Controversy - Prince

This is the fourth album by Prince and was released in 1981. This album follows the amazing 1980 Dirty Mind. While it may not be as good as that album the title track alone makes this worth a listen. This was also released in October. The album before and after were also released in October. As you may know Prince recently passed away, I plan on doing a Purple Month sometime next year maybe, but for now this'll have to suffices. Now I'm a huge fan of this guy, his Cream of the crop coming from 1980-1987 (it starts to decline after 1992 a lot). Now I will miss Prince, but not sorely. Why? Well blame it on Bowie, but after he died I said.... When's Prince and Macca and my other heroes gonna die. And when I heard the news I went, that was quicker than I wanted. :( But to honor him I'll review a pretty straightforward less popular, but solid, record.

1. Controversy: This track opens the album. This is an amazing track from every which way. This track features Lisa Coleman as a backing singer. At 7 minutes I have to say, this really doesn't feel like it overstays its welcome. It kicks off with a punch, had a solid groove. The chorus is very catchy, and the Coleman's refrain of the title is great. Oh the track also changes enough, while not a progressive composition, it changes enough to keep me interested. I love the umph that Prince does, which sounds like a sampled voice being played through a drum (essential serving as a bass drum).
2. Sexuality: The definition of Prince's music, at least Pre-2000. Hahahahah, that's a good joke right guys?!?! But more seriously, this was released as a single, but I don't hear it. It's kind of an uninteresting synth funk number that has been done much better by The Purple One himself. It also sounds like a song I could hear being a new wave influenced maybe on a VH1 Classic rewind music video block. This isn't terrible, but I know if I heard it I'd probably just hear it passingly. Like there isn't anything here that really drives me, outside of the review, to revisit this. The only thing that I do smile at is the lyrics that were quoted in Rainbow Children.
3. Do, Me Baby: If I'm correct this was written by André Cymone. This also dates back to 1979, though this is a re-recording from the 1981 sessions. The one thing I have to say about this song, honestly, is damn this is long. Maybe it's a bit too long. This is a sensual song, kinda like International Lover. The only thing is this isn't as good as that track. It's almost as if that was a re-write of this, but done better.
4. Private Joy: This was actually later covered by LaToya Jackson among others. Honestly this is a pretty fun, 80's song. I really can't hate it you know. It's pretty damn fun. While I feel like it might be a bit more fit to someone else, I can't knock it you know. I don't know which I like better, I mean the cover sounds better, but this.... I think his singing is what kind of make this sound like the original of a song that was later covered by someone else and made a hit. A number of song on that list include Since You've Been Gone, I Feel For You, Blinded by the Light, Nothing Compares 2 U, Respect among others. This is still a nice song and worth checking out. I do appreciate the sort of distortion and segue into the next track.
5. Ronnie Talk to Russia: Being Lisa's second track shes on, this is a very short track. Look at it as this albums equivalent of Sister. There is some nice drum work in the beginning, then when the song starts it kind of makes me think of a rocker off The River. I mean it's a fine song, it's sweet and short, not as good as Sister or memorable, but it is what it is you know. Kinda tongue in cheek.
6. Let's Work: Originally titled Let's Rock after a dance the title was changed to make it less timely. This song is kind of simple and these not much to it. This beginning of the song, or refrain  reminds me of Le Freak. The comes the bass line for a few bats before the vocals come in, which I think is the best part of the song. I really like the way he sings and the sort of six syllables or beats he sings and the synth backing him up. This is really a top notch song from this style. And I'm pretty sure it'll make you wanna get up and dance. This also sounds like it's pretty confident and I could almost see it being on par with the next release, if not so new wavy it could also fit on there. It's pretty confident and bold and just straight up great. I also like the synth that works as sort of strings for the track. Nice ;)
7. Annie Christian: The segue into this next track is something else. Its almost if he was aware this is odd and he wanted to get you in the mood right away. Now this isn't odd in a "I can't believe he'd cover this topic". This is odd for the way it sounds. Like I almost feel like it's not shocking, just bizarre. It has this weird feeling to it that makes me think it's supposed to have a deeper meaning to it, but I don't know. There is a really nice guitar through out, and this icy synth that sounds like lazer shots being fired. The more I listen though, the more I love every second of this. And I'm serious about the guitar, we rarely get solos and here is like a 3 minute long one behind the track. Maybe the best way to describe this is he was a Third Days Something, I don't know but some people say that is like a cult. This song has a very cult-esque feeling to it. Almost as if he was brain washed or sung by a robot. The only real logic I can find is maybe it's about the devil, and to back that up the fact Annie Christian Annie Christ sounds like Anti Christ. 
8. Jack U Off: If I'm not mistaken this is the first track Prince misspelled. This track, while classic in its blunt title.... It isn't classic. It kind of has the silly feeling Delirious and a number of tunes here have. This is kind fun, but I'm not sure this fun feeling is right for this song. Maybe for the chorus, but like I don't know. It doesn't leave a good feeling in my ear, or mouth. I've heard far worse song, and loved them, but this just doesn't really work for me if I'm being honest. The best part is may the harmonies, but also I feel like it doesn't work too. There is also a rock and roll feeling to this, but I don't know.

Overall I have to give this a 7.5/10. This album, while less eventful than the previous album or the follow up its kind of important. I once read, and didn't realize, this is the first album with long songs, which Prince would use extensively on his next album (and other albums not necessarily to his benefit). But this really is the middle ground between DM and 1999. Ultimately the title cut and the other two tracks are a good enough reason for me to buy a cassette, Cd, vinyl and 8-track of this album. Now that being said Prince Roger Nelson will be missed but if there's anything we can do its to keep on keeping on. He wasn't one to really back track (well until more recent years) and musicians shouldn't either. So lets keep going and make Prince and the others proud. 

77 Rusty Trombones - Blowfly

You know, everyone has to go sometime, but it's odd. This year has been of to a crazy start. Lemmy died at the tail end of last year, my Grandfather New Years Eve, Bowie the 10th, Glen Frey the 18th and I can't believe that Clarence is gone too (17th). It's kind of funny, I kind of wanted to write a song for him on one of his newer records. I mean, I doubt it'd be as filthy as him, but still. There has not been a year, to my memory (like as in what I remember, not what I can recall as fact) where so many people have died in such a short time. When I looked it up, I was like wow Otis Clay is gone too (8th). So it's getting to a point where I'm waiting to hear Macca, Prince, Dylan, Hancock, Zorn, Patton and so on have passed too. I mean it's just odd, I'm the one who has uploaded most of the Blowfly whosampled information to the site. Really, I took the time because I felt people should know and see and hear great tunes, and parodies. Now he's gone. In the time of me reviewing this Vanity passed and so did Signe Toly Anderson (Jefferson Airplane singer) and Paul included. So hopefully this review will hold over till Reid month.

1. If You Don't Blow Me By Now: This, a parody of Harold Melvin & The Blue Notes 1972 If You Don't Know Me By Now, opens the album. It has a sort of mournful feeling, and is kind of perfect to close the record if I'm being honest. I think that this is pretty great and I can't ask for much better at this point in his career. 
2. The Big Gay Crack: This is hilarious, a parody of The Payback by James Brown. This song is so fucking hilarious. I really can't even, it show he still can sort of leave you speachless. Other than Big Gay reminds me of Big Gay Al.
3. Masturbate: I don't know for sure if this is a parody off the bat. It does remind me a bit of something off the 70's albums though. This sort of reminds me of the themes, like the in-between song themes, or vamps rather, he'd play on albums like Weird World of Blowfly, or Zodiac or On Tour.  Also there is some nice guitar on this track, I wish there was more of a solo, but it's still tasty. Actually it most reminds me of The First Black Presidents' backing track.
4. I Still Believe My Dick Can Fly: This is a reworking of the parody that found it's way on 2005's I Believe My Dick Can Fly. It's actually pretty great to be honest, I mean I'm not laughing.... but the music kind of makes me want to cry a bit. Also that break in the song makes me smile. :)
5. Blowfly Jeopardy: This is a silly little skit that sort of reminds me of the skit tracks on album from the 80's like Black President and other skits, especially on his latest album (Black In The Sack). They played the theme over Tom asking questions to Fly and a band member, I presume.
6. Mountain Jew: This song is hilarious, it's so upbeat. It's so happy, I really want to find out what it's supposed to be spoofing. I love the tone on this, there is a country feeling to it. It's too good to be honest. If I had to guess I'd say it's a parody of a Creedence Clearwater Revival tune, but again I'm not sure. I guess this is a spoof of the really old song, from the 20's, Good Old Mountain Dew. That song is about Moonshine.
7. American Ho Woman: This is a parody of American Woman by The Guess Who. I mean it's okay, but I don't really think the players are as good on here as they were on the prior tracks. I mean it sort of sounds off and doesn't really work well in my opinion. Nice solo though.
8. She's Got A Weiner: This is another ballad, but....... I don't really know what to make of it first time though. I mean, this isn't the first time  he's had a song where a woman turned out to be a man. I can name at least a handful, all the versions of Rap Dirty included. I mean it's as frequent as Van Morrison and the word Caledonia. Also I'm positive this is wrong, but is this a spoof of She's A Lady? This is a soul song, so I'm not sure exactly what it's supposed to be
9. I Fuck Everything: I smirked a bit when I saw that title, there exists a Bowie tune I Dig Everything from 1966. Imagine that song being Fly'd. Hilarious, I mean I doubt it would be, but just kinda funny. Instead it's a Stylistics parody of You Are My Everything.  I doubt he'd have done the Bowie tune, but the upbeat happy vibe of that would be amazing if they were fuck instead of dig. 
10. He Will Fuck You: Ah, another We Will Rock You parody. There isn't anything really to say other than this is probably the closest to the original I can recall. This is the third time he's done it, second as a full track. 
11. Celebrity ABC's: This is basically a rerecording of Sesame Street which he's done under a few different names over the years. This is the last, and is kind of fitting that its on the last. I mean that isn't much to comment on really.
12. Fakin' the Bi: This is a punk song, but I couldn't quite pin down which one exactly. I had to wait and I still couldn't figure it out. I like it though, so if you know let me know. This is kind of funny, who doesn't hate a woman who fakes being bi (I think that is what this is about, I can't really understand). I still think it's a nice addition to the album.
13. Hell's Hoe Dolly: I really loved this, it's similar to Mountain Jew. I can kind of assume it's a cover of Hello Dolly, but you can't be sure. PS I can only assume after listening. This is just such a fun song, I feel like it is the only way, besides the bitter sweet ending with If You Don't Blow Me By Now, to end the album and his career. I mean his best albums are party records, they are just fun to listen to and not take seriously and this capture's that.

Overall I have to give this last album a 7/10. There is a bit of a closure to this album. There is a fun element to this that reminds me of Weird World. I wonder if he knew he was sick. There is sort of a goodbye feeling to this, it's not as deep as Blackstar but it's rather accepting. There is something bittersweet about this (but in a different way than the other mentioned album). I don't know. Maybe it's that I know it's the last record we'll ever get (not like how the aforementioned Hero planned outtake albums and what not to come out). Maybe it's that this is fun to listen to and not just an old man who won't grow up. I don't know but I think it's nice. I want to also note, if you happen to know what the songs are spoofing and I don't have it down, let me know in the comments I'd love to know.

The only thing I think that could make this feel like more of a closing is if he play the Weird World theme. But all things aside, when Clarence passed we lost of of the best soul writers to have ever been born. 

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.

Lucille - B.B. King

This is the long awaited review I'm gonna give. It is also the long awaited review of a blues legend. Now I'm gonna be honest, going into this I knew something. There are only two tracks by this guy I LOVE, the title track and The Thrill Is Gone. Now in the wake of his passing, I have to be completely honest.... I felt it was time for me to review him. I did it for Lou Reed, and B.B. King (while not on me specifically or my writing I or direction) has had a huge influence on artists how have had a huge influence on me. Much like Elvis or Buddy Holly, Chuck Berry or Ray Charles and so on. Now if not for a double album called Freak Out! I would have lost faith in the blues, well minus Aerosmith. The aforementioned band, well they kick too much ass to bore me, but I digress. Now from FO! reviving my interest, I also gained footing in my favorite blues band, not from America, Fleetwood Mac. I said that because here there is a quote from BB that said Peter Green is the only guitarist, white, to give his a cold sweat from his pure tone. Now really none of this matters, what does is the BB King is a legend and has influenced countless artists, so why not do the album that I have the best chance of loving. I will also do The Regal next time I get the chance, and depending on how this goes maybe some other records also.

1. Lucille: Opening with same notes as the legendary Let's Get It On, this is a phenomenal blues track, and one of the best of the genre I've heard. Hell it's one of my favorite songs ever, and at over 10 minutes it doesn't get boring at all. Its "talking blues" that has the in between fills that's sound like a blues god is filling in the voiceless areas. And its not just guitar soloing is also has sax fills and piano fills and even organ fills. I need to say that the tone used for the guitar is amazing, and is gorgeous. I LOVE the Sinatra name drop, and I read somewhere he'd listen to In The Wee Small Hours everynight, and that Old Blue Eyes was his favorite singer. So I got respect for him bro. And the way the he is laughing and just having fun, that's what music really. It's art, but it's also about having fun. The tone is top notch and the playing here is great. All the solos are awesome and I laugh everything I hear the "Oh I bet you're wondering why I call the guitar Lucille". And the tale, while ultimately pointless, is pretty interesting to me at least. Oh I almost forgot to mention; that organ, Damn this recording is so damn phenomenal. {9/10}
2. You Move Me So: The horns on this upbeat song and fast paced track It's exciting and is a left hook for me in this album, I figured the only good track would be the title track. This is very Motown sounding to me. The upbeatness and speed remind me of a Sam & Dave track like Hold On or Soul Man. The funny part is they were on Stax, but you get the point. I honestly enjoy those tracks. This sounds like it's be a fun little ditty, and sort of sounds like the Shakes but good.
3. Country Girl: "Fell in love with a Country Girl". The second this started I went "Fuck another Lucille". But that organ is actually pretty solid, and to be honest that little "dun dun dun dun dun dun" at the end of the verses, it reminds me a ton of Pride & Joy by Marvin Gaye. So thumbs up there :) I mean it isn't amazing, but it ain't terrible and boring to me.
4. Mo Money, No Luck Blues: A Joe Ivy Hunter penned track. This isn't that bad, but I mean it isn't ground breaking. It's a blues tune. I did enjoy it though.
5. I Need Your Love: While this isn't a cover I vaguely remember a blues classic that had this title. Maybe I'm wrong, but who fucking cares. At this point it's starting to wear thin, the whole blues feeling. I mean I feel hypocritical because I loved Mr Wonderful but I don't know. While the piano is making it much easier to take, I just... I kind of know the rest of this thing is going to be very similar isn't it.
6. Rainin' All the Time: This does have a nice feeling, but again, I've heard it already and can't really say it's that great in context of a front to back listen. I mean I could totally see myself digging this by it's self, but in context it isn't standing so strong.
7. I'm With You: Babe: This was very similar and I spaced out and didn't even realize this song started. I think it's okay.
8. Stop Putting the Hurt on Me: I guess BB ain't into chains, hahahahaha. No just another blues tune.
9. Watch Yourself: To close the album we get more of the same. I mean it isn't half bad, it just a bit much for me.

Overall I have to give this album a 6/10. First off, I need to be honest. I was surprised by how much I didn't hate this. There are tracks what I think are decent and much better than say his earlier albums. I played a track off each album and damn are some of those boring as fuck. It was nice to see that there was an album with a very long track and not every other track was shit. It usually happens with longer songs like Love to Love You Baby, Foreigner, Disco Wedding, and many others. The title track alone is worth buying the vinyl or CD of the album. At the end of the day Lucille will never be black, instead it will be sunburst and hell maybe one do I'll be able to cover it live. So goodbye Riley B. King, you wont be forgotten by your fans, and won't be by me after making this album. Also there will be another Memorial review coming up tomorrow, or The Next Day.

Motörhead

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

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

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

Lou Reed

In the wake of this whole Lou Reed thing I decided to do a review in memory of him. I'm not a huge fan, but you know, why not to remember him. But Bowie loved him, he collaborated with Metallica, he made fucking Metal Machine Music, and he sang Perfect Day. Those are huge accomplishments in my book. So in honor of the litta' bastard from Brooklyn I decided to review an album I've been wanting to do, but was to lazy to, but now have an excuse. But seriously at the end of the day, if you could be half as important to music as Lou Reed then I salute you. Now enought talking and let's get down to the review.

1. I Can't Stand It: This song is pretty solid to start off the album. I like the women backing singers. This song appeared on The Velvet Underground's live album 1969. I like this version more then the VU version from the outtakes LP released in '85. This is a fun and good way to start out an album. The drums in the beginning remind me of the drum intro to the David Bowie song from 1970 The Supermen. This is in the same vein as Vicious but that doesn't make it bad. This version has more soul to it. The solo's also pretty solid for the track. The tone is great and I like it overall. This is the best version.
2. Going Down: In essence this is a ballad. This is a pretty good song, the only complaint it that I can't really hear Lou and the song drowns him. Other than that it's a great song. This song is really upbeat and is a fun short listen.
3. Walk and Talk It: This riff reminds me of BTO or another riff driven classic rock band. This song has a classic riff leading it and has those female backing singers again. This is a good song. When you compare it to the VU version it's faster and more exciting. It is a demo but more in the vein of the Grateful Dead or The Rolling Stones. This is the superior version.
4. Lisa Says: This song has that soul vibe to it that the rest of the album has. It's a pretty good song, but I'm starting to run out of other words to say for these songs. I hope that changes a little. The song seems to change after a drum "fill"  into Goodnight Ladies. Not lyrically, but musically. Minus the horns. It's a pretty great song to dance to. For me to dance to at least. Then repeats to the beginning of the song until the end. It's long, but it's length is justified.
5. Berlin: Later rerecorded as the title track for his 1973 album, this originally appeared here. On this version it's longer, by like two minutes. The version on Berlin is kind of like a piano/vocal sole song. It's got an avant-garde feel to it there. This version has more of a jazz feel to it. This song feels like it might be played in a jazz club. This is a pretty relaxing song. This is a pretty great ballad, and is better than the titular track version. Damn, this is another great solo that fits the song.
6. I Love You: This sounds like Never Going Back Again. That song didn't come out until 1977 on Fleetwood Mac's classic Rumours. There is a country vibe to this song that is just missing the twang. But I like that there isn't a twang. That'd kind of be overkill.
7. Wild Child: This is song reminds me a ton of Let Me Sleep Beside You. That's an unreleased, at the time, song by David Bowie from 1968. It's very eerie how similar they are. The pre-choruses melodies are very similar. You need to listen to them back to back and then tell me what you think. This is a good song, but I kind of like the "Bowie" version more. The bass line in this song though is sick. I like the gallop of it. 
8. Love Makes You Feel: This is a love song. I don't think it's amazing, but I do like the drums in the chorus. This is a fun song, but it's not the best on the album. I also like the acoustic guitars at the end.
9. Ride into the Sun: This has a funky intro, and kicks the Velvets demos ass. This is a pretty great song that would probably be fun to play. The song kind of goes down hill for me, but the solos good. Maybe it's because I'm tired, but still.
10. Ocean: This track was another outtake from Loaded that Reed reused. The outtake isn't that bad. If you have to compare it to the official version its not as powerful. This track closes Reed's first solo album. This is a pretty song and its pretty tough. It doesn't seem like it's gonna pussy out on you. The piano sounds sick and the arpeggios in there. This kind of paints a picture of an ocean with the sounds. Great ending for the album and kind of makes me want to listen to Transformer in whole. This has an epic finish feeling to it. I also like the outro of the song. You'll have to see yourself.

Overall this album gets a 7.4/10. What do I think about reusing outtakes for solo albums, well The Beatles did it. Not Guilty, Teddy Boy, Jealous Guy, Circles, All Things Must Pass, and more than just that. So yes, it's kind of cheap, but if it's good, it's good. Also how could you say no to that cute little bird on the cover. Yes this isn't as good as Transformer, but it is essentially a first solo album. Starting his own thing, but also taking use of his past to try and make himself. If we can learn anything from Lou it's that "your going to reap just what you sow". So all I can say to that is Goodnight Ladies, Goodnight Lou, Goodnight world. Lets look forward to a better tomorrow. :)