Honky Château - Elton John

So its May, and this is my favorite month. Later next month I'll have a 50th anniversary review, and maybe another one too. But for now I'm just gonna do this to so it, and since I've been listening to it why not. This being the fifth studio album by famous British pianist and singer/songwriter Elton John. The LP was released in May 1972, following Madman Across The Water, released 6 months prior in November 1971. The title of the album is named after the location it was recorded, Château d'Hérouville in France. A number of people recorded at the location and a number of albums were recorded there, mostly in part. Some include Low, Long Live Rock n Roll, The Idiot, The Slider, Obscured by Clouds, Mirage, Pin Ups and Elton's next two studio records following the this.

1. Honky Cat: This tune happens to be a personal favorite of mine. It's songs like this that show country and western honky tonk can have a fun side. The song automatically pulls you in and I love that banjo, played by Davey, and the other string instruments here. I also love the acoustic guitar and how the keys compliment the bass and everything.... Everything works here. It all isn't exactly the same thing and the brass just rocks. Lyrically the song is a perfect song in the vein of a Goodbye Yellow Brick Road. This really is a fucking amazing song and has some tasty vocals from John. I also should mention, I fucking love this arrangement. Really really really really really great. I wouldn't cut a single second to be honest. Even those little rolls, the work in this song and add to it. 
2. Mellow: Opening with piano, this feels like a song like maybe Your Song. It actually really reminds me of, but with a weird drum beat sort of. Upon first listen the song dint flow as well as some if the other songs here. Like there are parts that could work, but its too abrupt and doesn't have time for the parts. I want to mention upon multiple listens though, the chorus also reminds me a bit of Shine Your Light but a lesser version of said song. The solo section has a violin played by my boy Jean-Luc and Sir Elton plays plays an organ. While I think this kinda works, it doesn't really. I hate to say this but this songs a bit of a hot mess. It's not terrible, but I feel like this should have been left on the cutting room floor and not on the record. It doesn't feel up to the other songs I love on here. I think the problem is the song doesn't have enough time for the parts to breathe or flow and just work naturally. It's not like the organic way the song was almost. It's almost like it was planned not like it just evolved into that. Or maybe they didn't practice it enough. Who knows. 
3. I Think I'm Going to Kill Myself: You know, considering how PC I am I don't think I can listen to this without cringing and finding Mr John and Taupin very inconsiderate people. But if your someone who isn't an idiot, you'd know it's tongue-in-cheek. I mean really, there's a fucking tap dancer on the track from the Bonzo Dog Do-Dah Band. So when I finally got to the song it has its actually a great song. There is a novelty honky-tonk feeling but the arrangement is awesome. Really, listen to the bass and the piano and the other instruments and their rhythms. I love it and its really how you make a pop song interesting. This is kind of a perfect song, the harmonies and contrasts in the sections and the instrumentation. This is another top notch pop song from the John/Tapin camp. Plus its lyrically hilarious, talking about a teenager who doesn't get his way so he acts dramatically. Very tongue-in-cheek. I also love the inflection he uses in the chorus its damn fucking kooky. 
4. Susie (Dramas): This sort of reminds me of another song by this guy, off the bat. The chorus isn't half bad, but I'm not sure if it works so much or not. I mean it fits snugly on the record, but as a track. After a few listens I do like the chorus more than I did, but that being the high light.... Is that enough. It's a decent tune but not a stand out. 
5. Rocket Man (I Think It's Going to Be a Long, Long Time): Probably the best known song off the album, it is. There is a very very sad feeling to this song. I mean, lots of outer space song have this sort of undercurrent of sadness but yeah. The harmonies in that pre-chrous are haunting and in the refrain are amazing. The slide adds to the atmosphere and really, can you find a problem here. It kind just is crafted quite fucking well. Then an ARP (synth) comes in, played by engineer David Hentschel, and it adds another texture to the song in such a successful way. It's so good. There's also great use of the acoustic guitar in this track. I also think it was smart to have the bass less present in the mix. Plus while strings would add to it, I think the slide and ARP do a well enough job. So it wouldn't be all that necessary. 
6. Salvation: This song... I didn't know really. I mean it ain't half bad, but I couldn't make heads or tails time 1. I liked the guitar tone, and like the epic feeling... But was it warranted. Like I feel like its kinda like pushing this big feeling on me.  About a minute in I feel like this could be the middle or ending and not just the beginning. I actually felt like a part of the song was missing from the song. Where was the build to make this gospel feeling supposed to pay off. I mean there is a quite part, but like..... Is it long enough o get me invested in the track. The second time around maybe it worked better, in terms of the second part where it repeated after the soft part. I don't know. But then it still felt that way after a number of listens. 
7. Slave: Again at it with theses trigger words, how dare you sir. This song is pretty decent, I like the hand drums in the chorus I'm hearing. There is a country vibe with the acoustic guitar and the slide guitar. I mean it's not amazing but it ain't half bad. The only thing is that solo I felt like should have been the ending. Like a fade out during that maybe. 
8. Amy: Of the last few song this is kind of drawing my attention again. There is something about it that is fun. There is also this feeling of a song, that reminds me if Bob Seger, but i cant recall the title. There also appears to be a violin and judging on the solo, Jean Luc? Yeah, I've heard Over-Nite Sensation so many times and its so ingrained in my consciousness I was waiting for the solo to play that solo. Also, before I look a fool and forget to mention the nice conga work from Mr. Ray Cooper. Look him up, he's been on some decent records including No Secrets and a number of Elton records. This is a kinda hard ticket but its got a bit more to it than most straight hard rock. It's a pretty solid number that takes a number of listens to dissect. I do enjoy the guitar on this track and think it's put together well and while not perfect it works quite well. This is a pretty solid tune. I really like this tune, how many times have I said that :'D. 
9. Mona Lisas and Mad Hatters: This title made a smile a bit, it's pretty tongue in cheek. So I assume that the song may as well be too. Now to the detriment of that atempt of feeling superior, the things is, I couldn't be wronger. I assumed it to be a fun song, and this is more a ballad. This is pretty nice and has some pretty piano, the only complaint is maybe the harmonies. I'm not 100% sold on them. It kinda took me out of the song the first few listens (though they work better, or more forgivable, with each listen). I also love how the instruments are added in, and I love the guitar apreggios in thia thing. Tasty, in a tasteful way. I also like the fact that it kind of builds, but it doesn't explode. There's a sort if build and a beauty, but it doesn't ever turn EPIC. Its nice penultimate track. Thumbs up. I mean I could see it doing that, but the simplicity, kinda, works and I don't know. It's utterly satisfying as a penultimate number. Lyrically, there a few phrases I think could be cut or cleaned up, but its still a solid number. 
10. Hercules: This thing,  well I originally heard the Here and There live version. When I finally sat down to hear the studio version.....  Well, the live version is much more engaging and exciting if I'm being frank. Now there are a number of reasons why, but a major one might lye in the fact that the main riff (that pulls you into the tune) is played on an acoustic guitar. Giving it less force and power, in a raw sense of the word. Though, there is some nice slide work, for the solo, but it still isn't nearly as fun. I guess you could say this, the closer, is a rocker that doesn't really rock. Now okay, it fits in the context of the album. It'd almost be out of place with a electric guitar playing the riff, but still. I will also mention, yes this works as the closer and is satisfying. My complaints are more in preference not in if it works or not. I mean it isn't amazing, even live, but there is a feeling that I'd wanna join in on the live version. This isn't quite at the level that a song like Honky Cat, Love Lies Bleeding or maybe even Crocodile Rock are at in terms of engaging numbers. This version, just isn't that fun. Even David's ARP, which does add a nice texture, but ultimately goes go where if I'm being frank... Again. I do like Gus' whistle on the track. So to be clear, it works on in terms of context and sound, but its just I'm not as pulled in as I'd want. All though..... Amy..... What it that had some violin on it bru. 

Overall I have to give this album a 7/10. This album is pretty good, sadly its just kinda okay when its not at its highs. There are moments here I love, but then there are hot messes and songs that underwhelm. Is this his best record? In all honesty, sadly no. Is this worth checking out? I can certainly say, it definitely is. It's kinda long, 45 minutes or so, but maybe listen in chunks. But yeah, this is a classic era record by this flamboyant piano playing talent, of course it'll be worth the listen.

HITNRUN Phase Two - Prince

A surprise release, dropped the 12th of December, this follows HITNRUN Phase One released earlier in 2015 (September). If you read that review, I kind of didn't really like that he did what he did there. There were previously released songs, some he remixed that led to results lesser than the original. Overall it was just kind of uninteresting. For all the interesting parts, there weren't as interesting by the end of the song. So here is Phase Two, a sequel and looking from the track listing you can tell. At least going in I know there are a few songs I like. I downloaded the album, and to be honest I didn't expect much from this.

1. Baltimore: A song that I was bummed out wasn't on Phase One. It dropped as a single around the time you'd drop a single from the album for the last one. Like this dropped in May 2015, and the first Phase dropped in September. This song is pretty slick sounding. This is honestly how I feel The Purple One'd sound today. While I'm not crazy about some parts of what he's saying, I do think the sentiment is meant for the right reasons. Getting rid of guns all together solves nothing, bad guys will still get them. If that wirks, how come they found child pornography on Jared's computer? The track seems to be about the shootings and what not as of late. You know that Police bullshit. I'm not saying that the Police are in the right, I think if they were wrong let them hang. I meant it as its bullshit its happening. This is a very well put together song, and is probably how his last three should have sounded. I love those strings at the ending. Great, great, great, great song that melts my fears away. This is easily his best song in the last decade, better than FallInLove2Nite. For whatever reason, I get a Philly Soul feeling to this track. I should note, the original relase didn't have horns or strings. It was re-relased with added strings and horns. I've heard both versions, and this is the superior.
2. RocknRoll Loveaffair: A solid track released as a single in November 2012. This version is the same as that single, well with the exception of added horns. I remembered why I never revisited this track, it sounds like a Revolution track. I mean I could swear that Lisa & Wendy or maybe Susan, spoke something on this track. The horns and strings remind me somewhat of that Under The Cherry Moon soundtrack. I don't think this is a terrific song, not as good as the last, but I do think it's a bit of nostalgia that would be nice to have. It isn't to the point of overkill, but it's nice you know.
3. 2 Y. 2 D.: Not a fan of the title. Why not do it in the fashion of a Prince song and drop the 2-Y-2-D part and just what it stands for, with the obvious 2's. These horns in the beginning are pretty awesome, and that flute. Damn, this reminded me a bit of Roland Kirk or Dolph with that flute. But this song overall would be another snug addition to Parade. This almost reminds me of Boys & Girls. While I do like this, I could totally see me getting bothered by this in years to come.
4. Look At Me, Look At U: This reminds me a ton of 70's soul. There was this record I was listening to and it sounded similar to this, 70's or 80's. I like the woodwinds on this tune and love that piano. The vocals are pretty solid and I think the bass here is nice too. This also has a nice solo in it as it's a very peaceful song. I could see this being on a contemporary Lets Get It On. 
5. Stare: Another single that seemed to drop and was an outtake. It was almost for no reason. It's also one of the few Prince songs still on Spotify.  When I looked into it I guess it was Spotify exclusive until this album. Nice slap bass starting the track out, and this is pretty funky. The horns remind me of some other song a bit. And the horn solo section, or fill rather, remind me of the "solo" in Macho Man.
6. Xtralovable: I had to check one this one. I was not sure if it was a single or not. And guess what, it's from 2011. If you are a nerd and care, this dates back to Vanity 6, written back in 1982 and demoed but scrapped. It was later rerecorded by Andy Allo to promote a tour for Prince. That version had a rap and was recorded and released in 2011, this version present here is from the 2013 release on the 3rdEyeGirl website (they dropped Andy's rap, and added horns). I'd assume with all that background info, I like the track. Why would I go through that for nothing right?
7. Groovy Potential: I believe this was dropped as a free download, if I'm correct, and I think I had it before the release of the record. I'm glad I finally get a chance to hear it. This beginning makes the think of a lullaby. With the soft guitar, and "star dust effects" make me think of that more. I mean this is a solid tune, it's just I don't feel magic. I don't want him to do what he was doing, I just want to feel the magic I felt on album like 1999, Dirty Mind, Purple Rain even Sign "o" the Times. I mean this is pretty nice and good, I just..... I don't know. I do like the jazzy, real horns here. It's like a updated Prince.
8. When She Comes: This title reminds me of The Velvet Underground's 1968 ballad Here She Comes Now. That's neither here nor there, damn I should review that record. Maybe this year... why not. Don't get me wrong, I love jazz.... but at this point..... the appeal this had has now gone.
9. Screwdriver: The last song to be released prior, this is a February 2013 single. Oh, by the way, I'm not really feeling this one. Also I want to hear another copy of this, because it sounds like it was mixed horribly. Like the mixing from the other one. There isn't really much to say, this is rather straight forward. 
10. Black Muse: This is kind of nice, but again, I mean..... I'm not ecstatic about this track. If you want it straight, my favorite part about this is it reminds me of the title Muse 2 the Pharaoh. Also there is hints of songs like Playing in the Sunshine's joy in this tune, but 7 minutes is a bit long for this. I'm completely honest, not digging this.
11. Revelation: At this point, I want to make it 4 times to listen to the entire album. I mean I get this, but this isn't interesting. Part of this reminds me of Blackstar, and I'd much rather listen to that. It would play with sort of smooth jazz vibe. I can't stand smooth jazz. What's with this month. I wanted to finish up some reviews, and most of these have disappointed me. Seriously, I can barley listen to this. I just so badly want to skip................
12. Big City: You really think this is going to fix the album...... make up for this disapoint ment. I'm sorry. It's just, the thing I love about The Purple One is he's fun... this is not.

Overall I have to give this album a 5/10. Out of the 12 tracks, 6 dropped prior to the record. This really functions as that Circle In the Rounds comparison. While it's nice to have tracks that are hard to find in one convenient place, that doesn't make this a good record. I guess, this could also be compared to his Chocolate Invasion and Slaughterhouse albums. I thought this would be a completely different record, but thankfully it came out not as a sequel to PlectrumElectrum, but as what he really would sound like in today's day and age. There were sounds that came from the past, and the Nostalgja is probably nice from fans from when this was coming out originally. I mean I like it, but I hope he does something new I guess. Move forward from this, but it's pretty nice regardless. Also even thought I enjoyed it, I can't really say I had fun listening to it. For whatever reason, when I returned the magic was gone. I don't remember if I mentioned but this took 3 time to listen to this entire record. It wasn't because it was had to do, it was because I wanted to listen to something else...... That isn't good for a Price record.

Also, even thought it might seem inappropriate, 

Paper Gods - Duran Duran

To continue reviews reviewed last month, but not posted for Christams is the 2015 return of one of my favorite 80's bands. This is the fourteenth studio album by one of the UK's finest Duran Duran. I already reviewed Rio, and have others in the work but I figured do this while I'm on a roll. Ok, so I can't really what I was expecting from this album. Their last few records ranged from great/solid (All You Need Is Now) to kind crap (Red Carpet Massacre) to I've yet to hear this record (Astronaut). None the less their albums from 1981's Self Titled album to 1986's Notorious had some of the best new wave/new romantic/synth pop songs ever written/conceived/preformed/composed ect. in my opinion. And even after that they had more songs that are good, or great vs the albums worth of amazing tracks they had prior. So here we are LP 14, first in 5 years and they are now a quartet. Though Andy did leave in 2006 so that's almost a decade ago.... whatever. I was excited to hear this because of some of the features. Mark Ronson comes back to produced, as he did for the last album, and Nile Rogders does also. He's even featured on a track. He also produced Notorious for them back in the day. But over all I was excited to hear this. I mean the interesting, to me at least, features on Déjà-Vu ended up helping to make that a solid record. Why not help this record?

1. Paper Gods: This track features some vocals from Mr Hudson. I recognized his name but I wasn't sure from where. The when I looked I saw he was on 808s and Heartbreaks and Watch The Throne. Starting out vocally, something that is very doowop inspired. Well maybe not doo-wop, more R&B of The Supremes and what not. That is until it goes into the electronics that make sense that this guy was on 808s. I actually don't think this is half bad. It brings out the same side of me that likes Déjà-Vu. I mean it isn't the best song I've ever heard, but it's a shit load better than anything on The Book of Souls. PS I just sat through that storm of uninteresting shit. I feel like this is a song I'll revisit. But the ending, it's very nice and heavenly. Not quite the majesty I wish it could be, but hey it's pretty. I feel like if I was to want to run someone over, I could play this and I'd be relaxed and forget why I was mad. Solid ending, or outro rather. This is how you justify a 6 minute track, cough. When I come back months later, I really dig that bass line. I really like how the tone is and it just feels.... right. Like this is what I think these guys would be doing in today's day and age. The bridge is pretty eerie, and while not crazy eerie, it works for the song. Just again, maybe a little long at 7 minutes (but not too bad). {7/10}.
2. Last Night In The City: This track has an appearance from Canada's own Kiesza. You know from The Usual Suspects :). I'm smiling, Yes! And hey, this damn, how is this so happy. I don't know if I'm just high for feeling nothing from the last album, but this is really good. Much better than I'd anticipated. This track stays pretty close to the sonicousity of the last track, sounds like it'd be on the same album, but it sounds different enough to not sound like it's a repeat of the first track. This song feels like it might be a good intro to get you excited, but I like how it wasn't the first. Again, I'm not in love with this track, but I do like this and like the vibe. It's happy, not sad or depressed. When that guitar comes in it just causes a big grin on my face. It's like..... A sort of updated version of something you love. Fresh, but it doesn't ruin it for me.
3. You Kill Me with Silence: Eh, please don't do this to me. You were doing so well, we were falling in love. And while it doesn't go the rap route, the music isn't all that great. Though the pre-choruses remind me of the Golden Eye music. And the chorus, while not that amazing, I don't know. I've heard far worse later career albums this year alone. I think that'll take another listen or two. I really, would rather not acknowledge this tracks existence. I mean this is not a travesty, but it's just.... if it's an experiment it didn't go over so well. The chorus section isn't half bad, but the verses.... oh no! I like the textures in that chorus part though, relaxing and pretty. You know what that sole "do do do do" thing reminds me of a bit, Boys-N-The-Hood. The ending is pretty cool, with the wahs and wahs. I can figure a better name, but I'd rather be more specific.
4. Pressure Off: This track features one Janelle Monáe and one Nile Rodgers. This reminds me of a remix of a song with Nile. Like maybe Notorious, at least in the beginning. And while it may not reach the highs of the essentials on that album, it doesn't fall short in vain. I could see the chorus's "oh oh oh" being a problem, but right now I'm not worrying. I could easily see this being written with that era mentality in mind. This is one of those song that just is happy. I mean does it have the substance, maybe not.... I'm not looking to deep into it, but this does have the ability to give you what this band is best at. As Spotify radio says "Dance Floor Anthem".
5. Face for Today: This intro reminds me of a more orchestrated version of Perfect Day, their cover from Thank You. While I need to check, this sounds like it could have been the best song on RCM. No, this isn't terrible, but I just am not feeling this. I mean the vocals and harmonies are nice. But really outside of the actual non-electronic parts of this are the only things I'd salvage from the track. Which I think the only real thing is the vocals here.
6. Danceophodia: This is the track I was very much so looking forward to hear. A vocal appearance from one Lindsay Lohan. I don't know why but she's almost always been my celebrity crush, and when there were others, she out lived those. I can go on and on about her but lets leave it at I was excited to hear what was in store. Well I guess the only other girl I could say shaped my taste in women more than her is April O'Neil (the pornstar) or Princess Leia. That is kind of irrelevant, but I just though I should note that. So it was cool to hear she was doing something somewhere I would possibly like her music. This isn't that bad of a song it is a very, pastiche 80's synth pop song. Like I feel like it's something that Natalie Portman's Shaved Head may have done. I'm serious, those backing vocals in the chorus alone could be the backing vocalist(s) from Beard Lust. Lohan has a voice over, and it sounds so phoned in. The only way it could be funnier is if Carlos Estévez was doing it. Seriously, I am not even kind of feeling here, you'd get the same effect if you got a librarian to do it. This really doesn't sound like they were taking that seriously, which is what I hope is what it's supposed to be. Because this would be like an outtake of an outtake of a song that probably shouldn't see the light of day. Also even when she's talking, usually it's like "it's her", but here it's like "she sounds like she is trying to be sexy, and forgot or fried her brain to the point where she no long knows how to be sexy". That was kind of mean but this song shouldn't exist..... or it could be on RCM. :D
7. What Are The Chances?: This has John Frusciante playing guitar on this. That intro reminds me of something that in the very beginning, pre-guiar, reminds me of The Weeknd on like maybe HoB or maybe The Fall. Then once the guitar comes in it sort of reminds me of something I can't quite pin down. I've been thinking about it, but I can't quite finger it. Now once you get to the actual song, there are echoes of The Chauffeur in this track. At least in the beginning, before the programmed drums come in. There is also a hint of 2010's Scorpions. It even has a fitting Scorpions' ballad solo. The only thing that doesn't make this a straight up track by them is the strings and programming. And Simon. I like the strings, and this could be like The Force Awakens. A new updated version of A New Hope and Empire Strike Back, with some Return of the Jedi thrown in and a hint of the prequels. This kind of sounds a bit like a mess, but it evokes that Bittersweet Sympathy feeling and that Chauffeur emotion. I really can't hate it. Damn you nostalgia, you ruined me again. I could also see this being based on Bitter Sweet Symphony.
8. Sunset Garage: Being the "unmemorable" track it is to me, when I  listen to it I enjoy myself. This song is kind of cheesy. I mean it sounds like something that the 80's would synthesize to be a 50's or 60's throw back. It's not that bad, and it's a pretty happy song. I dig the surf vibe and the jangle pop (?) feeling I'm getting. It's kind of cute. Also that main "riff" reminds me so much of Macho Mani's line "Wanna feel my body, body. Wanna touch somebody". So that gets a smile too. Maybe it's a little long, like I could do it being shorter by about 45 second. But you know, it's not terrible.
9. Change The Skyline: This track features a Jonas Bjerre. He is in a group that I recognized, thought don't care for at all, Apparatjik with Guy Berryman from Coldplay and Magne Furuholmen from A-ha. I can see the appeal of this, but that digital compressed bass sound isn't really something I'm digging. I mean, this song sounds like it's all over the place. I think if they spent more time it'd flow better. I like the little flairs and things and beeps. But I wish it was better constructed.
10. Butterfly Girl: The second of three appearance from John Frusciante. This intro really reminds me of INXS's I Need You Tonight. Which of course is a great song, but still. It played the VH1 Classic add from when I used to watch that channel back when I was in Middle School (07-08). This song, on it's own.... I am not really feeling anything outside of maybe a bit of "not hate" because of the very Pump Up The Jams vocal feeling. The backing vocals sound like they'd fit in that style of song. Overall it's kind of a filler. Nice solo too, it doesn't really work here. maybe if this was a different song, it's work. But it sticks out like a sore thumb sadly.
11. Only In Dreams: This is one of my favorite songs on this album. The strings here are very tasteful and work. They set an atmosphere, and the world is beginning in this song. The backing vocals work here too. I like the verses, the main music part. The funky vibe and atmosphere. This might be a better finale than penultimate. This is a pretty simple song, but it works and is effective. I like it, and I hope you do too.
12. The Universe Alone: This is the third and final appearance of John Frusciante. This works as a closer though, but I don't know how much it works since the last track is similar. There are bell sounds that make this feel like a finale, but still. This has echoes of Chauffeur. The song starts and it feels like Duran Duran. I mean I really don't have a lot to say about this track. It's good, just maybe not as good since it follows a song pretty similar to it before this.

Overall I have to give this album a 7/10. Off the bat it's better than the last album, 2 albums ago. This is more electro-poppy. I feel like this should replace the existence of Red Carpet Massacre. I will buy this on CD, no if ands or buts. Easily the best album I've heard this year since The Powers That B. Not really, but this is one of the better records of 2015. Also my favorite of the year was TPTB. I like this, but you know hopefully they dive head first into another style for their next release. Have guts, balls and then even if you fail you tried.

Drones - Muse

Now I felt I should review this, considering I liked The 2nd Law as much as I did. Now I'm also aware there is a message, but I don't give a fuck. I mean I dig the messages of songs like Uprising and......... Uhm?........ That's really the only one I can think of off the top of my head. I also felt I should review this because the had an awesome cover if their song in Pitch Perfect 2, probably the best song in the entire movie. So let's dive in. Also I should note I mentioned in the last Muse review that I loved The King of Limbs, but then I heard Ok Computer. So I should note that I am not as in love with it. The guy who produced this has also produced such monstrosities as Highway to Hell, the awful Back In Black, the mostly garbage Hysteria, and worst of all Maroon 5's 2010 album Handsallover (even offering to produce that album for them). He has only contributed, in my eyes as good albums, Pyromania and High And Dry. I guess he was married to Shaina, so that thumbs up for him.... But he cheated with her friend and now they had a D-I-V-O-R-C-E because of it. So at least she's single last time I checked, :) [Note: This album has not been impacted by Mutt and my irritants regarding him. This is just a Muse record, not a Butt Lange album.]

1. Dead Inside: While the hook was  interesting, and the song seemed not half bad I guess it hasn't clicked. Or well I guess it won't click. I could compare this to King Kunta, in that it's hooky but I just don't like them and they don't click for me, with my brain. Although I still kinda feel the King Kunta song, it's still a decently written song. This song though is too simple and not really enough going on or that makes me want it to click. It's more borderline, doesn't hold up well upon re-visitation. It only falls apart more.
2. [Drill Sargent]: This is kind of a fucking stupid interlude. To be honest, that Drill Sargent sounds kinda weak.
3. Psycho: The first thing that pops in me head from the riff is, I've heard this before. The first name that popped in my head was Marilyn Manson, then I thought no.... Well not entirely. The if the song was darker maybe, but outside of the pre-chorus I'm not feeling the connection. Also the whole breaks in the Sargent just make the song fucking stupid. And while I feel like this riff could be cool, not enough power. 
4. Mercy: "Mercy Me, The Ecology". This song is kinda............. gay. Not like homosexual, but like if this was the 90s and I used the term. I hope that makes sense.
5. Reapers: The beginning is an obvious cover of the Eddie Van Halen guest outtake of Modern Love. You know after hearing Beat It, Bowie wanted to feature his shredding on the album. But after that part the song kind of turns to crap. With the addition of a Jack White guest solo, which who was asked to do a variation of his Lazaretto solo. Also, if it's not [the beginning] a cover of that it could be a variation on Play With Me by Extreme.
6. The Handlers: This isn't any better or any worse than any of the previous tracks. Also I typed this without looking. Hopefully I don't have too many errors. I guess that electronic figured bass part sounds kinda neat. And about the typing thing, I meant this songs description, not the entire review. (This part was typed while looking: I don't know why, but I woke up today and thought to myself, sequence is the correct description. Or at least it sounds like it)
7. [JFK]: Obviously standing for Jenny Forrest King, or something else with those initials. That guitar sound really scared me. I don't think I'll sleep for nights. Also, seriously, the strings on this track are one of the most interesting things on this album.
8. Defector: ................................................... It's like the took the music that made them cool, and made it stupid. Like they literally took it, bashed it in the head, and left it to absorb the brain damage.
9. Revolt: This is another non-offensive song that wouldn't be out of place in the New Wave category. Does that mean it's a good song, not necessarily. Does that mean I don't like it, for sake of thinking too much, I may be revisiting this track post-review.
10. Aftermath: Is it the US or UK version. I prefer the UK version because, as a sort of rule of thumb the home country edition is the "official" version of the record. Though the one exception I've come across is the US version of Fireball is much better than the UK. This track, the guitar, vaguely reminds me at parts of Jimi Hendrix. This is soft, and relaxing. It isn't half bad, but I also feel like these bolded tracks here mean nothing. Like seriously, considering that the other tracks didn't offer much. But regardless, this is the best written song here. This would be a nice closer.
11. The Globalist: At over 10 minutes this is long, nothing happens. By that I mean I can find a much more exciting song where this western style originated with Ennio Morricone. After that it kinda goes into a more rocking style. But I kinda feel like I've heard this before...... And it closes with a piano thingy. I really don't care enough to describe it beyond that. I give them props for playing with a song structured that's 10 minutes. But I kinda mentally check out before the acoustic guitar part is done. I looked it up, I think the thing I've heard before is the part of the The Enigma Variation that it's based on.
12. Drones: Funny story, I was 17 and they were talking about drones. So I told my parents I'd run outside nude when the drones come by, so they'd have naked pictures of me and I'd sue the government. Sadly I never did it. :( Maybe if I did I could have gotten rid of these Sargent. And while this is angelic, I kinda feel like I'm not completely feeling it. I think the fact that the other songs took it out of me, and I'm waiting for "Glory Glory Hallelujah", I think it's safe to wrap this review up. Also you know what, fuck this. I jsut read it's based on some other piece of music and it's credited to someone not in Muse. It's also the only track here that isn't.

Overall I have to give this album a 5/10.What's with this year and bringing the few albums I'm anticipating and shitting on all of them. For the record I didn't really get into the whole concept, but I don't ever think I've looked at Muse for concepts, more for their music. The thing is this would be far more compelling if it came out, thematically wise, during or shortly after Vietnam. The thing is people hugely opposed that war, but now the war going on people oppose, but no one really gives enough of a shit. Not to say that people don't care, but there isn't as much of a youthful rebellion against a war, that we may or may not be necessary. Not that I don't find problem with the military and their practices, I do and that's why I'll never chose to join. But the thing is I still respect the people who chose to fight for my right to chose to not fight. They [Muse] didn't convince me the Military practices are evil, I know some of them are unethical... or at least were. At the end of the day I'd rather someone who fought in the war make this album instead of British people go back to their roots and try to convince me war is wrong because as bad as it is, I doubt human's will ever exist without it. I mean how else are the sadistic drill Sargent supposed to get off. ;)

Help! - The Beatles

This is late, like it should have been up last month, but whatever it's up now. Something I wish i would have done is review these in honor of their 50th. All The Beatles albums, why? Their my favorite and most influential artist on my taste and writing. The worst part is I did their debut as a 50th so its not like I started doing reviews and it was already the 50th for Revolver. I was doing the prior to the first album. So whatever,  this is the sixth studio UK studio, and second soundtrack, album by The Beatles. Well it coincided with the movie of the same name, only the first side of the album songs featured in the movie. In the US version, it was a straight up soundtrack. It featured the movie songs, and also the instrumental tracks from the movie. I've also researched the movie for the hell of it to remind myself how they work into the story. I have it on DVD so that was no problem.

1. Help!: A classic theme song that sticks in your head very easily. I may not love this track, but I like it. If was originally supposed to be slower and more depressing, but they made him change it to upbeat. I wish the early version would have made it to the Anthology. That has more of a blatant, "help me I'm depressed and not getting better" (which is what its meant to be). This is more of a lighthearted" help I'm a damsel in distress and will ultimately be saved, this is an episode of a sixties show with  shenanigans". But regardless of the end products "meaning", I  love the descending guitar line. Also how it then arpeggiates.... *Fancy Person Rating Restruant Kiss Finger Thingy* Ah. This song has a really solid arrangement. I don't know if Martin was responsible, but the shifts, and the little spirts of change make this a classic.
2. The Night Before: One of my personal favorites is this track. I love this thing. Paul sings this, and wrote it, but I love how catchy it is. I also think its better and stronger than the prior track. There isn't a single second of this that isn't a 10. I love the harmonies that both back up and call and response to Paul, the hammond organ (actually a Hohner Pianet), the bass line, the double tracked lead vocal. Then drum heavy refrain and the guitar tone that is one to aspire to in that solo. This is how you make a frickin flawless rocker. I can't not listen to this without singing along. It's seriously impossible.
3. You've Got to Hide Your Love Away: This is a decent song. I mean it isn't of the quality the last two were, but it isn't of the quality the next one is either. This is actually, thought I never realized it, a perfect track to fit this spot. Now I don't think it's as good as the two before it, but it's at lest a 7 or 8. But it's slower, it doesn't keep chugging away at the quick rockers that the first two were. This also uses the flute to a masterful effect. 
4. I Need You: This has a weird minor feeling to it. I feel like I should look up these chords. Now I want to note this is one of the first times Georgie wrote a song. The first is one of my favorites Don't Bother Me, frickin' instant classic no matter what he though of it in later years. This, this is more in that lane of... I kinda feel like this should be the song that was his first time writing a song on an album. I mean in the movie it works for it's scene, but on the album I kinda think it doesn't. I like the strum pattern, the kind of spanish (?) one. I think the thing that really bothers me, or hurts the song, is the fade in fade out guitar lead. This doesn't really seem like the type of song that this would work for. Maybe if it was an organ and they notes were a little longer, but the guitar just.... I don't like it's mymic job you know. I looked it up, and now I understand why it doesn't click. But I'll never tell. Mostly because I didn't figure it out on my own, but also because it'd be very bad.
5. Another Girl: Easily one of the best songs by the group in my opinion, it was penned by Sir McCartney and features him on lead fills and lead vox. This is very similar to The Night Before, It's very fun and makes me want to get up and play along. I really love this and I really can't find much to say about it that I didn't say earlier in this review.
6. You're Going To Lose That Girl: Not huge on the fact there's another long track that could work as being lines in each others songs. I don't know why, but this isn't that bad. I mean, I know all the words to this track, it makes me want to play along. And that's kinda the magic of this group. They always have solid drum beats, catchy vocals, great bridges, tasty licks and at this period some nice sharp guitar tones. If the guitar was mixed louder I'd almost think it was taken from Roxy & Elsewhere or at least that 1973-1974 period where he used "razor blades" to play. It's hard to hate any of their songs. I do like the intro to this song, and love that bongo.
7. Ticket to Ride: I never got this. The first Beatles CD I had, my cousins burned it on my computer, was 1. There was songs I skipped, and never really liked to listen to. To my recollection all have either grown, or degrown (but not to the point of not liking it) on me, except this track. This honestly was the same from day one, in terms of feelings. Few tracks are like that. I know its a popular Beatles song, but I'm not into liking things just because they are popular. I like what I do because I do. Let's hope the chord structures unique or interesting. I mean I guess I can look at the sheet music and see if I like the way it's voiced. I mean I didn't see anything that I thought was mind blowing, but I do like the ending. I kinda wish that didn't fade out of the best part, but you know.
8. Act Naturally: This is a cover of a song by Buck Owens and The Buckaroos, sung by Ringo. This song is so Ringo, you kinda can't hate it. And this is also the perfect song to be on this album, it's almost self aware. It wasn't written for this, but this is the soundtrack, Side 1, for their second movie and it talks about "Acting Naturally" while being in the "Movies". It's a country diddy that fits very well too. I do like the 
9. It's Only Love: This is a sequel of sorts to Your Gonna Loose That Girl, but where that song is fun this is more sad or low. This sounds like an outtake from, honestly, Beatles For Sale. It's kind of a romantic feeling to it, but I don't know. I really am kind of out of things to say about it. I mean, I really can't think of anything I haven't said earlier, or later, here that is different. Not that it's not different, just I don't have anything to say.
10. You Like Me Too Much: This is another just okay song. This is much better than I Need You, but it still kinda reminds me of that, but also mixed with some other songs on this album. The piano reminds me a little of a saloon, but the pianet reminds me of the other songs with it used on it. This could almost be looked at as George's take on The Night Before. This is more relaxed, or loose rather. I don't think those are the right words but where TNB is urgent and fast, this is took a toke and played the same song. Does that make sense?
11. Tell Me What You See: See this is another track that would be snug on Beatles For Sale. And I... Damnit what song. This reminds me a lot of Every Little Thing or maybe What You're Doing, though that little post chorus sections with the really cool "fill" is sick. Not mind blowingly sick, but sick enough. But that's the only really interesting part. And the thing is even the lesser songs on Beatles For Sale have something going for them, interesting arrangements or instruments. Or the fact there is a cover or two, so if a cover's not exciting I don't really hold it against the bad. And both of those song listed earlier are notable better than this. And the change is more.... they flow better.
12. I've Just Seen A Face: A song that touches me every time I hear it. It's so innocent, I mean it has a skiffle feeling to it, and it's also a country song. This is like All Together Now, except this is a love song. From the drum sound (achieved with "brushed snares" I looked it up), to the vocals (not double tracked), to the solo that is works and never sounds a bit off. This is also a great song to get you into the full effects of the next track. There isn't much here to comment about, it's just a really great song that's infectious as hell. Much like some of the other greats on this album.
13. Yesterday: This really is worthy of being a standard. Being the most covered song ever, officially, its gorgeous. The original is the best but its such a well written song its one of those, every version is either, good great or above. Songs like Autumn Leaves and Summertime are like this. I've yet to hear a bad rendition if this, or those. There obviously lesser version, but I haven't come across a totally bad version. It's got the gentle touch of a solo song that is just so intimate. The string arrangement reminds me a little of a variation of the Family Way soundtrack that was arranged by George Martin also, and was written by Paul. This is how arrangents should vs the sometimes over-arranged (at parts) Let It Be album, though I do think it'd be siginficatly better if it's wasn't so "wall of sound" 
14. Dizzy Miss Lizzy: This is a cover which I'd assume was rather dizzying back in the day. Now it is still kinda, bug not so much. It's not half bad, but it's also not that amazing. It's a rocker that closes the album, but the sharp tone might be mixed a little too loud without not enough power. Like there are parts where it sounds like it's not synced up. Like the double track isn't matched up close enough. That kinda sucks about it, but I wish the guitar also was more intresting. Not just that same riff. Play little fills and licks, not "Da Da Da DaDeLa Da Da".

Overall I have to give this album a 7/10. Of the 14 only 4 in my mind are flawless. At the end of the day one of the weaker albums in my opinion. But saying that doesn't take away from this being one of the best albums on the 60's. Maybe I'm biased, I mean there are songs here I haven't heard in a few years that I am picking up on things I try to do in songs. But I try to look passed my biases. This is where they started trying new things, not to the extent of Rubber Soul but seriously. There isn't another album by the group that sounds that similar to this, if you look past the songs that are "outtakes". But the worst part here is that the songs are so short and go by so fast, it's hard to get all my thoughts out. TBH that's kind of a good "flaw". If you get a chance check out the mono version of this, it's worth it.

Squeeze - The Velvet Underground

For whatever reason I've been siting on this review for at least a month or two. This review was done in a day, outside of one song (which i had to look up for the description. That was actually what was holding it up). So I don't get why it wasn't up sooner. Considering that I now have some 200+ drafts accumulated for review, why not get some done. Anyway; this is the fifth, and often forgotten (intentionally), Velvet Underground album. It was released in February 1973, and was the final studio album by the group before the break up. Now I get the whole "not a Velvet's album" belief, because technically it wasn't. There were no original members, and the only member who played who was a member before Lou left was Doug Yule..  He replaced Cale in September 1968, making his first album appearance album titled The Velvet Underground from 1969. Now Lou Reed left in August 1970, Sterling left in August 1971, and Maureen officially left in December 1971. So from January 1972 to February 1973 Doug was the only actual member. This album also features performances by Malcolm (just credoted as the forst name) on saxophone, who is believed to be Malcolm Duncan was as founding member of the Average White Band. The other performer is a drummer from Deep Purple, Ian Paice. Though he plays on I believe every track. And to be honest, if you can look past the sort of false advertisement.... This ain't half bad. PS my next VUview will be my favorite, and in my opinion the first real punk album.

1. Little Jack: Opening the record, I'm surprised how not terrible this is. Everywhere I've heard or read about this its pretty much treated like its shit. Seriously, the places I've read about this mention it not being a good album, but this album is starting out pretty decent. It has a 
2. Crash: The beginning of this song reminds me of shit ton of one of the more child friendly, novelty esque White Stripes songs. It reminds me mostly of just their honky tonk cute piano vocal songs. It also reminds me a little of Bowie's more show tunes esque Hunky Dory. Maybe Fill Up Your Heart. This could would actually fit snugly on that album. Out side of those comparisons, I like the song, but I have nothing else to say about it. The vocals actually remind me a little of Transformer's more show tuney songs. And I guess the endings kinda funny. Okay now I have nothing else to say. :)
3. Caroline: This song sounds like it's a rocker, but not over powering. So maybe like an older rocker. But the lead vocals the second they started reminded me of the vocals singing the song from the Mystery Science Theater 3000 episode Pod People. The part when he's in the recording studio, this sound literally sound like that could be the song featured in the movie they riffed. Well with a Beach Boy, Gary 'U.S.' Bonds inspired intro, but played at the end.
4. Mean Old Man: The title reminds me of Mean Old Frisco, or funny enough to a lesser extent Mean Mr Mustard. This is more of a rocker, like a hard rocker. The last was a more 50's rock and roll song... kinda. This is more of a 70's rocker I could hear Clapton playing.
5. Dopey Joe: This sounds like it'd fit on Transformer, just with more saxophones. Well kinda, the beginning at least. It kind of goes back and forth between one of those and honestly a Clapton or maybe a Stones song. It kinda reminds me a little of Start Me Up, among others.
6. Wordless: This sounds like a song off All Things Must Pass, but what song....... Either that or a Dead song.
7. She'll Make You Cry: Shit I can't think of..... The Dead. With a more rocking, at parts, played by not a member of the group.
8. Friends: Maybe a Badfinger song, a ballad.
9. Send No Letter: Another classic rock and roll tribute. Sung by a Reed sound alike.
10. Jack & Jane: This has a definite glam feel that songs like Wagon Wheel and the more generic glam songs on Transformer. The only real difference is switching out backing vocals, and instead of having Bowie having some less interesting.
11. Louise: This has a very ump pah pah piano. This is a pretty good song, that I honestly can't compare to anything. Well at least another artist. Except the whole Grateful Dead vocals, and the "Louieeeeeese eeeese" part. But I love how hypnotic it is. It reminds me of how hypnotic Being of the Benefit for Mr. Kite is, the first time they go into the psychedelic circus part. And I really wanna sing along to that part. That part reminds me of another song, but I really don't care. I really like the guitar tone here, and how in the beginning is more in the background. Also  I love the harpsichord sound,  and this song if you had the right guitar player it could be dragged out into like a long extended solo. And that part that follows the vamp, the piano voice part reminds me of if Elliott Smith covered Paranoid Android the same way he did Because. To be honest this is definitely the best, and most fleshed out, song here. I could totally see myself revisiting this song multiple times. Hell I might even want to learn it. With a few little touches up here and there this could be on par with the other classic tracks by the band. Honestly this is, if maybe fleshed out a little more could be as amazing as Paranoid Android. I could also be crazy. 

Overall I have to give this album a 6.5/10. Besides the fact it sould be considered a Yule solo album, this album isn't that terrible. It actually reminds me of the Tony Visconti solo album. Just a mix bag of styles, sounds, influences, and songs he wrote over a period of time. This is more of a solo album for a member of a band who wanted to play songs he loves and pay tribute to those styles. I think if the Velvet name wasn't tagged on here it wouldn't be so forgotten and hated. I mean at the end of the day the music here is very inoffensive and this could possibly be the most diverse of all the Velvet albums, and it's fun to listen to. Hell its more fun then Loaded, the "commercial album" by the group. If you can over look that little artist name, then I think you might like this, and if you like rock that's not bad or negative in any way, you'll like this. The only downside is there are a few generic songs, but what album post White Heat/White Light didn't. 

Let's Dance - David Bowie

Album number 15, and overall number 17 (19 if you include Baal Ep and Peter and The Wolf). This is the album that directly follows Scary Monsters. That album is kind of awesome. This album is a big, huge leap from the former in terms of sound, players, and even producers and the label too. It's more of a dance album. It's also definitely more commercial, definitely less personal. I don't believe there are any real Ashes to Ashes moments. Not that nor Teenage Wildlife nor any other. This LP was also the first album since 1977's Low, to not be produced by on and off again producer Tony Visconti. It should be noted Visconti first started with David Jones on his second self titled album, and in the states titled Man of Words/Man of Music, back in 1969. Instead you have Nile Rodgers of the disco group Chic producing. He would return ten years later to produce Black Tie White Noise another more pop oriented record, for the time at least. Though it's much more artsy than this one. The other change was this was the first of 4 records, including the collaborative soundtrack to Labyrinth, on EMI America. And lastly the players, I don't recognize a single on for any album prior to this. I may be wrong here or there about it, but I'm pretty sure.

1. Modern Love: One of my favorite songs ever, this has such an infectious beat. This song makes me want to get up, sway my arms like an idiot, and not give two shits. This is such a feel good song, I wish the rest of the album was like this. Everything about this song is done right, from the performance to the vocals to the infectioustisoty to the instrument choice. It's something that holds up after 60 or so odd listens and multiple months of not hearing it. I have to fight my self to not sing along. I love the little piano and the sax solos and the just 80's this is. This is done right and much like other 80's tracks done right, that include sax, being Rio and Just The Two of Us I feel this isn't going anywhere. Honestly I can't find anything wrong with this track, other then why is it so good and everything else here pales in comparison.
2. China Girl: This is a cover of a song that was co-written with Iggy Pop and features on his 1977 album, The Idiot. My favorite thing about this track is that I watched a documentary. In the documentary Niles was the one who said he came up with the riff and said something like "you can't have a song called china girl and not have it convey something about chin". Something along the lines of that. So  Bowie was only racist in the slanting if his eyes for the music video, not for the arrangement. :') But seriously, I dig this track. And yes its another case if the originals better, this is an interesting arrangement and execution but not on par with the first. The singing here isn't really that anything, the best part is probably the bass, especially on the part "I walk into to town, just like a sacred cow". I love Carmine Rojas' playing, on the track at least. But in reality, even by way of soloing this is underwhelming. It doesn't even sounds like Stevie is playing. Hell I played a better solo on the spot while listening vs the on that made the record. The solo should be spit fire, Width Of A Circle esque. Packs a punch, this just ends like a little old lady, not powerful enough to hit anyone. It has a decent music video, just like the track before this and following. But look for the uncensored one, just because there is one. All and all Pop's version is the far far far far far far far far superior. This is the type of track the needs a General Turgidson character performing it vs a non personality driven person whom I can't quite think of at the moment. 
3. Let's Dance: The only track with a co-credit form Rodgers, this is the song where the album gets it's title. When I first started listening to Bowie I liked this song a lot. And I still dig this song, though 7 minutes of this can be difficult. I mean I can't really complain, there isn't anything wrong with this track. It goes at a good pace, it have interesting sound choices, a killer solo from SRV and even great vocals. Vocals that quite frankly, in a different song, could bring a chill down your spine. Maybe it's too many listens, maybe it's that it's 7 minutes, maybe it's I want another Modern Love but this isn't the best song here. 
4. Without You: "I can't live, I can't give anymore." Sadly it's not a cover of the classic track if the same name I just quoted. No instead this is a Bowie original. And hey another Stevie Ray guitar performance. Honestly I really can't say much about this track. I just started and ended. And even when I listen I still don't have anything to say
5. Ricochet: Question; if this track is "on the ricochet", will in then indeed "going to hit" me. Another original, but a terrible horrid arrangement. I mean hearing this and how off it is I'm not shocked Bowie has a track like this. Hell The Beatles, Led Zeppelin and any other hugely talented artists will have (regardless of if they stole a song, or about a back catalogs worth of songs) some tracks that just don't work. Some that sound off. That's what's called an demo, or an outtake or a track you don't use for an album. What I can't understand is how the fuck did this make it to the album. Upon re-visitation thought, closing my eyes and envisioning what's really wrong.... I got it. This is in it's simplest form a reggae number. Now this band, because most of it would go on to play on Tonight, would do a solid easy pretty reggae with the title track from that album... but here it just doesn't work. Not only does it not work, it could have worked if they took the time to rearrange it. Slow down the refrain, practice it more those two thing could have made it work. But the fact that they didn't do that proves, and clearly shows they either didn't care about the track or didn't track the time. David on the worst tracks here shows no emotion, but at least the backing track is either pretty great (Cat People) or good enough (Shake It). But on this track.... not it just doesn't.  And it could have..... UGH. And that's cutting the whole radio telecaster thingy some slack. It kinda just sounds like they just cluttered a bunch of Oingo Boingo tracks together.
6. Criminal World: This is a cover of the 1977 Metro track, off their self titled album. The original is actually a pretty solid track. I like it, but this cover.......... Well at least Stevie Ray plays the solo again. The original has feeling that builds up from the beginning. While I don't believe it has the full impact it could, it doesn't take away from it. It's still like a solid 7 or 8. Also that solo, and ending in the original awesome. Then you get this. Yes it is very faithful to the original, and is even faithful to the previous tracks and style of this album but I don't know. I feel like this could possibly be better and more exciting then the original. Thought the solo is lesser here than on the original.
7. Cat People: This is a noble effort, sorta. This is a re-recording of the track from the Cat People soundtrack. You know the song that he wrote the lyrics to and Giorgio did the music too. Bowie wanted to use it but he couldn't get the rights to the far far far superior version so they reworked and rerecorded it for this album. The original is very bare bones, synths and vocals and then the instruments come in. But it maintains a primal-istic feeling, like a primal urge. The first thing you hear on this is a guitar, and if I don't expect this to play I usually laugh. The instrumentation and Niles again has an interesting interpretation for the instruments but here the biggest flaw his Bowie himself. He isn't even trying. Where on the original I envy him and his vocal chops, here I feel nothing. And the backing vocals accompanying him for the "Putting out fire". I give them props for the rearranging the track and making it kind of an ambitious rerecording, the solo even sounds pretty solid. And what a tone, but Bowie literally sinks it when he's present. Hell this solo would have made China Girl a better song.
8. Shake It: " off" (?). Actually that's good advice. This is the last track, shake off the negativity and biases your forming towards the album. Allow yourself to view this, hopefully worthy of letting go of the past encounters that led to me beginning to accept the stereotypes of this album as fact, as a new experience and truly end on a high note. Does David do that? Will this be another blunder like previous tracks? Will I ever get to the point? Do I really care if i use proper English and grammar? Have I been watching too much Danger Mouse lately? The quick answer no to all but two. Also you can never have too much DM. But I will give them credit for reminding me of two artists that were putting out much better material during this period Duran Duran and Prince. And the backing vocals that don't really sound that great reminds me of The Mothers back in the 60s, those gave the song personality, theses...... don't.

Overall I have to give this a 6.5/10. Bowie has personality, just not here... minus the first track. He was probably too busy almost marrying Janet Majors to make a records, and also staring in a movie with Farley Flavors and Janet as a vampire. But then again.... I don't blame him. I'd rather do that, especially back in the day, then make a stupid album. All and all this isn't his worst. Trust me its not even close.... Well I mean if we were in 1983 and you were able to look 4 years in the future that's the worst thing he's ever done. But regardless I still have enough here go revisit this and even revisit the "not very good" tracks. So yeah. Also the whole, two Giorgio kinda reviews in a row was unintentional. Also a plus here is that it's only 35 minutes long. Also I don't know how to feel about Sammy Figueroa playing on this... he also played percussion on a favorite Mingus track of mine Three Worlds of Drums off his 1979 Me Myself and Eye.

Tonight - David Bowie

This review has been sitting on the "fill in the blanks" pile now since at least December, maybe even earlier. I figure its time to get it over with. This is the follow up, by about 17 months, to David Bowie's commercial album Let's Dance. This though, was followed up by, minus Labyrinth, 1987's Never Let Me Down. This album, like the previous, Let's Dance (and not Ziggy Stardust Soundtrack) features some co-written songs and some covers. Though David seems to have always have a cover song on albums, from at least Hunky Dory to Aladdin Sane, and from David Live to Station to Station. There are other examples, but I just want to get to the point. He must have gotten lazy on this thing. And even though i read he thinks (or thought) of this as Pin Ups 2, its not all covers and he co-wrote some of the covers he is performing. But when all is said is said and done, lets go to the review. Don't fear, Cherry Bomb is up next, and should be up within the week.

1. Loving The Alien: One of only a very few songs that I truly like, on this album. Not just enjoy or can tolerate, actually like. I actually think the better version is the 2004 acoustic rendition of the track that appeared on the 2010 Reality Tour CD, and I think it was released on DVD in '04 also. The only problem with this track is its very cluttered. There is a lot going on and it sounds like too much going on. Also I don't like the way it was edited. I wish it would flow better between the sections of the song. But beside that it's a great track. The sad thing is that it doesn't flow so well. And he's made sides of albums flow, he needs Tony. 
2. Don't Look Down: A cover of Pop's 1979 track off his New Values LP. There are two other covers from him and they are both from the 70's and he also co-wrote them with the Stooges front man. This song is not as fun as the original. The original is, while not one of my favorite solo Pop track, it is still better than this.This is very ska and very dub reggae ish. Like this sounds like an 80's take on a track I'd hear Sublime or Bob Marley doing that is boring. And the backing vocals again, reminds me so much of Wings on their soft rock tracks.
3. God Only Knows: This is a cover of the great song by The Beach Boys. Now without comparing the two I would have to say that the original, another example on this album is Tonight, is better. By a lot, a lot. Like I mean when I listen to this I just don't get any pleasure out if it. And to prevent a relisten to hear and give more details I'll say what I remember. His vocals, the arrangement, the playing, lack of charm, lack of interesting harmonies and worst of all it doesn't cause a tear in my eye or rip at my heart, unless its a heart attack or tears of pain telling me to avoid the track. :(
4. Tonight: This is a cover of the track he co-penned with Iggy for the Lust For Life album. While the original moodier and darker version by James Newell Osterberg, Jr. was the best version and haunting in its beauty, David decided to make this into not only a reggae number but also a duet with Tina Turner. Now this version isn't terrible, but after you hear the original you'll know your allegiance. I actually enjoy the happy feeling I get from this. This track version is also very fun to listen to. It's also fitting that he cut out the intro that explains what the song is really about, since there is a woman singing with him. Now I don't want to spoil it, but I like how the cover was actually reworked it into something fitting Bowie and kept it from being a piece of crap cover version. I also like how this was changed into more of a two lovers singing together vs the originals one side perspective. In cutting that intro he basically changed the whole entire story. Like he changed what his version was about and its a significant change, not a change the pronoun in The House of the Rising Sun change. somethings on such a different meaning I'm lost for word when trying to think of another example this extreme. {8.7/10}
5. Neighborhood Threat: Originally on Iggy Pop's 1977 album Lust For Life, this is another track that Bowie decided to cover for this album. This was also co-penned with Iggy and Rick Gardiner. The latter was also a member of The Stooges, for a short time. And damn this is so 80's if it wasn't on an episode at, least in the form of an instrumental, on Miami Vice I'd be shocked.The verses sounds a ton like; like it's crazy similar to, Dreams (?) by Van Halen, and that track came out two years later. The pre-chorus sounds like Bang Bang. Hell this whole entire track is a prelude of what was to come on the Glass Spiders tour. But I can't stress that this is no where near as good as the original. Also I plan to add the song when I figure it out. 
6. Blue Jean: This is one of only two tracks sole penned by Bowie. While I live to see his name solo again, this is one of the lamest songs on the album with his name as the writer. I mean, yes it's fun and a decent track. But I've grown away from the song. This sounds like it would actually fit on Let's Dance but might have been cut last minute or something. Whatever the case I just have fell out of love with the song. Even when I did like it when I was in grammar school I never loved it, more of a like for it. It was never a Space Oddity or a Ziggy Stardust. It was more in line with Let's Dance or the Cat People redo. I hope that makes sense.   
7. Tumble And Twirl: This is another co-penned track with Iggy Pop. Something about this.... screw it, I think this is a dumb name for a song. I mean it just kinda bugs me. And well this song is so Oingo  it's just.... the only good part I think is the quiet part that reminds me of soft rock with the acoustic guitars.  That sounds like something I'd hear on Venus And Mars, most likely, by Wings. I get the whole feeling of this track, and honestly it's not horrible, it's just not up to Boingo quality. This might be the most blatant copy? of Dead Man's Party, though that track came out the following year. Though I am digging the acoustic guitar tone for the solo.
8. I Keep Forgettin': This is a cover of the 1962 track originally recorded by Chuck Johnson. Other artists covered this track include Ringo for his 1983 Old Waves album and Procol Harum for their 1975 Procol's Ninth. So at least there are other people who know this song and probably like it, and it's not another Iggy Pop cover from the 70's. And to be completely honest this reminds me of Oingo Boingo. The track I have in mind particularly is Goodbye Goodbye. Like serioulsy everything about this track reminds me of the group, from the horns, drums, vocals performance and even the chords and the rhythm pattern. The only thing is Goodbye Goodbye is louder and more upbeat. And maybe replace the guitar solo with a saxophone. But the intro sounds very similar to Modern Love's drum beat. {7.8/10}
9. Dancing With The Big Boys: This was was co-penned with Pop and Alomar. If I am correct Bowie once said this Is the track that was what he was going for on the album. This one came out best or something like that. To be completely honest I've heard the song, obviously if I'm reviewing the album, but its nothing that special. I mean I guess if you listen front to back its a nice ending but still. 

Overall I have to give this thing a 6.3/10. The biggest problem here is Bowie must have had writers block mixed with lack of interest mixed with no drive. While his name does appear in six of the songs writing credits, 3 of those six are covers of Iggy Pop songs. The worst thing is this slump wasn't just for this album, thought it also appeared on the prior too, it continued on to the next album 1987's Never Let Me Down. Such a terrible title for something that does every time. But anyway this album does have decent tracks, but Davey just isn't up to par on this. The best way to enjoy this is front to back (to hear them all), then periodically listening to the other tracks alone and revisiting them over time. And also not taking them as serious as his other material, but that should be a given. I should also mention, for as harsh as I was on him for sound like Elfman's new wave ska legends, some tracks on DMP were also uneventful and kind of boring so. Who knows, maybe it's just my tastes and sonic pleasure areas.