Ride the Lightning - Metallica

So I have been listening to so much Jazz lately I lost track of reviews. So I decided to pick this album because I know it quite well, and while I doubt I will have any new insight, I still wanna do it. Okay now back to the review, or into rather. A growing trend in media seems to be revamping old ideas for today's sound. Like classical music, but it's rock and is supposed to "kicks ass". Or let's revisit out 80's albums and make a new album, but with new production. Which in all fairness, sometimes you need to go back to move forward (and some people have pulled it off). Rejuvenate that love or passion you once had, and then take the drive and continue forward. So they follow the album up with a fresh sort of breathe of air. It might have been off putting at first, but there are glimpses of something nice and interesting for a thrash band to do in decade 3. Then for whatever reason they take 5 years to follow that up, but the final product just seems to take ideas from elsewhere and their 90's albums. Hardwired is not a good album, it's not terrible and I do not see it being impossible for someone to enjoy the album. I have lightened up on it, but that's because I also haven't listened to it and only remember being disappointed. The only thing is that it can never amount to their 80's out put or even their 90's. Why? Well what happens when you run out of ideas? You either go back and look at old ideas and renew them, or you push ahead and try new things and do things you never thought possible. Fuck if they put out an EDM album, it'd probably suck, but at least they weren't back tracking. So in honor of that disappointment I felt I needed to review my favorite album by the group. This is the second album by Metallica. This is also my favorite album by them. This album kicks ass. Now this album is also somewhat historical. Yes, Dave Mustaine co-wrote four of the songs on Kill 'Em All, including the first four bars of each solo. But here this is where the writing is better than on the prior album, and also you got some of the best songs Metallica ever made.

1. Fight Fire With Fire: Opening is a great, really kicking off the start of a more focused album. I imagine it surprised some fans of the band to hear acoustic guitars opening up the record. I mean I could imagine me going what the fuck, if I want already exposed to their later stuff. Okay the drums do bother me a little bit, but the song is still freaking great and has a fucking awesome hook. The song is angry and has this energy to it that makes me wanna headbang, in usually opposed to that because I feel dumb. But this is an exception. The solo is not that memorable, well parts are, but it isn't as memorable. That is until the dual leads that are harmonized I wanna say a third or fifth apart. I could double check but I wanna be fast. I think that is the best part of the solo to be honest. And there is a great punch that comes with this song and shows that even though the opened different it still fucking rocks. 
2. Ride the Lightning: I think that this is kind of cool. People thought this was about the horror of Capital Punishment. But James later said he supports it, and this song is about a man who faces it for a crime he didn't commit. That gives the song a story, and an interesting one. This song also paints a picture with its words and the music even has this sort of lightning bolt feeling. The fast guitar chords, the cymbal hits and even the sort of clouding up the mix a bit. and the sort of thunderous clouds that I could almost see this being (if it was an instrumental) a tone poem about a thunder storm. The guitar solo is so fucking sharp and it could be ear piercing but sounds so fucking good and is very memorable. I also love how the song has a bit of a change with the solo and then it starts up with a dual guitar thing. So freaking good. Also I think Lars drumming actually fits this songs tone and theme quite well. Also how can you not love that opening riff.
3. For Whom the Bell Tolls: Again another nice touch having those bells in the beginning. The bass is the lead on this in the intro and the guitars power chords sounds like thunder clouds. The track really is constructed extremely well and the guitar makes you feel l your going to trudge into battle. I figure the walking pace of the drums helps that quite a bit, but again musically another stellar song. Even the lyrics and the delivery feel like its people chanting about to go to battle. Revisiting this album I wonder if Cliff was the real brains or at least creative force of the band. Well either him or Dave. This again is a very memorable solo and song in general. I love the ending and they basically do the break down of Raining Blood two years before it came out. 
4. Fade to Black: A very nice change of pace, very sad and depressing. The song is about suicide and musically and lyrically I feel its handled quite well. Lyrically its not a master piece, but it isn't as shallow or corny as it could be. There is a real grit to the tune. I mean look at some of th later post-Black Album lyrics... Odd they'd go down that road and wouldn't progressively become better lyricists. Unless.... No, they couldn't have phoned them in on newer albums. I also want to point out on the CD this works perfectly from the last track. Also as if the soldier wants to die bow that the battle is over, for some reason or another. Like a pseudo-protoOne. This really is a gorgeous song and really evokes sadness, misery and just finality. The second half of the song, is a great change and I mean it isn't that shocking of a change but it is like a "beat change". The first half is the sorrow, and the second half is the follow though. This really is a great moody tune, as I've said now I don't know how many times, but I really have yet to grow tired of this or any tune on this album honestly. And that solo, the only thing I wish is it was turned up a tad, but other than that I mean it works.
5. Trapped Under Ice: Based on a demo from Kirk's days with Exodus this song Impaler. Note: this demo was later released, rerecorded, on Exodus' 2004 album Tempo of the Damned. I honestly don't think this would sound out of place on Kill Em All. It's very fast and probably the best example of speed metal here. I mean not to say the songs aren't fast, but this is like a shot of adrenaline, and a much appreciated one. This song is really solid and has some great moments, but the fact that it is a bit faster than the others is a nice contrast to the slowest/"lightest" song on the album, the previous cut. Plus it kind of is a return to the charm of the last album.
6. Escape: This is the only tune I can never remember. Honestly I just can't ever remember it, hence me not having this a "bold" track. I mean I can remember all the others why can't I remember this. And to be honest, other than it could easily be transformed into a sludge metal/groove metal tune, there isn't much here for me. I mean yeah when I hear the chorus I remember it, but it doesn't stick with me. Sadly this is the weakest cut here. But I'd prefer one weaker cut to more or less an entire albums worth. There is some nice moments, but this feels like I don't jive with it. Honestly I'm having trouble retaining anything other than the chorus, but even that I doubt I'll remember.
7. Creeping Death: Another killer fucking tune, and possibly the best of the album. Well with the exception of maybe the closer. Written about the plagues of Egypt and Kirk co-writing the lyrics, this really is a heavy hitter. This is a song that I think even now, on newer live albums/releases, it'd be hard for even this band to fuck up. This also returns to the sort of thunderous thrashing that was earlier on the album. Great solo harmonies and this really is a great cut. I also like the change that makes it more chaotic, and yes you've basically hear this earlier on the album, it's nothing new, but it works very well here. The chant makes it seem all the more evil. Which is odd, I was always taught the Egyptians were the bad guys in that scenario. I guess it comes down to perspective, of which if you think sort of a subversion of Christianity, like what God doing is "evil" or whatever, check out Wormwood by The Residents. They got some odd stories that actually are in the bible. Judas Saves is my favorite in terms of thinking. Regardless great tune as a penultimate track.
8. Call of Ktulu: This track was originally titled When Hell Freezes Over and was co-written by Mustaine. Mustaine later released When, a reworking I believe if I remember correctly, in 2001 with Megadeth. This is another track I can't imagine them fucking up, like really it's handed to you on a platter almost just don't fuck with it. The electric guitar arpeggios are reminiscent of what would come on the future albums and, to a lesser extent, Fade to Black. The really great thing about this is this track builds in a fucking phenomenal manner that is just a bit baffling to me. This so fucking kicks the shit out of Pulling Teeth, Orion and definitely Suicide & Redemption. This is really just a great tune that while you can argue nothing much happens, it keeps your focus for all 8 minutes. That truly is a large achievement, especially for this type of song. There isn't really anything new happening here that hasn't happened on other tracks throughout the album. It's almost like a sort of overture, but at the ending, and instead of featuring the themes it just takes that elements instead of exact notes. Killer ending.

Overall I have to give this a 9/10. Don't get me wrong, thematically the lyrics on these Metallica albums are awesome and inspiration to write better lyrics/stories. But I don't think they are the best thing ever. Now I think this is the best album by the group easily, but its not perfect. Its so fucking close, but not quite there. It's heavy, memorable, and definitely worth a listen. Also as a side note, let's hope that in 2031 they release the follow up to Lulu and not a St. Anger II in 2023. But according to past behavior (1988/2008, 1996/2016, 2003/2023?).

Outlandos d'Amour - The Police

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

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

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

"Weird Al" Yankovic in 3-D

This is the second album by Al and is followed by my favorite album of his Dare to Be Stupid. This album thought was released February 28th, 1984. I originally planned to do this before the release of Mandatory Fun, an album I still occasionally listen to tracks off of to this day. Since it's been a while why not do one of his classics. This album is fun too and why not, I mean everyone's back at school we could use some fun.

1. Eat It: I love this song, and to be honest, still find it really funny. This is a parody of Beat It by MJ. I used to love that track, back in my early days of getting into music. Now I'm not so keen on it, nor am I that keen on really anything by MJ, with the exception of the classics (Got to Be There and Ben). Rather than being about disagreements, and gang shit or whatever the fuck this is about (being tough?), Al makes it about eating. You really can't go wrong there. The honest truth of it is, looking now, I like this version so much more. It's like hilarious, the silly little intro and solo still make me laugh. Those backing vocals too, they did a really good job with this one. I don't know how I can still love this, but like when I hear the original I can't even sit though it anymore. Really, that's kinda of a a fact. But back to the solo, I love it so much and that explosion. 
2. Midnight Star: This is an original, this song is an "ode to" a made up tabloid. Like a magazine and what not you'd find at a store or something. While this isn't as great as the last track it's still a solid tune and I think it works here. I think this is a pretty funny and silly song, and I like those keyboards on the song. You can tell it's from the 80's or so. This is a pretty decent song though, and I looked it up and he said most of these headlines were real. I really like the arpeggios at the ending and the outro to the song is pretty fun and this is a solid 7 or 8. Probably more liek a 7.5 or so.
3. The Brady Bunch: This is the Brady Bunch theme. kinda, to the music of Safety Dance. I like the original version of the song, but to be honest I don't know. I'm not really feeling this song so much, I get the joke but I'm not feeling it. I've seen the show before and it kinda fucking sucks. So yeah, but whatever. They did a solid instrumental cover though.
4. Buy Me A Condo: This is a style parody of reggae music, and I really dig it. Like in all honesty this song kinda got me into reggae :D.  I mean I've heard other bands and songs I've liked, but it wasn't until this that I was able to get into Marley. I'm not a huge fan, but this song is great. I kinda love every aspect of it.
5. I Lost on Jeopardy: This is a parody of one of my favorite songs, Jeopardy by Greg Kihn Band. I love that sort of funk feeling to the keys and the instrumental cover is such a good fucking cover.... damn! If not for Al it'd be easy to mix the two up, well that and Don Pardo. This song is hilarious and it's really fucking great.
6. Polkas on 45: This features a bunch of songs, it's a polka melody. The tracks here are Jocko Homo, Smoke on the Water, Sex (I'm A...), Hey Jude, L.A. Woman, In-A-Gadda-Da-Vida, Hey Joe, Burning Down the House, Hot Blooded, Bubbles in the Wine, Every Breath You Take, Should I Stay or Should I Go, Jumpin' Jack Flash, and lastly My Generation. This also happens to be one of the best ones he has ever done, and the only song I was unfamiliar with at the time of this review was Bubbles. Actually it also has some of my favorite songs here, I love Jocko Homo and Smoke on the Water is still pretty solid. I LOVE Sex, Hey Jude and L.A. Woman. In-A-Gadda-Da-Vida is a song I've kind of grown tired of, but I like this rendition quite a bit. That goes for Hey Joe and Should I Stay/Jumpin' Jack. I know I basically said a whole lot of nothing, but this is a lot of fun and a great track. Plus it's super catchy and makes you wanna revisit it right after it happens.
7. Mr. Popeil: This is a style parody of the B52s, according to Wikipedia. But it also mentions that Al said it's not a style parody. This is also is a song about Sam Popeil, who's daughter sings on the track and has sang with Zappa. This is a fun enough song, and I mean it's not something I listen to outside of the context of the album but I do like it. The female vocals on this remind me a bit of God in 3 Persons. So obviously that makes me smile. :)
8. King of Suede: This is a parody of the King of Pain by The Police and is about the owner of a clothing store, who is the King of Suede. This is a good "cover" and while I'm not in love with the original version I do like it and this one. Plus this is so fucking goofy. Where the original was written after separating from his wife [Sting], this is basically a commercial that I could imagine seeing on TV if this was the 80's or 90's or even cheesy ones today. The Perkins reference made me smile too.
9. That Boy Could Dance: You know this is an original. The one thing that I have to say is that it isn't as good as the originals of Dare to Be Stupid, but still enjoyable. This is another number that's well enough and it's fun. I dig the saxophone in this and it screams 80's. I could imagine hearing this in an 80's film that someone was playing in the intro or on their boombox.
10. Theme from Rocky XIII (The Rye or the Kaiser): This is a parody of Eye of the Tiger, and now I think is funnier to listen to than it probably was back when this came out. It's making fun of how many films there were, and kind of like eventually he'd be too old to fight and the movie would be him doing something not as exciting. For example, buying a deli and working there. I kinda don't wanna say anything else, because I love how un-Epic these things he does are, over the music to the Epic pump up song people love. I dig the tune well enough, but this makes me smile. Now I know he in the one film he still boxed, but it's funny because they resurrected it and he kind of was "to old to fight". Al predicted the future :D.
11. Nature Trail to Hell: This song starts out reminding me a lot of the intro to Black Sabbath and Mother. This is I think the best original he did, thus far in his career. Digging the "strings" solo, and damn is this cheesy. Thus making it the sweetest ear candy known to man, to me at least. This song is proabably the best original song here, and it's proabably one of the best originals he's done. I love horror films and I could see this being an 80's slasher film. The instrumental is also really neat, like they did a really good job there are sections and kudos Al.

Overall I have to give this album a 8/10. This is a solid album, fun to play and has some memorable parodies of great tunes. I know I didn't talk it up that much, but really it's fun and reminds me music shouldn't always be serious. Harmless fun isn't a bad thing, I just wish people who did that today did it as good as him. At the end of this album there's really only one thing to think, Does Humor Belong In Music? it's up to you to decide

The Real Thing - Faith No More

What a perfect way to have a summer feeling than an album that is quintessentially summer music to me. What is this, this is the third LP by Faith No More. Their first two LPs, '85s We Care A Lot and '87s Introduce Yourself feature the vocal talents of Chuck Mossley. He was a sang in a monotone voice, which might be off putting but I believe it worked for their sound and image. A lot of that founds its way on this, the first album to feature Mike Patton on lead vocals. In fact all the music was written prior and recorded, they just asked Mike to write lyrics and sing for the album. 

1. From Out of Nowhere: Opening we get a solid opener. And to be honest this is a great opener, in context of the other albums they have song but they don't really pump you up. Right off the bat there is something building up to somewhere. Not tension, but the music is very very engaging. The play also happens to be much more fun and have more personality in my opinion. This has song great vocals and the keys are something else here. The arrangement is great and that bridge ...... Yes! Great solid opening. And even though it's a straightforward song, there are little elements that change slightly enough to not be a loop. {8/10}
2. Epic: Possibly the best know song by the group, this tune is a classic. What a baseline, what a riff, what a rap. While I think it's silly, I still love this thing so fucking much. I also love the tone on those guitars, Jim does an awesome job. I also like this being sequenced second because I personally think if fits better that way. The song is quite good at building tension, and the licks are pay off. I could almost see this being played on strings and working well. The ending fade out is so fucking awesome and that piano. Well lets just say that's part of the reason the piano is my favorite instruments. Every time I hear it it takes me back to High School Summer Sophomore Year. Trust me I like this, not for nostalgia, but for the fact I just love these songs. 
3. Falling to Pieces: The third track to be a single from the album, and at track three I gotta say it's great. It's weird how this song, along with my lesser favorites have grown on me. The bass line is very memorable, with some great guitar work and just gives an atmosphere. Like it can't hear this song and picture anything other than the music video. It's a fun music video, but the song itself is quite fun. I really love the keyboards on this thing too. I love the guitar solo towards the end, the buried in. And I like the multi tracked vocals on here, silly but add to the song. 
4. Suprise! You're Dead!: This song has a much rougher, rawer feeling to it. It has that Metal that makes this a Funk Metal record. I could see this going toe to toe with another Metal band at the time. Maybe not as heavy as a Slayer, and I know there are heavier bands back then than Slayer, but yeah. I still think this song packs a punch and, maybe the backing vocals take away from that lunch a bit. If this was produced, or executed, a bit differently I could see this being a Slayer song. I really dig it and like the telling from Mikey. 
5. Zombie Eaters: This opens with arpeggiated acoustic guitar, and is a nice follow up to the last tracks punch. I also like the hi hats that punctuate his vocals. The arrangement here is great and it builds tension. Even if you've never heard the song before there is a tension you feel. I love the Spanish feeling guitar licks and once it happens you just feel that hit. The bass is thundering and I'd love to hear this thing live. I really like the sections and the builds and changes that happen in this song. While it's pretty straightforward, I still like the little details here and there. It's not just a straight loop. The only real complaint is I don't think it HAS to be 6 minutes long. They could have maybe cut a minute out or 30 seconds maybe. Although I don't know, they do kind of justify the length a bit by the changes, but I feel a bit unsure. I like it but it is a bit long. I guess I really have to be in the mood to hear the entire song (outside of a front to back listen). I really like the ending though. 
6. The Real Thing: Alright, six tracks in and we finally get the title cut. Opening with a drum beat, that has a snare hit (I believe)... Damn! There's also this like wind sound or something, or water sound effect. I don't know but I like it. There is a tension of waiting for the song to explode. Now while the explosions are more overt and obviously going to happen in this song than the last, that doesn't make it bad or worse. I don't think this is as well arranged, but there is a bit more of a punch maybe. This also sits at 8 minutes and is a song I feel like I have to be in the mood to sit through all of it. I like the vocals on this thing. I do dig the part where the song quotes down, nice dynamics. But again, I feel like it could end at 5 minutes but there's still 3 minutes left. Like honestly there isn't much that happens in those last two minutes of the song. I mean yeah sound effects, but that doesn't mean it's worth. They could have just as easily edited it to be shorter. 
7. Underwater Love: Now where the last track runs out of steam a bit, this track absolves it of its sins for me. Honestly; as goofy a song as this is, and as goofy the lyrics are too.... I kinda love this song.  This is just a fun song that I feel like is a bit of a return to the fun of the first few songs. Not that the others aren't fun, but this is a fun song. I can't believe it wasn't a single. I really like the vocals and I love the underwater feeling to the vocals. I don't know, I feel like I'm underwater when I listen to this song. I could be crazy, but that keyboard intro definitely helps set that tone. Solid tune, which happens to be an all time favorite of mine. Also love the drums in the outro, good job Puffy. 
8. The Morning After: This song is a song I go a bit back and forth with. Like okay, this feels like a song written for their last album or maybe their first. Like honestly, this would fit quite snug on Introduce Yourself or We Care A Lot. I like the punch/crunch to the guitar and the pop of the bass. Actually it isn't that much if a stretch to imagine Chuck's monotone voice singing over this. I like the harmony guitars in that one, I'll cal, aside. The funny thing is this was "demoed" and released on a 7" or something for a magazine back in 1988 with Chuck on vocals as New Improved Song. Now even before I heard that I could hear his voice over this, but look at the two side by side and you'll get what I'm talking about when I say this is a step up from the last two records. The ending is great also. 
9. Woodpecker From Mars: Closing we have a reworking of Pills For Breakfast but better quality and more intresting. Now I could just be saying that because its an instrumental, but this compared to their last instrumental is far superior. Actually this feels a bit more like an eastern sounding thing. Also even though they aren't the same thing exactly, they both function and are set up similarly. This is just more of a fleshed out version of the idea better fit to the sound of the album. I hope that makes sense. Also this packs a lunch and is a far more satisfying closer. I really dig this tune, though it is a bit long. You could also see it as an extension of the last track a bit too, but that might be a stretch. 

Overall I have to give this album a 8/10. These are solid tunes, memorable choruses and fun to listen to while driving in the summer heat. While their next LP would be their best, this still belongs the best of the 80's list. This is fun and harmless music and maybe you'll end up finding a favorite song somewhere. This improves on what the previous two records where trying to do and is just, its kinda awesome and just so much larger and confident. The CD bonus tracks, Edge of the World is great, but it wasn't on the original vinyl so I didn't include it in the review. 

Low - David Bowie

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

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

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

Freak Out! - The Mothers of Invention

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

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

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

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

Welcome to My Nightmare - Alice Cooper

For numberous reasons outside of my control I wasn't able to complete this review in time for 10/31. But at least I got some extra time with it you know. Closing this very special 2015 October month themed Halloween extravaganza revenue I picked a very special album. The album I picked is this, the best Alice Cooper album. I think of it as a coda to a string of records I consider to be really really good, dating back to their 1969 debut. The end of the Golden Age if you will. Even though I lose interest in AC's output after this album, minus a few tracks here there and The Alice Cooper Show live record (Which puts a hole in my "Only the original bands material is good,  it sucks when he went solo" theory), I don't think anything post this is terrible. Its just not the golden age. So, as i just mentioned, this is when Vincent began releasing solo material under the name Alice Cooper. This is something he continues to do to this day, considering I think it's now been legally changed to it. This is also a concept album, I believe the "group's" first, and it takes place through the nightmare of a character who would later be a reoccurring character in the Cooper universe. Kinda like the continuing adventures of either the character or archetype taken from Tunnel of Love forward, by Bruce Springsteen. This part in particular takes place when he's a child, Steven. I almost forgot to mention that the lucky bastard had a television special promoting the album with Vincent Price as the narrator. Oh... plus Lou Reed's (most of it) joined to play on the record.

1. Welcome to My Nightmare: Opening the album is a number that kicks ass. It starts off with a hitting of the cymbals and an acoustic guitar chord. Then comes in the vocals, with a quite more dreamy feeling song. The bass here sounds really neat, and I'd almost not think this is a Cooper song. Until we get the more rocking section. But it's a bit too much going on for it to be "rock". There are very interesting textures in this song, horns, what sound like a clavichord and I almost feel like Brian Eno produced this (Here Come The Warm Jets). This is a very good show starter, and it is very theatrical. If you were as intrested as I am, you could listen a number of times and still not pick up on all the sounds in that track.
2. Devil's Food: This title reminds me of In the Wake of Posiden, specifically the tracks Cat Food and The Devil's Triangle. This is much more straightforward than the last track. I mean there are still there like weird changes in production styles that are going on within song, but I dig the vocals. And is that an interlude with Vincent Price. It is.... The bass in that section is awesome, the rhythm has this military feeling to it. It's funny, half of this song is like a voice over with the song pushed way back. He's giving us a history lesson on the Black Widow, but.... You gotta give it to Price, he makes it very intresting. The song begins to come back in
3. The Black Widow: This is a sinister track that makes me think of Holy Diver. This chorus is very memorable and I love the guitar here. The chorus is so hypnotic I feel like if you listen enough, or are high, you'd be tripping balls. This could easily be a tripping balls song in a movie. Or a going to hell song. I also love the like variation on the theme that could be played in an overture. That is not something I'd expected (I've heard this before but the first time). This over all is a solid rock song, that isn't something I'd quite consider to be a rocker.
4. Some Folks: This is a cabaret number that harkens to the vaudeville days. I might be wrong on that vaudeville thing, but still. This song is very can cany. This has a very Alice Cooper feeling to the song. It actually reminds me, after the intro, a hint of Man With The Golden Gun. That chorus is very catchy, poppy, but not shitty. I kinda wish I could sing along, and the post "baby baby" section, that fucking piano. And that guitar and the tempo....... Great. This song goes from sick to cutsey (well as cutesy Vincent can get) to weird to all over the place. And that BASS..... YES! GUITAR SOLO.... YES! It's like spit fire, only down side is didn't last longer, thought the ending is very tasteful.
5. Only Women Bleed: I never once thought this was about menstruation, whats the point? I mean... I guess seeing the groups humor with songs like I Love The Dead and Dead Babies, monthly bodily cleansing from Mother Nature isn't that crazy of a topic (its much more natural at least..... Well kinda, I mean child neglect isn't something I'd consider natural nor necrophilia but some may disagree). I always thought of it as more of a woman bleeding, or maybe a tongue and cheek anti-woman track... I don't know,  does it really matter? I don't think he's actually having intercourse with corpses, so cool off. The thing is you could also look at it as only women truly struggle, I mean there are a lot more for them to put up with and society expects certain things of them. Now maybe not so much now, but women still feel pressures to look a certain way. And they are expected to live a certain way, and that's kinda what this song is about. I mean it's about abuse (or a bad relationship), but women are still kind of expected to get married, back then they certainly were. It's very sad if you actually think about it, like I get that gut feeling that hits me right there. This song musically really is a masterpiece. Lyrically this song is great at painting a picture of this terrible occurrences that happen. It only really hits you when you take the time to realize it.
6. Department of Youth: This has a very Foreigner feeling (with the organ) in the beginning, but also this song reminds me a hint of Elected. I do get a laugh out of that weird accent, but this song has him singing as he would for the rest of his career you know that almost impish sound he does. As poppy this song is, there is something that makes it a little off that I can't quite say it's pop. Form the placements of synths (or organs or whatever keyboard instruments pop up). This also has some very nice and,  great to me, backing vocals and harmonies.
7. Cold Ethyl: This his a rocker that would sound that crazy on a maybe a Stones record. Maybe not so much them as a like generic rock band from the 70's or 80's. The solos are nice, but they are more generic here. And while its generic rock here, I still like the humor of the song. I think that's the best part, and the front to back changes of style you know.
8. Years Ago: Here we get their take on a Fixing A Hole. Rather than using it to be psychedelic there is a circus meets evil meets Halloween feeling to this song. I feel like this could open a horror movies, maybe a low budget or cheep 70's or 80's one, but none the less. For that reason also there is a spot in my heart for this. I think this is where the story starts. It's the first mention of Steven, it might not be the first in the story, but I also don't care enough to look into it. I'd rather enjoy the music and lyrics but not as a story.
9. Steven: Tyler? Perry?  Which one? This starts out with a quotation of a classical piano piece that I can't quite pin down, but I will add later. This is a neat enough song, but I don't dig the fact the whole beginning relies so heavily on that quotation. I do dig the later part. Like if there did this song exactly the same, without the quotation, maybe I'd LOVE it but I can't say I love it because of that you know. Don't get me wrong this has great guitar, gorgeous strings and is expertly arranged. Bob Ezrin my hat is taped off to you. And that ending................ Oh it kills me that the beginning reminds me so much of that one thing. I'd give the song a 10.
10. The Awakening: This has this electric piano, and piano in the beginning I love how the accompany each other. They really do each other justice, and the whole lucid (right, that's the right word) of that beginning..... it's nice. This song almost borders on psychedelic. I love the almost classical electric guitar part that that reminds me a bit of Brian May. The worst part about this song is it fades out. Also that it's a bit rushed, this could totally be much longer to let the parts flesh themselves out.
11. Escape: Closing the LP we get a glam rock track. This is another simple song, but it works. There isn't any expert arrangement here, but it's like a very satisfying closer to this album. It's like, what I feel like, "Eff Yeah, We made a killer record!". This is very solid.

Overall I have to give this album a 8.9/10. This album is easily the best "solo" Vincent Furnier album, and is in the top 5 Alice Cooper albums. This is a bit baffling, how come he never made anything this good after this. Seriously, think about it. I mean this album this is kind of a masterpiece. It's very well arranged, I don't know about the theme (but the music makes up for it so much). The reason this album is so great is most every song has a distinct sound of it's own. And yet it still works and is cohesive of an album. Now I don't really care to look into the story because it seems to not really happen until like the B-Side..... I don't know. And Even though I bolded some over others.... just check this thing out.... it's really really really good. Don't ask about Welcome 2 My Nightmare.... I don't like to think about that.

Famous Monster - Misfits

Thought I don't celebrate Halloween, outside of eating candy, I still love horror flicks. I would never dress up for he holiday, last time I did was in 5th grade, and I don't do parties (well depends on who's hosting). But in honor of my favorite horror themed band why not do this review? Since today marks the 16th anniversary of this album, why not pick this? I usually save the Misfits for October anyway, so there's that reason. Now this is, easily, one of the best albums by the group. While this was made during the period Michale Graves was the singer (1995-2000), and this was the second singer to be on a record. This isn't the first album to feature him, including LiveEvil II, it's his 3rd. The first album to feature him is good, American Psycho, but not nearly as good as this (if memory serves. I think they were going for more of a Danzig feeling on that record, this is the record where they come into their own.) And it's way better than anything Jerry Only as the singer put out (though Devils Rain ain't half bad, it's pretty good). I remember the first time I heard this album, hell I remember downloading it. It was while we were still filming Travel Bound, sophomore hear of High School. Riding in a car, waiting to get picked up. I remebwr telling certain people they are awesome, then that person didnt have any interest until I believe the following winter, when he got a Misfits shirt and was all the sudden a bigger fan than me. PS I'm just giving you a hard time, we've all been there. Hell I can still sing most of these songs..... but as you know rambling on and on and on isn't getting me anywhere. So let's review this [in my mind] "classic" punk album. I also plan, by the way, to review a few albums I like this month.... you know instead of reviewing a bunch of 2015 albums that were okay.

1. Kong at the Gates: This is the opening, and it's really just an intro. Nothing much happens, there is very percussion based, but it's supposed to give that feeling.
2. The Forbidden Zone: I doubt this inspired by Richard Elfman's classic 1980 cult classic (and one of my favorite ever) film of the same name. Mostly because their cut off is like.... I'd say probably 1968 maybe, for movies and stuff. But his just comes speeds right off the bat, and is a solid track. Like a lot of track there isn't a whole lot to say.
3. Lost In Space: This track is faster than the last track, and I really dig it. It shouldn't by all counts, there is very little difference between the track, but I still dig it. Also nice drum work Dr. Chud.
4. Dust to Dust: This riff reminds me of a song, like Hole or something like that. I could be remembering wrong, but like a girl punk song that would be in a Guitar Hero/Rock Band game. I also love the choruses on this albums.
5. Crawling Eye: The only real difference is the massive amount of feed back at the end of this song, and how it's heavier before that part.
6. Witch Hunt: When I saw this title, The Office title "Gay Witch Hunt" came to mind. This song is not about that though, I can't imagine they do a song about a TV Show episode that came out some 8 years after this albums release. I really don't have much to say about this track, I really can't think of anything to say.
7. Scream!: Sadly this was the only track to get a music video. George Romero did it. I liked it when I saw it.For whatever reason I don't really care for this song, I don't know why, it never really clicked with me. It's funny because it sounds different than the other tracks, like different enough to not just be a variation on the same track.
8. Saturday Night: This is a classic that is a call back to the 50's doo-wop. But they not only did a good job of recapturing it, they also don't use any words that are violent. I mean it's more punky, and uses overdrive and like a rock rendition. But seriously, this could be a cover of a 50's track of the style. It even has the "douche bag" lyrics, as once said by Frank Zappa (look it up). But this is so good, I can't tell you haw often I just play this song once or twice in a row. It's easily, in terms of my favorite Misfit tracks, up there in the league of We Are 138, I Turned into A Martian and even Last Caress. It also might not be the best solo, but I think it works. This is is one of those songs, like the original Science Fiction/Double Feature that you can't really hate. For me at least.
9. Pumpkin Head: This is another song that is different enough and is fast paced. This is a nice solid punk song, that I feel is going for more of a Danzig feeling. Except unlike on some tracks on American Psycho, he's singing like himself.
10. Scarecrow Man: While this may be a weak ass title, but it's probably got the toughest riff here. It is also another song that sounds different enough.The music here is very bluesy, with a solid solo. It's kind of a nice change of pace. I imagine, if AC/DC was more punk they'd play a song like this. I like this track.
11. Die Monster Die: While titled very similarly to the classic Die My Darling (the double die in the lyrics) it's still pretty sick. I mean the harmony vocals sound better than the harmonies on the early albums with Glenn. This is a pretty basic song, in the campy feeling that I got from the earlier tracks. Not much to say other than that.
12. Living Hell: Great track, great chorus. Also a song that would fit snugly on a Tony Hawk Pro Skater soundtrack. This is, like most of the songs, very straight forward and to the point.
13. Descending Angel: This is a track that was later covered by Jerry Only's lead Misfits. And you know, the beginning, I'm just not feeling it. The chorus isn't half bad, harmonies, but it's nothing different here.
14. Them: This is based on the horror flick that's about Van Morrison's band before he went solo :). Not really, but I thought it was funny. This song isn't that bad, it seems there are two styles on this. The fun, campy sound and the more heavy dark sound. This is the fun campy. Also love the chorus, it vaguely reminds me of Cheepnis.
15. Fiend Club: I may be going crazy, but I have heard this riff outside of this track. But this is a nice change of pace. Seriously, I don't think a single track here sound like this. This would probably, hypothetically, be a great ender if it was more punchy. Like if they threw in a little Be Agressive.
16. Hunting Humans: This is a song I'm not very familiar with, never really listened to it. I really like the lyrics in the chorus, it makes me laugh. I love the double meaning you can take away from it.
17. Helena: This is probably one of the most complex songs by the band. It's certainly the best written on the album. It starts out with a riff that is probably the most memorable on the record, and continues this section for the verses. That part is fairly easy to listen to, not all that heavy. After this the track goes into double time and seems more chaotic. This section also contains the heaviest section on the entire album. The contrast of the two parts *kisses finger like chef (you know that thing they do)* perfect. You know, I think part of the reason I liked Dirty Rotten Bastards may be because its kinda similar to this track. Except this is far superior.
18. Kong Unleashed: This closes the album and is similar to the opener. This almost didn't have to be here. Like I think it should have been mixed in better to be the ending of the Helena. I know it segues into the track, but the right way to do a track like into this is something like Coming Home into Planets. I think if it was more like that, the feed back from the guitar, then it'd be a much better ending. You could leave in the Kong voice, just have it be part of the last track. 

Overall I have to give this album a 7.7/10. But in terms of writing it's probably less than that, but I love this thing. This is very similar style wise, lots of song sound similar. Usually that bothers me, but there's something about this that lets me just let go. Maybe it has to do with how its still kinda campy, though they embrace the camp more with Mike than before. I mean seriously, when your band is basically a tribute band to old campy b-horror flicks, its bound to happen. It's also a whole lot more fun listening to this than it is say Wolfs Blood. This is just, and I should hang myself for this, a group of guys having fun.... and I'm okay with it. Now I bet lots of people may feel this is a lesser album because it doesn't have Glenn. Something I believe is, unless you don't like the way the singer's vocals, there is always something redeeming about any line up change. From Squeeze to 5150 to Rock In A Hard Place, even (thought it kills to say this) Come Taste the Band. The only exception to that rule is when the bands been around too long *cough* if you were a band in the around or before the 80's *cough*. At that point, unless you have a fresh new take, don't get back together or even still be together. The thing that's so great about this is is sounds different than Danzig. It's sounds nicer, more appealing. Also I plan to do a 

Santa Dog - Residents, Uninc.

Since Christmas is tomorrow I decided to indulge myself. In a good, and great way. I've been listening to this group a ton lately and even watched the Demons Dance Alone DVD today. Tomorrow, or later on tonight, I might watch Eskimo. Well anyway, this is the debut release by The Residents. At the time of the release, had yet to be named. Each track was credited to a different artist, in a kind of sampler-esque way. It was released as two 7" vinyl records. I recognize the name Arf & Omega from Vilness Fats, which is also mentioned in the liner notes this is "from" that film which is "coming soon to a theater near you". For those who don't know the move was never released, and was never finished. This was sent out to some hundred people and legend has it, it was sent back by Richard Nixon. "The Residents" name thought, came from a similar thing but it was the Warner Brothers album that was sent back to "The Residents". I could go on forever, espically since I've read up lately on the Pre-sidents history.

1. Fire: This track is credited by Ivory & The Braineaters and written by Wanda Play. The song starts out with an awesome bass riff and the words "Santa Dogs a Jesus Fetus". For being "failed movie makers" this song is very fleshed out. I mean it's great and for two minutes there's quite a bit that happens. I love the backing vocals; and I also love how it's has three parts before it returns to the head, so to say. Trust me, you wont be able to get this out of your head.
2. Explosion: This track is credited by The College Walkers. Unlike the last track, most people might want to skip this after the quote in the beginning. This song opens with a quote from Jingle Bells, but it sounds like Jingle Bells from Hell. Well, at least by 1972 standards. This really sounds like an explosion, and I love the strings in this track.
3. Lightning: This is a track credited by Delta Nudes. This opens with whisteling and seems friendly enough. The music on this is reminicent of their later 70's electronic music, before turning into something off Fingerprince. Then a guy comes in and starts talking in a very Residents simple way. Except it sounds like its on a megaphone, then an epilouge that reminds me a little of maybe an early version of Not Available's ending.
4. Aircraft Damage: This is by Arf & Omega with guests The Singing Lawnchairs. The song starts out with this march type vibe. Then some vocals come in. For whatever reason the singer on this track reminds me a little of Eddie of Flo & Eddie. I don't know why, but he does. Later it's a very well assembled musique-concrete type piece that I wish I could assemble this well. At least that's the feeling I'm getting parts sound backwards and forwards. The Singing Lawnchairs sound like they are singing backwards.

Overall I have to give this double single a 9/10. There is nothing wrong with this, and if you don't like it it's only like 15 minutes long. This is a great way to start off such an amazing legacy, and it sounds like they got their stuff together. I love this, my biggest problem was I didn't get a copy back in 1972.

Oingo Boingo EP

This is their self titled Ep released in 1980. It was produced by Michael Boshears and Jo Julian and released on I.R.S. Records. And thought this isn't from 2014 I am going to use this as a building block for my next album.... kinda. Well I thought I should do this before I do Only A Lad and you know that's their debut album.

1. Only A Lad: I'm going to be honest right now, I think that I prefer this verison of the title track from the 1981 Debut album. The production on this I think may not nessicarly be better I enjoy the sounds here. It also reminds me a little of The Forbidden Zone soundtrack. That and Edward Scissorhands is my two favorite things Danny Elfman's composed, you know like the score and stuff. This is so quick and  actually longer than the album version. I also love the guitar tones here. The "choir" part you know the "Society has made him go astray" sounds way cooler robotically than it does on the album. This sounds very clowny and just the tones on this track are beautiful.
2. Violent Love: This song, thought a cover, is one of my favorite songs ever. There isn't any other version, other than possibly their rerecorded 1988 Boingo Alive version of the song, that can even stand up next to this bad boy. This is a cover of a song that Willie Dixon wrote and was actually recorded at one point by Muddy Waters. The voices in the intro sound like Iggy Pop, and this is like a song that should make Ska a genre taken more seriously. I mean, yeah the lyrics are hilarious, but everything about this track from the vocals, to the guitar tones, to the production to the horn solo just make this song a prefect candidate for my favorite songs of all time. This reminds me of Good Lovin' in a way by Grateful Dead, but it's much better and not as boring upon repeated listens.
3. Ain't This The Life - 10" EP: If I'm correct the difference between the 10" and 12" is the drummer and the length. Not a big time difference, but still. This track.......... the harmony and the vocals and the every which way about this song screams to me. I'm infatuated with this track. And the fact that on their debut release, not the Demo EP or the 1976 single You Got You Baby Back (they were The Mystical Knights of The Oingo Boingo) this is great and makes anything after this live up to it. I still love the debut, but this is tough competition.
4. I'm So Bad: This sounds like an outtake from the Forbidden Zone, well it doesn't have a bunch of different singers, but Squeezit The Moucher doesn't either. While I don't think this track is as good as some of the others here, I still like that it's dark in contrast to the other tracks. I mean they all were, but this is darker sounding and more moody than the others. This also appears on the Demo EP from 1979.
5. Ain't This The Life - 12" EP: This sound quality is a little more foggy here, it's also 9 seconds shorter. The feeling on the 10" is what I perfer, but this is also crazy and probably more silly sounding. This is only included on the 12" and cassette version of the EP.

Overall I have to give this EP a 9/10. The Ep is a great beginning for a great band, and I just love this. I'd pay how ever much to get my hands on this vinyl copy.