of the beautiful Miss Pamela and also know as Murdock on MacGyver. By the way, I know both of those things and watch the show on occasion. It also features Nigel Harrison  who was a member of Blondie and co-wrote some of their biggest hits, including their biggest hit. The last person, while not a member, played on the record Ian MacDonald. The saxophone player, you know he played with Giles Giles and Fripp and Foreigner and the lesser known Centipede. Oh, also Rabbit Budrick, who tours with The Who was a player on the record. Okay, so I'm gonna be honest, I don't expect great things from this record, but who knows maybe I'll be surprised.

1. Hello New York: Off the bat, the drum beat reminds me of something else. Is that bad, not necessarily. The song though, Ramblin' Gamblin Man, is more interesting than what sounds this. This feels very much like a glam rock song. This really could pass as a Mott the Hoople song, but not as interesting. Also Mikey, your vocals are kinda rough but not in the good Ian Hunter way. That saxophone doesn't help the comparison to Mott :D
2. More Than Your Mouth Can Hold: While the track has some nice slide work, I can't help be think Mott, again. I know it's probably gonna be a terrible review if this keeps up but yeah.Oh, yeah this is a rocker.
3. Only You: Hey, at least this isn't a rocker and has some organ. To be honest, I feel like if this  was in a slightly different setting, with some slide guitar or steel string rather, it'd make a goo Nashville Sound song. Like maybe a Dolly Parton or Tammy Wynette singing this, this could actually be a solid track. But this here, I mean it fits... I guess, but I feel like it could be better you know. I do like the organ though.
4. Bright Light: Shocker, here's another rocker! Though, I like the break down section a bit, even though the vocals are almost in the back of the mix. But whatever. Nice solo, kinda, but again, nothing special.
5. Heavy Hammers: Oh how cheeky, but seriously.... This is getting irritating. There isn't anything here at all. Where's the fucking beef, meat power. I cam up with new lyrics. "I got nothing to say baby, we can't think of anything, how about yoooooo". Also this song has a reggae maybe to it, but it fucking sucks. Like this is terrible. This would be good if it was 2 minute long not 3 1/2.
6. Cartoon Princess: Let's play where's Ian or Rod Stewart. I could see Rod singing this, also at parts Robert Plant. Nice wah wah.
7. Rock Out Claudette Rock Out: ............................................ Rod?!?!?!?!?!?! You know this could bat against Aerosmith and other rock giants.
8. This Ain't A Parody: Gotta wonder if Axel Brawn was a fan of this album, or this song at least. I really hope this group is a pardoy, because then at least you could say it isn't funny. But like if this is a "we are for real"..... oh no! Cringe! Were Not A Parody, Heres The Shithead. As the song starts, I don't even want to sit thought this, because it's just a cringe building.
9. 16 And Savaged: I know everybody loves a good statutory rape song. To be honest, if  it's good I don't mind. But it's not here, so I do. Let's fuck 16 year olds, cus Rock n Roll.

Overall I have to give this album a 5/10. This is another rock record that is just easy to digest. I like the cover a lot, and it's pretty notable, but outside of that there isn't anything here that can't be heard better elsewhere. I kinda predicted it wouldn't be that great of a review. I mean the playing is well enough, but again there is not much to take away as memorable or new or fresh or original, even if you look at that point in time...... Though I will pick up a vinyl copy some day ;).  Hopefully I'll have a few more reviews up this week, the ones I picked are quick and easy to do.

Road Tapes, Venue #3 - Frank Zappa

This is the third release in the, Road Tapes series released by the Frank Zappa family. It contains concerts, all thus far with The Mothers, and was started back in 2012. This recording finds itself from July 5th, 1970 and was recorded at the Tyrone Guthrie Theater, in Minneapolis Minnesota. The only part of this concert that's ever been released was the 9 minutes that make up Nancy & Mary Music off Chunga's Revenge. I once had heard a bootleg, parts, from the month, July 2nd (?) 1970. So its been years, but yeah. Basically the point is I can probably guess how this will sound, but let's be hopeful.

1. Tyrone Start the Tape: I can assume, based off the past few releases, this is either a chat/rap or just tuning up. Like this probably isn't really a track, more of a thing left in to get you in the feeling of the show. A preamble if you may. And to my surprise, I'm correct.
2. King Kong: Right off the bat we get Kong, which by now is actually pretty solid. While I enjoy the 60's performances, they weren't as together. By that I mean, it has parts that aren't as interesting. But to my surprise, this isn't the same exciting version I've heard on albums/recordings from this period. I mean it isn't terrible but it isn't mind blowing. It's more at the tempo of the original, maybe a bit faster, but not nearly as fast as it'd eventually become. I really like the keys in this one. In fact that might be my favorite part. 
3. Wonderful Wino: I was glad to see this, and the next few tracks on the track listing. I like the performances of these tunes during this tour/era. This isn't half bad, I like the Bringing In The Sheers intro, but this performance, and the quality of the audio.... I could listen to Freaks & Motherfu*#@%! or Disconnected Synapses. I mean really, I was hoping this'd be awesome and it kind of isn't. 
4. Concentration Moon: I dig this, but the second this started my heart sunk. I really should just be listening to Freaks & Motherfu*#@%!.
5. Mom & Dad: This is another favorite of mine, but what is brought to the table. Nothing new.
6. The Air: A great tune from Uncle Meat. Just listen to Playground Psychotics version.
7. Dog Breath: This version isn't half bad, I kinda dig it. It's pretty fun. It isn't mixed with Uncle Meat or anything so it goes by pretty fast. 
8. Mother People: This is another track I can dig, but I doubt I'll ever re-listen to it. I mean I'm open to other performances of this, but the Money versions so ingrained in me its almost like trying to make a better star wars than Empire or the original. 
9. You Didn't Try to Call Me: Again, what's the fucking point. The ending is nice, but yeah I don't really see much of one. 
10. Agon - Interlude: This is a selection from the Stravinsky composed Agon ballet. I really like when they played Petrushka in the song, and loved the Octandre but like what's the point. Why not release a Zappa covers Stravinsky and some of his other favorite composers album. That'd be much better and more interesting instead of giving us a load of bullshit that sounds terrible. Now on to the thing I've been waiting to hear, and it goes by so fast I couldn't make heads or tails. When I came back to hear it again, if I didn't know it was this before, I could easily mix it up for a little segue and not a Stravinsky cover or quote. 
11. Call Any Vegetable: Better version's on Just Another Band From L.A. All thought I did like the Invocation and Ritual Dance of the Young Pumpkin and the solos aren't horseshit. It's good enough, thought again the other versions better. When it gets to Soft-Cell Conclusion I think it's okay, but they best part is the solos. They really get into the jam, and to be honest, it's pretty freaking great. I'm not gonna lie. Everyone here is doing a great job, and I love the drums during that solo.
12. King Kong / Igor's Boogie: Kong Returns, with Igor's Boogie attached to it. While I prefer this over the first attempt at a Kong this clocks in at about 22 minutes and it isn't half bad to be honest. Like this might be the first track I genuinely want to come back to. I don't want to get into too much detail, I would rather someone...... Maybe check this one song out on YouTube or something. Ian's sax solo is pretty interesting to me I don't know. This is realistically one of a few tracks I'll come back to. Also I like what I'm hearing from Ansley. Then there is this vocal thing and it goes into a Zappa solo, this is what I like to hear on a new record. While not completely new, it isn't the exact same thing I can find on something else. And if it is it's still solid in it's own right.
13. It Can't Happen Here: Oh also, great right, this track is 3 minutes long and the first 40 or so seconds is the song and the rest is a preamble into Sharleena.
14. Sharleena: This is a favorite of mine from the era, which I feel like is a solid tune. I like this live setting for the song, I really like the way the organ sounds. While were back to the noticeable lesser quality vocals (recording wise not singing) I wish it was louder. I don't know if you care to know this, but this was recorded the month following the studio version. The album version is dated June 1970, this is July 5th, 1970. I think its a solid rendition of the tune. I also like the guitar in it.

Now on to the second disc of the album. 

1. The 23rd "Mondellos": This begins the second show and this just happens to be preamble basically.
2. Justine: So I had to look up where this song was from originally, and it's a cover of the Don and Dewis track from 1958. Something I noticed when I looked it up was the fact that the Harris credited as a writer is Sugarcane Harris. So that made me wonder, while anticipating the record, is he on this thing. He very well could be, And to my dismay, this turned out to be a flop. It kind of was terrible to be honest. Kind cock rocky, but in a bad way.
3. Pound For A Brown: I actually quite enjoy this version of the song. I mean it's not a far cry from other Mothers of Invention versions, but I still dig it. I like how it's kinda laid back and chill. While this isn't Zappa's most energetic or into it solo, I still like the tone of the solo.
4. Sleeping in a Jar: I like the flow into this track a lot, it was seamless and I only knew because it said the track changed on my Last.fm iTunes scrobbler. This is a well enough jazzy version of the track, and I dig it. There are theses electronics that sound like they would be on an album, because of studio mess about's, but they aren't I dig those. Ansley starts up this drum patter I really liked
5. Sharleena: Why the fuck have the same song twice, really. This is another version of the track. I mean this is basically the same as the album and the other version. So really it's like having the same track twice.
6. "A Piece of Contemporary Music": Now I don't know if this is a joke or not, but it kinds reminds me of the Mario song at parts. But it also sounds like something that I really dig. I like the playfulness of it, and dig what's going on here. The track is pretty solid in my eyes. It's almost like a free formed Bebop Tango sort of. Or maybe a first attempt at something like that. Then there is a part that reminds me so fucking much of Desert Search for Techno Allah. This definitely is a proto Mr. Bungle piece. Just check it out your self.
7. The Return of the Hunchback Duke: This piece also includes The Little House I Used to Live In and Holiday in Berlin. I don't think this is as good as the other long track, and I think maybe it's because of their singing that goofs it up. I mean I'd rather it just be an instrumental, but it isn't terrible. There are moments I hear something great, but far more that are just okay or average I guess.
8. Crusing For Burgers: You know I don't know how I feel about this. I mean I really dig later versions of the track, but I mean I don't know if I'm feeling this version. It kinda feels like somethings missing.
9. Let's Make The Water Turn Black: This is kinda faithful to the original, but I mean again, nothing really new here.
10. Harry, You're A Beast: Same thing as the last track. If were being honest.
11. Oh No/Orange County Lumber Truck: They managed to make an underwhelming version of those..,,... HOW! HOW!!!!! Really I've heard a fucking 20 minutes version of this on Road Tapes 
12. Call Any Vegetable: Again, why have the same song twice. It's not even like its on different dates, it's kinda the same thing. The only real saving grace is here there's a sax solo instead of a guitar solo. But I mean, I guess that's a nice difference, but then why..... I just feel like the two inclusions were pointless. I mean it's a concert, but still. And sadly, I am kinda bored at this point. I just want this to end.
13. Mondello's Revenge: Hey another talking track. Not really much else Going in to be honest. 
14. The Clap (Chunga's Revenge): Okay, so I'm not exactly sure what to expect. It's called Chungas Revenge, but the last tracks title hinted at that being Chunga's (alla Buffalo's Revenge). But I also know that there exists an percussion only track on that album that shares this title.  Wait, that intro got me, really it pulled me in. It sort of woke me up if were being honest. This isn't amazing, but you know fuck it, it's good enough and I dig it. While it's kinda lowkey, it mean other songs on this were to so it kind of sonically fits you know.

Overall I have to give this third installment a 6/10. To be honest there is no point in this being released. Other than the new tracks, there was no reason. I was excited to hear this, I was like maybe it'll be as good as the other ones. I was very wrong, in fact I decided to continue this review to tell people not to pay for this unless you absolutely need to. I will list now albums that have been released in that make this pointless basically (in order of release). Chunga's Revenge, Filmore East - June 1971, maybe 200 Motels, Just Another Band From L.A., You Can't Do That On Stage series Vol. 1, 3 and 6, Freaks & Motherfu*#@%!, Disconected Synapses, Tengo Na Minchia Tanta, two tracks off At The Circus, Swiss Cheese/Fire!, Playground Psychotics, Carnegie Hall, Finer Moments and you know what, if you're so inclined listen to the fucked up John & Yoko mixes of songs off Playground Psychotics off their 1972 live album Some Time in New York City. I figured since I knew how I felt there wouldn't be much of a reason to hold off on this review. Maybe I'm being to harsh, I mean the instruments are the highlights, but then again I've heard better versions you know.

Narita - Riot

This is the second album released by New York's own Riot. I like the "oddness" of this cover. Now, to be 100% honest, I haven't to my knowledge, heard any song off this album before. I also never heard any songs prior to this album request, but it was requested back in May 2013 about the same times Never Turn Your Back On A Friend, Hatebreeder and also Death•Is•This•Communion• were also requested. The thing is I couldn't get my hands on a copy of this album, but it was recently added to Spotify. Since May 2013 I heard all the studio albums from Rock City to my favorite Thundersteel (all in about a days sitting actually) the last one of those 6 was this album, which I had not heard until about, well to be honest, the day of this review. With the knowledge of the other albums, minus Thundersteel (which will most definitely get a review of it's own) I'm not too excited for this album. :(

1. Waiting For The Talking: Oh no!!!!! Okay, off the bat this sounds very 80's kinda but not in a good way. I mean the bass isn't half bad, and the solos nice. And it does get a bit more gritty, or hard rockish, as the song progresses. But the solo isn't even anything to like be amazed by, I mean I am not an amazing soloist, but again I've heard solos that are way more interesting than that. This actually reminds me of a lesser Styx rocker.
2. 49er: This song reminds me a bit of a Sabbath riff, with the guitar tone. But it feels a bit more upbeat and happy. Which is kind of giving me conflicting feelings. Like I kinda wanna listen to Children of the Grave because I know I'll be satisfied, but this...... I don't know. This isn't that bad of a song. I think it's probably one of the best songs by the group I've heard. But I don't really even know if I'll remember it by the end is the thing.
3. Kick Down the Wall: I think the vocalist reminds me of if Fates Warning was in a glam metal band. That's what this song reminds me of, and the songs weren't as explosive or exciting to me. I mean there is a nice groove to this, that reminds me of like any 80's band (or UFO but not as good), but I don't know if that's good per-say. And the solos sounds an awful lot like UFO a bit. This isn't that bad, but it's whatever.
4. Born to Be Wild: Based on the title I can assume it's a Steppenwolf cover. Ewwww, I mean it's a Born to Be Wild Cover done in the style of arena rock. I feel like at parts they might have been trying to do a Highway Star thing where it's HUGE and a POWERHOUSE, but they don't really succeed. Skip
5. Narita: This is the title track, and there are some expectations I guess. I do like this, but I feel like it's just sped up. Like certain things don't sound like they were played at the speed they were (?). It also vaguely reminds me of Translyvania, a favorite Maiden tune of mine. It's a nice instrumental though, though it over stays it's welcome a bit. I'd honestly have shaved a good minute off the tune. Maybe at about 2:45, before they start that lead hook or riff, they could have taken  that transition part and had an Yngwie shred to wrap it up followed by a stop. Sadly the rest, thought my favorite part is the hook/riff, is kinda just filler. There is no real need for it. They also could have edited it so we get the ending that is like the one at 3:45ish. Do you get what I'm saying. That last 30 seconds or so, especially since it just fades out, is kinda bullshit. If it were to segue into the next track, like say Sick as a Dog into Nobody's Fault props to them, that was cool and a sick idea. But they fade out... it was pointless.
6. Here We Come Again: That last track was, besides my few gripes, a solid track. Then we get this bullshit. So I know they are capable of doing interesting things, even at this point in their career...... Why like put this out. This is pretty easy to listen to though, it doesn't cause tumors or anything.
7. Do It Up:  This reminds me of UFO but not as good soloing. There is also another song that it reminds me of but I can't quite put my finger on it. It's something from around this period in time 1970's or 1980's.
8. Hot For Love: Unrelated but this song looks like it was inspired by two different UFO tracks Too Hot to Handle and Love to Love both of 1977's Lights Out. I have to laugh, it opens with arpeggiations and the song while different, kinda reminds me a bit of Love to Love and Too Hot To Handle. Also a major problem with 90 percent of the songs, they sound very similar. And basically are. The ending kinda reminded me of Judas Priest a bit. Like the 70's pre-Hell Bent For Leather. Maybe a song like Exciter.
9. White Rock: This is okay, but again nothing too exciting. Just okay I guess. The only thing I might remember is the title reminds me of White Light/White Heat's title track.
10. Road Racin': Ah, a classic Judas Priest riff. Back before they were famous. Wait, is that Al Atkins. It's can't be, I heard some songs off that tribute record he did and I don't remember him sounding like this. Maybe his voice changed. Who knows.

Overall I have to give this a 5/10. The thing that was the killer for the other albums was that there were kinda bland and unmemorable hard rock to me. There may have been, out of the other four records, like 3 songs I liked (outside of Thundersteel). Now while some of my favorites may not have a huge variety, Aerosmith, Scorpions, among others there was a point in time where they peaked creatively and made each album sound different enough, the 70's. This album is from the 70's and all I can say is........... I hate to say this, but this is another unmemorable record. I'm not being an ass, I've heard stuff like this before but done much better. Like to where I remember the solos and singing and the vibe and wanna return, and not just for a review. Really though, I got a Styx or Fates Warning or UFO mixed with other bands feeling from this album.  I can do that all day bru. It isn't terrible, it's just not something that I was hoping for.

Highway to Hell - AC/DC

I figured I'd review this because I have stuff to actually say about this album. I can't say anything about Back In Black because it'd be either, this blows or too repetitive and uninteresting. Now I can't believe I'm doing this review, but to be completely honest outside of the reviews I do for this band I don't listen to them anymore. I wrote a very heartbreaking, for me at least, review of T.N.T. the album that I held highest (behind the Aussie High Voltage). I'd usually do a review of the Aussie version, but they are the same songs, and the cover for that's just as dumb as this bands direction post-1977. This is also the last album to feature Bon Scott., who would die from alcohol poisoning. I read a review once and it said "it takes a real asshole to write a song called drink to a year after you lead singer dies if alcohol poisoning." I laughed but whatever.

1. Highway to Hell: This song is very over played it's like Stairway to Heaven. But the thing is even thought that song has no effect on me, the solo is still pretty solid. And even if every note of the moving ibtro is stolen, that solo keeps that song off my never listen to again list. I can't conjur a good thing to say about this song, it's just so....... It's so dumb it gets crossed out. Infact this song doesn't even play a part in the score of the album. I'll be fair. Still not as dumb as TNT, but this time I don't... There was something about that last album that let it slide, but not this time.
2. Girls Got Rhythm: Sounds like a remake of You Ain't Got A Hold on Me off their 1975 debut album. Really, I don't remember if I said this, but I could sing this song to that song while it was playing. That irritates me the wrong way, not the right way. I mean this song on it's own isn't terrible, but that whole thing bugs me a bit. There is a groove that reminds me of that first album, and the second, so maybe it's why I don't despise this.
3. Walk All Over You: This opens pretty decently. I mean there is a real rocking feeling that harkens to the feeling of Let There Be Rock. I mean yes this kind of sounds like a mix of the title track and Whole Lotta Rosie.... but again I isn't a sin. But as the song progresses it makes me loose all interest, really. The verses are so boring, the instrumental parts are the only thing that make this at all worth listening to. Really.
4. Touch Too Much: Stupid Uncle Fuckers, sorry that was harsh. I can't get behind the title. I feel this is kind of childish really. A bit too forward. This really sounds like a song that could be on an 80's record or 90's album by the group. I mean the production here isn't terrible, there is still some 70's stuff here. But not raw enough. Thought at the same time, this doesn't really sound like the groups call and response vocals. They must have mixed it different.
5. Beating Around the Bush: Kind of a dumb title, also a dumb song. Sounded cool when I was twelve, but not anymore. It's lost its coolness factor. Also fuck them for stealing the riff to Oh Well. But seriously, tons of people steal stuff form other songs. I can go on and one, one of my favorite Bowie songs Queen Bitch pretty much stole the riff to Three Steps to Heaven by Eddie Cochran. But this just sounds like they pulled a Jimmy Page, in changing it just enough to make it your own. And even though I like songs what sound odd, with a weird time signature, this track just doesn't click at all.
6. Shot Down in Flames: I mean, it's an okay track
7. Get it Hot: Takin' Care of Business everyday. Also I'm pretty sure this is based of another track by these guys.
8. If You Want Blood (You've Got It): This isn't that terrible of a song titles, and I had expect high hopes out of it. First mistake. I mean they named "one of the best live albums ever" after this song. It's not like reading something widly regarded as the "one of the best" could be bad. Second mistake. I think this is taken best with a "If You're Fucking Dumb (You'll Like This)" rendition I wrote after the first chorus. Why, well boredom.
9. Love Hungry Man: I think they're hungry for something else that comes from men...... what? Nice solo though, even though you could mix the intro to that last and this track up.
10. Nigthcrawler: The slowest most boring motherfucker I've ever heard, maybe in my life. And this is coming from someone who enjoys. Also a shit way to end an album.

Overall this deserves a 5/10. This song, like every other song by this band (unless noted as an exception on my reviews), doesn't do well with open minded people. Or people who pick up on patterns. I mean I guess people can like this, but I mean I'd have to lobotomize myself to probably stop and be able to not pick it apart and keep getting the same result, track after track. Also their songs titles sound like a five year old came up with them. How the fuck could this band make Let There Be Rock (album) and Love Song.

In all honesty, all joking and humour aside, I just don't find why this is their among best albums. Let There Be Rock is one of the best rock records ever. How could they go from the raw power of that album and make this piece of clean.... poop. Seriously I kind of think this album is terrible, all jokes aside. The thing is the 1980 record is even worse. These are the albums that lead to me not liking this band, not their best 1974-1977 albums. Really I'm not kidding. 

The Story of Light - Steve Vai

This is the 9th studio album by guitar virtuoso Steve Vai. I remember when I heard about this album, I was anticipating it's release. I was really into what it might sound like.... then I saw the cover. Now I appreciate it a lot more and thing it's kinda cool and fits the album, but back then I was an ignorant asshole sod I decided not to check it out. Now about 6 months short of 3 years later, I finally give it a spin. Well I did an informal review first time through and realized how good it was, then decided to give it multiple listens.

1. The Story of Light: This song starts out the album and it has this foreign language voice that reminds me a ton of Scary Monsters' opener. You know what this track really reminds me of, oddly enough, Trance-Fusion. That's the 1988 tour solos album released 2006 by Zappa. Now Vai played with Frank back in the early 80's. Like I think from 1980-1981, no later than 82.
2. Velorum: So far this album sounds very reminiscent of the 80's for me. Now this isn't a bad thing, this is a very triumphant album thus far. After the intro starts I hear beautiful strings that are just gorgeous. If the album keeps this up it's bound to at least get an 8. I casually listen to Buckethead's 2010 series The Pike where now he's one like 110. This track sounds like it could fit, following the strings, on one of those albums very easily, or at least one of the ones I've heard. Also I really dig that like double solo towards the ending, reminds me a bit of Inca's Road.
3. John The Revelator: This song title sounds like a Priest or Yngwie song. This is also one of two tracks that features Beverly McClellan who I think was, according to her discography, on The Voice. This song opens with a sample, or what sounds like one. I assume it's Steve singing, but it reminds me of Axel's when he does that deep vocal harmony thing on tracks like Pretty Tied Up or Colma. You know, this is just an ok track, it's not as good as one of the other two before it. This not as cool 
4. Book of the Seven Seals: This track segues from the last track and this is actually more engaging then the prior, and actually it's more gospel. I had my guitar and played a solo along and got so into that track, I can't really remember what happened.
5. Creamsicle Sunset: A very approprate title for a track that sounds like it was recorded with a possible Hawaiian flavor to it. This also sounds a lot like, to me, Zoot Allures' title track. This is a great choice to follow that intense soulful track. This is a very mellow track that I just wanna fall asleep to, I really do feel like I'm st
6. Gravity Storm: This sounds like that classic Vai that I know. I can't quite put my finger on what the riff reminds me of, but when I do, I will say what it is. I like that the soloing isn't the sole focus on this track. The elecytronics here are nice, and this just is a pretty solid track over all. I mean 
7. Mullach a'tSi: This is a traditional Irish lullaby. I don't really like Irish things, but thats a little beside the point. This sounds very oriental in the intro to me. This title is very odd, but what ever. I really like this it's very relaxing. I also love that I picked up on the harp in the track. I love harp :)
8. The Moon and I: I guess this was originally released in 2010 but was remixed for this album. This reminds me of another type of mellow song in the realm of ZA. This also sounds very 80's esque. This is a nice relaxing track and feels like a pleasant little instrument (with vocals). I wish there weren't vocals but I think it might run a little long.
9. Weeping China Doll: This track really reminds me a ton, I mean a ton, of For The Love Of God. I really like the acoustic guitar sounding steel things right before the 2nd solo starts up. I really don't know what to say about this track. It's nice, but nothing new or special to add to this album.
10. Racing the World: This has a nice change of pace, kind of, feeling to it. I wish the last trackwas cut and replaced with this instead, but you know it's all good. There is a bit of a Madden sound track feeling to this song. But you know.
11. No More Amsterdam: Steve sings on this track. It's okay, I mean I really don't have much to say.
12. Sunshine Electric Raindrops: Closing the album is a tune that's okay, I mean at this point it isn't special. It's just kind of a tune. Nice solo thought

Overall I have to give this album a 7/10. I need this album, and would go back in time and kick my ass to get it. I mean upon second time through it isn't a mind blowing, but you know it's okay. I still tink it's better than I expected, but yeah. Check it out if your so inclined.

Sticky Fingers - The Rolling Stones

In honor of the deluxe edition being released I decided to review this. I also  reviewed Help! for it's 50th, back in August (and have a special review for its 50th in August and June). This album follows their 1969 classic Let It Bleed. That albums great and it is the best Rolling Stones album. Now I go back and forth between my favorite being that and Her Majesty's but I think the songwriting is the most focused and fleshed out on that album (LIB). Moral of the story, this album has a lot to live up to. This is also their first album on their very own Rolling Stones Records. The album that was right before this, 1970's 'Get Yer Ya-Ya's Out! which was a live album, but that isn't a studio album so it's you know what ever.

1. Brown Sugar: This is the album opener. And this is a great opener and sets the tone for the harder tracks. It's a great time, but not for the lyrics. When you find out they were supposedly about Claudia Lennear you kind of lose some respect. I mean look her up, 10/10, plus she can sing. Bowie also wrote a tune for her, Lady Grinning Soul. There's a big difference in tone and substance. Where this is straight forward, starts and finishes, Lady sort of takes you on an adventure of romance and passion. The better song is the latter, but that doesn't matter really. This is a fun song, with great horns and a great riff. There is a fun feeling to it and the backing vocals are pretty good here also. It's got enough grit to it, but it's also got a punch.
2. Sway: I much prefer Stay, but I guess Sway will have to do for now. This almost sounds like it could be a song on Beggars Banquet, but a tad more trippy. There is a sort of trippy vibe I get from this tune. This is pretty well put together, and isn't pretty enough to sound "lame" that this band is playing it. And those strings towards the end, nice. (thumbs up emojii)
3. Wild Horses: This is an acoustic, country sort of ballad. You know, this song isn't terrible, it's just..... I remember hearing so many songs like this when I was into classic Woodstock rock stuff. At this point in my life this is kind of a boring song. I used to dig it more, but I mean..... I really can't say I like it that much.
4. Can't You Hear Me Knocking: This is a great track that still boggles my mind they played that solo (the jazzy section). It sounds like Santana came in and had his band play the end (well a slowed down band, or played it in a slower time signature). The story goes they just let the tape keep going and the solo section wasn't planned. On its own merit, without the solo, its still a solid track. I mean that riff and chorus still get you into the song enough for that other part to work even better. As much as I praise the latter half, the first is just as crucial to the song working. I mean ever one here is playing top notch and I don't think this song could have anything changed to make it better. It's one of those instances where, it just works as is. WHY THE FUCK DONT YOU GIVE ME MORE OF THIS KEITH. Wait Keith did not play lead? Well on the part that I LOVE at least, oh yeah that was Mick. Probably the best thing to happen to the band..... what. If you haven't head this song, it's one of those that is well deserving of being on a best classic rock tunes ever list. Like seriously, I'm cutting the bullshit 90 % of tunes on those are shit, this is among the truly great 10-20%.
5. You Gotta Move: A cover of a track by Mississippi Fred McDowell. 33 years later one of my favorite bands Aerosmith made a bad covers album and covered this version of the song for it. I actually prefer this to the Honkin on Bobo version. While I don't normally like this type of song, I do have a bit of an affection for this. It's kind of a straight tribute to their heroes, you can't really knock someone for that. And it isn't consuming the entire album. This is probably the best version I've heard of the song.
6. Bitch: This is another good track from this LP. While that intro might sound odd, because I do like most of this album, this track stands out as a track I revisit. I mean the pre-chorus isn't as great as I remember, but those horns make up for it. One thing I do think is a shame is I prefer the extended version from the deluxe edition more. I assume that's the full length version which was cut for time for the album. It's a shame, get it..... ahahahaha. Maybe they could have cut a track like Wild Horses or I Got The Blues rather, for this to be longer. Actually the math works out to where it'd fit. I also like the energy more. But regardless, it's the same track so it just the uncut version.
7. I Got The Blues: This song made me laugh for whatever reason, I imagined a sort of "Weird Al" parody of a bluesy 50's tune. I mean this isn't terrible, I like it, it's just I don't think it works that perfect along with the rest of what was present. Yeah I looked it up, I couldn't think of his name, but I totally agree with the Otis Redding comparison, sort of Stax Records vibe. This also reminds me a ton, a ton, of Aerosmith on maybe What it Takes or another ballad, Amazing?
8. Sister Morphine: This track was co written with Marianne Faithful. Marianne performed a version first in 1968 and I haven't heard it yet. A quick, unrelated personal note, thing that's funny is whenever I hear the word Morphine this song pops in my head. This acoustic intro reminds me a tad of Van Morrison's best song off Astral Weeks, The Way Young Lovers Do. This is a nice song that I think fits and it pretty great to be honest. I mean I don't revisit it often, but it's got some nice shit going on.
9. Dead Flowers: This may come as a surprise, but this is one of my favorite tracks here. It's chord progression is so fun to play and it's easy. I really enjoy this song and it brings back memories for me. It is just a fun song over all, even though it's topic might not be that fun. Great tune that I LOVE.
10. Moonlight Mile: Closing the album we get a tune that was, according to Jagger, "All Mick's". I guess he had the idea and "the band just figured out how to play it". That's pretty cool to be honest. The strings here are great, and this just feels like a closer. Great tune. It sort of harkens back to the days of Last Time, but more grown up. More mature, much more wise. I don't know, that's what I get.

Overall I have to give this album a 7/10. As much as I make fun of the group, I this is a great record. While I really don't love all the tracks that are more country sounding, for what ever reason this works for me. Actually I do remember I really like Beggars Banquette and this is kind of part two for that album. That albums more rootsy this is more country with grit at parts.

Now I will plug, of my own doing, RateYourMusic. I love that site, I have uploaded everything I've released to that site information and I rate albums almost daily on there. And for the most part the rating on there, double it and that's out of ten. Some albums may be up for discussion (tagged revisit), but for the most part the ratings are how I truly feel. And if I feel unsure or need a bother listen or two. Even if I don't understand what's going on, I tag the album "revisit". If I see potential in it being one of my favorite albums ever I tag it " candidate". And if I have a review in this site of it, I have it tagged "review" though some artists in the free download section aren't on the site. 

Lovedrive - Scorpions

This is the sixth album by German Hard Rock band Scorpions. This is also the album where Michael came back, well at least he's credited as a guest so something like that. It is also the first to feature Matthias Jabbs and Herman Rarebell both who stuck around for a number of years (Jabbs is still in and Rarebell left was last on the 1995 Live Bites record). I decided to review this in honor the the 2015 50th Anniversary remasters that recently came out. This album is basically the beginning of their sound that would bring them the most success. Though, you could argue it appeared on earlier albums, this is when it was defined and this is basically how they'd sound for their 80's period. Also I'm using that 2015 remaster to do the review instead of my previous CD copies.

1. Loving You On A Sunday Morning: You know, this is a weird song. It's kind of fits, and makes Anybody Out There? fit also. I love this song, and how weird it is. I almost feel like this is left over, or was written with the same frame of mind, from Taken by Force. In fact, while its production and "sound" fits perfect here, the writing and musicality wouldn't be to uncomfortable on that other album. There is a psychedelia present that also sort of reminds me a tab of Lonesome Crow. Seriously, and I love the sharp guitars. Nice and loud and powerful. This is a pretty straight forward song, it's just this chorus.... damn I honestly feel if I added a few sounds, back ground sounds, this could be a trippy section. Also great solo from Jabbs and oh how by the end of the song is this chorus stuck in my head.
2. Another Piece of Meat: Ah, a phrase I use in my head when thinking about..... Well kind of to laugh. This is pretty fast paced and is just a straight rocker. There is this like wind thing that revs up before the track and it's pretty nice touch. This track makes me want to get out my Strat and just rip and shred along with the Sheckner brothers (both of who play on this tune). Plus Another solid chorus, so.... something this band is pretty great at making. Listen to Mikey shred, damn it's so tasty. 
3. Always Somewhere: A ballad, and damn is it powerful. This is one of those "best ever ballads" the group churned out even into their less rocking period. Seriously, these are some fucking amazing power ballads. I can barley do a review of this tune, it's so ingrained in my consciousness as one of those, tear jerkers/introspective tracks. Klaus and Rudolph really pull off one of the best songs by the band here. It's pretty gorgeous, to be completely straight. And that chorus, power ballad royalty. I know I said that, but I need to stress that.
4. Coast to Coast: Great song, that I love. And instrument that is pretty straight forward, but here we get another lead guitar song from Michael. There is just something about this melody that is so perfect, I mean this could have be just as powerful with lyrics, but they chose not to use any. Plus nice bass playing Francis, and I love that little "ah" that sounds like he just drank a Cold Sprite. I can only assume that sound was from Klaus.
5. Can't Get Enough: At this point I can't argue with you about that one. :) This is another rocker and damn does it have energy. This is up there with Another Piece of Meat and I love the almost shrieked refrain of the title of the track. Klaus you remind me why I'm proud to be German. This band fucking rocks. The freak out at the end sort of reminds me of the album Virgin Killer and maybe like Hell Cat, I could be remembering wrong but that's what came to mind.
6. Is There Anybody Out There?: This is a tad odd. This is the only time I think they ever did a reggae number. This is pretty reggae, and it's odd that they did it now (then). 1979 the only reggae that was existent was ska of Oingo Boingo and like The Police, in rock outside of actually reggae. And reggae was huge in Britain around 1973ish. I could be wrong, but I think it's an odd choice for them to do this, here. But that being said, it's one of their best songs they ever did. It's very simple, and at parts reminds me a tad of Taken by Force, but this is a powerful song. Like I feel like it could almost be a cover of a traditional song along the lines of a Malagueña Salerosa. Thematically that is, like a very sad tale of someone who can't love the person they want. Except here it's they are all alone and want love. Someone searching for love. But this is a really neat song that literally I never skip, even if it comes on by accident. I love this song to death.
7. Lovedrive: The title track is actually proabably the weakest tune on the album. Don't get me wrong, the chorus is up to snuff, but everything else seems like it's already been done. Also this kind of, in the choruses reminds me too much of Judas Priests' cover of the Joan Baez tune Diamonds And Rust. Although, solid solo in the tune. This is also the last track to feature lead from Mike.
8. Holiday: Closing we get one of the greatest closers of all time. While they tried to close on a ballad after this, and before, I kind of feel like this is the best one. Not best ballad, but best end. This also just like forces me to contemplate my decisions and my life up to this point. It's kind of weird. The first half is acoustic and very pretty, pleasent and almost like Born to Touch Your Feelings. Then it goes into a more rocking power chord section, with amazing backing harmonies. I can hear that gorgeous bass tone in the new 2015 version I never heard before. Damn that little Spanish fill, it is tasty. Matthas does a great job here soloing. I mean it really fits the mood and to the ending.... great. It works. Also if you want a sort of extended version, in the 2015 edition there's a 2 minute longer demo.

Overall I have to give this a 8/10. This, like every other Scorpion record is worth checking out. This is in their heyday. They have yet to make a bad record. But from 1972 to 1984 the lowest I'd have to give a record is like a 7 the highest is a 10. Every record also had a number of amazing songs on each album. While this isn't my favorite record, it's still an amazing record. These guys always get the short end of the stick to shitty bands from the 80s. I'll let you know a secret, these guys kick the shit out of most of their 80's contemporaries. Hands down, no argument, listen to this record and the ones before and maybe you'll be enlightened yourself. I'm serious, they didn't put out a bad record ever and their mediocre ones started in 1988 with Savage Amusement. 

Aladdin Sane - David Bowie

The last memorial album I did didn't go over so well, so why not review an album that I consider one of my all time favorites. It is in, some what, continuous play on my iPod/Spotify/iTunes/Anything Really. And as much as it sucks he's gone, let's hope this review is positive enough, though I'm not going to lie to you, I know it'll be a fitting goodbye to one of my heroes. In past reviews I've mentioned how much he means to me as a musican/writer and there is no way I'd ever be able to pay him back, and since I need more time to dissect Blackstar, Aladdin Sane is the natural choice for this (if not counting the ones I've done and not Lodger). But anyway, here are the facts, this is album number six. This was the first of two albums released in 1973, the other the covers album Pin Ups. This was released in April of 1973 and was mainly written while David was on his American tour for Ziggy. This is looked at as Ziggy in America, and that's a great way to look at it.

1. Watch That Man: maybe not the best song here but damn is it a solid glam rocker. From the hard rock guitar and the piano and the nice ass drum beat. This song is a terrific opener. Like I said this is pretty straight forward tine, one listen basically gives you everything there. You might pick up on that piano later, but it's still a nice rocker.  Actually the backing vocals are awesome and that piano reminds me a bit of that live performance of Search and Destroy on the Legacy Edition of Raw Power. 
2. Aladdin Sane (1917-1939-197?): So we opened with a rocker, a straight forward tune. The following track couldn't be more different. With a title that hints WWIII could happen sometime in the 70's this odd European tune is one of the things I love about this album. It kind of throws left hooks. This song has some gorgeous piano from one Mike Garrison. The chorus here is as catchy as any of his other, more poppy songs. That guitar riff, and that tone (esp. During the verses, Damn!). I love the sort of freak out with the saxophone backing up the insane, almost mad man playing of the piano. I mean yes there is logic to it, but to a regular person.... WTF. I'm serious if I played the solo section for someone out of context they'd most likely be confused. This song is great and I couldn't ask for something else for this spot here. And that ending :)
3. Drive-In Saturday: A classic, and by that I'm serious. I guess this is about people in post apocalyptic.... just look it up. It's kind of interesting. Plot aside, this has a doo-wop sort of vibe to it. It isn't straight doo-wop though, like some of his best tunes.... It has this weird atmosphere to it. Seriously, I mean it almost makes no sense, but it's a solid ass fucking song. I love every second from the sax to the vocals to those backing harmonies. Plus the lyrics are pretty funny, in a kooky way. 
4. Panic In Detroit: Another rocker, though this is more of a hard rocker. I can't recall if this is about anything, like a real riot in Detroit, or whatever but I honestly don't care at the moment. This song is much better than the meaning and it doesn't need a meaning to make it good. There's a reason he played this live in the years to follow. It's a great rocker that is probably the closest The Spiders would get to TMWSTW. There are actually riffs where it sounds like it could go into the extended solos on that record. Even the opening just shouts rock and roll. I mean really. Also I should mention, this sonically sounds different from the other tracks, but not enough to not fit on this mixed bag of rock and roll tunes. I love the backing singers here too and we get to hear Mick just rip.
5. Cracked Actor: This is the only song I can say that I don't either Love. I mean it isn't bad, but compared to the other tracks I don't think it's as strong. You can almost look at this as a rewrite of Jean Genie. I mean this is a good glam rock tune, I just don't Love it you know. 
6. Time: This song starts out with a piano that is avant-gardeish. There is this vaudeville feeling to this track. I feel like this could be a cabaret number. It's very odd, there is a type of closure you get with this song.... now at least. It's got everything here that makes this album great, vocals, I love the guitar when the song gets more intense. I love how it goes back to the beginning and just feels like odd, even thought in reality it isn't the odd. Mick has some great guitar parts here that just add and, he's fucking an amazing arranger period Those backing vocals are great. I mean in reality most of what makes these songs great is on each song. The only thing is they all are different enough, to where you could call this a mixed bag of songs.
7. The Prettiest Star: A rerecorded version of the 1969 single, written about Angie Bowie. On the original Marc Bolan played lead, and Mick tried to replicate that guitar on this recording. This is a happy song, and I mean I feel like it's sort of heartfelt. It sort of reminds me a bit of Kooks or Soul Love or just a number that may not necessarily be the "insane genius theorist" he is elsewhere. I like songs that show another side to a guy, this is one of those. Nice saxophones by the way :)
8. Let's Spend The Night Together: The only cover on this album, it was originally released as a single by The Rolling Stones in 1967. Opening with a sort of weird heavy psych, feed back and then what I can describe as atonal piano hits. The songs rushes into a performance, and damn this thing fly's by. To be honest, the best performance of the song. This almost sounds like the original, but better heavier and more rockin'. 
9. The Jean Genie: What can I say about this track. It feels like a pirate is playing this. Seriously, I much prefer to think the Rebel Rebel video Bowie is singing this. This riff is just one of those, and yes you can hear it towards the ending of Width of a Circle, but here it's just so oddly perfect. I can kind of imagine people in the 70's going... what the fuck, this is really good, but still what is this. There is a reason this is as famous a song as it is. It's classic. Go Mickey Go!
10. Lady Grinning Soul: Argue with me all you will, but I believe this to be the most romantic track to ever be written... ever. You can't top this, not Marvin not Smokey, not Ole Blue Eyes nor anyone else. Keep on listing songs, you'll never change my mind. From Mr. Garrison's opening piano rolls, to David's sole vocal introduction. Listen to this thing, I mean really. Everything here sounds so damn good, and just the playing is so tight. I really can't find anything wrong here. I love the saxophones, I love the Spanish solo. The piano and guitar duet, Mick you are a genius. This word is almost too good for words, every time I listen to this I cry a bit. This song is perfect.

Overall I have to give this a 9/10. This s very much an Americanized version of Ziggy. On top of that its a great fucking album, there isn't much to complain about here. I mean really, every songs is unique, and they are all solid performances. I guess you could complain there's a cover, but that's just nit picking. Bowie my friend, you may be gone, but I know you're one of the few people to make a string, constantly great to amazing albums, from 1969 to 1980. Though I may never be able to tell you, or thank you for everything you done for me I also don't think I'd be able to either. Sometimes, actions speak louder than words. I'm gonna miss you.

Music From Another Dimension! (Deluxe) - Aerosmith

I figured, since there hasn't really be anything of any note or even reviewing for a while the thme has come to do this. Yes a record I started before, the pre-review, the release of this some 4 years ago. There is a reason this hasn't gotten finished, but with the upcoming Steven Tyler solo country debut album slated for February 2016...... Also, some of this was typed 4 years ago so, yeah. This is the long awaited album by one of my favorite bands. I have been waiting for this since 2008. I have been holding a certain type of anger against them because of the wait  I said that this better be worth the 4 year wait. Especially since it's first official date was August 28th, 2012 and it was pushed back to November 6th, 2012. Well heck with you Steven I'm not picking it up the day of, I'm gonna pick you up a week late. Sorry, but I mean what I said. Let's see you be one Cd sale short of debuting at #1. I waited so long to review this because I had to brush up on my Aerosmith. I hadn't listened to any albums front to back, excluding Toys in the Attic in April. I was hoping to get this up by Christmas of 2012 but that sadly never happened, and you'll find out why now.

1. LUV XXX: I don't like the name of this song at all. I actually think it's kind of a stupid name. I listened to a few seconds then skipped it and listened to some of the other songs. I did return to it. The beginning kind of reminded me of a 2012 version of The Movie. With the spoken word part, either that of like Twilight Zone. Also, their name is not Prince. This starts off the album rather promising. The riff is pretty cool, and it gets you pumped to hear the album. While I"m not huge on the vocals, and harmonies I'll let them slide. As the song goes on and on the only connection I can think of is the verses had to be inspired by both Hello There and Goodbye from Cheap Trick. Also, by the end of the track I'm drained. I really don't even want to defend it anymore. Okay solo.
2. Oh Yeah: There is a song by Badfinger called Oh, Yeah. This songs beginning kind of reminds me of that song. The harmony vocals in this song are just... I don't know. The only thing I can say is this was written entirely by Perry. I mean I hear it, but still..... ;'(
3. Beautiful: The beginning of this song reminds me of Back in the Saddle with the foot steps. This song didn't really feel like an Aerosmith song, at first. Like I could see this maybe being a mix of I don't know. When it clicked was after I re listened to Permanent Vacation in my car, because I wanted to hear Magic Touch. After that it became my favorite song on the album. Maybe the only song I love too.  I like the textures a lot on this track, but I feel like I don't want to ruin the song. I mean there isn't anything I could ruin, but I just really like this one.
4. Tell Me: What you see. Starting with an acoustic guitar, this could be a rewrite of Crazy or Amazing. The only thing that doesn't make me want to delete this song off my computer is the fact the chorus is pretty neat. I like the trippy feeling from it. Sort of Nine Lives ish, and I like the backing vocals/harmonies also.
5. Out Go The Lights: This title is too similar to that Kanye off Dark Twisted Fantasy. Cool riff bro, where do I Get The Lead Out? I do like the chorus and backing singers, but I'm not nuts on what they are saying. The song might go over better if it wasn't a blues band playing it. The actual chorus is trippy, but I mean... I don't know. I don't think this is horrible, just not memorable. I mean by the ending of the song, I"m glad it's ending. Also nice way to end the song then come back, and why does it come back. For a solo that isn't even worth listening to.
6. Legendary Child: I don't care for this song. I don't really like the name, it reminds me way too much of 1976's Last Child. I love that song, and I don't really like this song all too much. I don't think this is funny, all the stuff I liked about the band is not working here. Also there is not reason this song exists.
7. What Could Have Been Love: No offense, but this is a gay song. By that I mean this song is kind of "faggy" for these guys. WHY THE HECK DON'T THEY STOP WORKING WITH MARTY! I don't think this song is that good, it's tolerable, but no matter how much I hear it I can't really get into it. I don't think this is a true Aerosmith song. At least not worth waiting four years for. I feel like this is a ballad, but it's here just to have a ballad. There is nothing here that makes me feel anything beyond it's a ballad for sake of a ballad. Stevie plays cigar-box guitar here.
8. Street Jesus: It's nice to see Brad credited to a song again. I thought this was the first time Brad was credited to songwriting on an album since 1993's Get A Grip. I was wrong, it was actually 1989's Hoodoo/Voodoo Medicine Man. This is also one of 3 song that credited Tyler/Whitford. The other's being 1975's Round & Round and 1976's Nobody's Fault. Well that is unless you count the entire Done With Mirrors album credited to the all the members of the group. Both of which are awesome hard rock songs. So as you can tell I had a "expectation" for this song. And we'll certain days I enjoy this, others I don't. I go back and forth between "I like this, maybe I was a little to harsh" to "Why did I ever like this" and the process repeats. It seems best listening once in a blue moon or two. 
9. Can't Stop Lovin' You: I really like the beginning of this song. After kind of re-listening to Get A Grip I gained a new respect for this song. It reminds me of a country song I'd hear on the radio, but it's kind of good. While Carrie sounds good here, come on. Talk about appealing to a pop audience. I do think this works out good, and it doesn't get worse with time. There isn't much to say, it's good. It's not a generic piece of Aerocrap. Maybe it does go a little long, but it's not terrible.
10. Lover Alot: This song isn't that amazing. It sounds like a newer version of a song from Get A Grip. The funny part is that it was probably reworked from Pump Era or Get A Grip Era recordings. With each listen I'm almost convinced to like it less. To be serious, I am progressively loosing interest in it, and faith in this LP. Also 7 fucking people wrote this song, maybe that's too many.
11. We All Fall Down: This title reminds me of Falling Off which I think was some like B-side or Bonus track from like 1993/1994. Don't quote me on this but I'm pretty sure. It also might be an outtake. But this was written by Dianne Warren of I Don't Want To Miss A Thing and other hits writer. What the fuck, this pissed me off. And as for the song................... I never liked Fallen Angels, but this is actually shitty boring lame ass song. I mean even Fly Away From Here has grown on me, but this. This is generic pop Aerosmith.
12. Freedom Fighter: While cheesy, this would fit better in August or July. You know Independence Day and all. Good song, not really. I prefer America, not this bullshit. Also guess who sings backing vocals here, Johnny Depp.
13. Closer: to God. This song starts and it isn't that bad. It kind of sets up something that might be good. While this isn't that amazing of a song, I could see it fitting on Just Push Play, I feel like this should have closed the album. 13 tracks, this closing it... that would honestly be fine.
14. Something: In the way she move. I like the organ in the opening, and I like how this feels like it was not used for a James Bond theme. But as the song goes on and on I see why they didn't accept it.
15. Another Last Goodbye: This is a stupid name for a song. I don't care for the title. To be honest, this feels like classic 70's ending to an album. While there might be a bit of a differnce, there is still Tyler and his piano. Home Tonight, You See Me Crying, Mia this song is pretty decent.

Here are the bonus tracks. I'm not going to waste time specifying which goes with which, but here are the bonus tracks. It should be noted that I really don't know of an artist who......... Why are you guys doing this. Nothing you've put out since Just Push Play is even worth revisiting. Hell, I'd even go as far to say it's not even worth checking out. Beautiful is a great tune and Can't Stop Loving You surprisingly didn't get old. Another Last Goodbye, while not amazing still pulls enough of those nostalgia heartstrings.. That track kind of holds up well, but outside of those; this, and your solo material, is basically garbage. I'm sorry. Now back to the bonus tracks.

1. Shakey Ground: I have heard the original, after I head this version, and it isn't a half bad song. The Temptations are actually a great band if you're listening to the right shit. I like how it sounds like they got a clavi to play in the track. This is pretty funky, and I love those horns in the track. They reminds me a bit of Straight Up. This is much better than a vast majority, if not everything actually on the album. Then we get a rare saxophone appearance on a Aerosmith track, which I'm pretty sure hasn't shown up since at least the 70's. Also there is a rhythm guitar appearance from someone who hasn't appeared on one of their records since 1982.... Rick Dufay (the guitarist who replaced Brad from 80-84). I should note there is a fun feeling to the original they tried to capture and while I think they did a decent job, the original is better.
2. I'm Not Talkin': This is a cover of the 1964 Mose Allison track. This was only featured on the Japanese edition. I'll say right now, this is more in line with the cover of Baby Please Don't Go off Bobo than the actual deluxe edition bullshit tracks. This comes and goes pretty fast, it's not terrible but it's kind of just same old same old at this point. There isn't anything special here.
3. Up On A Mountian: The thing about these bonus tracks are the Japanese bonus track Face off 2001's Just Push Play is one of my favorite Aerosmith songs ever. Period. So it sucks they don't release them in America. But anyway Tom wrote this himself and sings lead. I was very excited to hear this. And....... I don't care for Tom's voice. This is the first time Tom's ever sang lead. I might be wrong, but this song kind of reminds me a little of 2004's Honkin On Bobo. At least I'll be able to pick out his voice at the ending harmony of Love in An Elevator. I don't think I'm gonna listen to this song again :( I mean the song isn't terrible, it just isn't anything that sticks out to me as worth revisiting after this. This should be a bonus track.
4. Oasis In The Night: This is a song that starts with acoustic guitar, and was written by Joe. The thing is, when I hear this, I go.... what the hell buddy, you sound terrible. Is he doing for a Dylan vibe. If so, I guess he's doing a some what inflection of him now, but.... I really can't even like.... This song isn't horrible, it's just when I hear the lyrics and how this sounds together.... I don't even want to sit through the entire track. It's a nice change of pace, but that doesn't give it a pass.
5. Sunny Side of Love: Written by Steven and Fredreiksen.... this is so Geffen era, maybe like a ballad off Nine Lives. I mean, I used to like that album a lot, but really, it's more select tunes off anything post Draw The Line.

Overall I have to give this a 4/10. This is what I expected. I don't even know what to say. I really kind of..... this is my absolute least favorite release by these guys. Hell DWM is better all around. I've waited 4 years for this, me specifically not talking about those who waited the whole time. What they need to do is fire Marty and Steven has to stop trying to be cute and give the band personality. The 70's group had way more personality and were bad asses. The worst thing they ever did was get song doctors. Also they have to go the way Joe wants to, why?, because he knows whats up. The production hurts the songs for me, to flat out killing others. If you listen to the first Aerosmith album, that is a "true blues" album. Listen to the first like 3 seconds, with headphones and the volume turned up, of the song Movin Out, or Make It but on the Pandora's Box version (the self titled and Pandora's Box version are different, slightly). There is an unintentional noise in the background. Some of that, I think, was left in the mix because it couldn't have been taken out. Now it's like a germaphobic Aerosmith where they can't leave little bits like that and they have to have everything clean and sterile and if a little studio thing like that happens then they have to "rewrite" the entire album. Or at least that's part of a theory of why the pushed the album back 3 months, after there was a release date of 08.28.12. They probably had to give the album a acid treatment, the entire thing. UGH!!!!! Why are people so afraid of germs. I'll never know. If the next albums like this, I GIVE UP!!!!!!!! Oh by the way 4 years later it only gets worse with each listen.

Metal Magic - Pantera

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

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

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