Witchcraft Destroys Minds & Reaps Souls - Coven

So to kick off my less Halloween-tackular-bonanza-onzi-Month-A-Palooza (fucking let me die please), I have decided to do an album I've been putting off for a while. Why have I been putting it off, because I forgot about it to be honest, the review. This is the debut by Chicago satanists Coven. I chose to initially review this album because it predates Black Sabbath by a year, also another funny thing about this is there's a member that's nickname is Oz. Also Jinx used to do devil horns on stage before Dio was performing. She also gets naked in the gate-fold, but she's much cuter on the cover than naked (IMO). This was pulled after only a short shelf life because of the satanic themes, remember this was 1969, not 2016. But whatever, I still dig this thing and am reviewing it. Oh also, check out the wikipedia page, there's a really interesting story about the songwriter for the record. Not occult odd, just kind.... well you'll see.

1. Black Sabbath: This is a shot for shot remake of the film of the same name. This opens with a sort of groove, that I wouldn't expect to be here. It's a very interesting sounding sort of vamp over the vocals. The keys, or effects add this sort of horror film eerie dissonant sounds. I like the guitar tone, and I think the vocals and are sort of added too, during the long notes with that echo or dissonance.  The songs has this sort of pivot with drum rolls and it does into a much harder rocking part. That ends with sort of cadence, but I love it because it makes me wanna sing a patriotic song sort of. Not really, but that's what comes to mind. I really like the bass and the sort of marching feeling that is hypnotic and could be them summoning something. I can't believe they fit this much shit, in the best way possible, into 3 1/2 minutes. This is a really well put together track that has great flow and the "pivots" work and don't detract at all.
2. White Witch of Rose Hall: Okay, off the bat I'ma be straigh, this is a phenomenal track. I could so easily see this being a soul song, if it didn't find it's home on this record. The percussion is pretty solid, though it kinda sounds a bit off a parts but it's all good. The vocals here are great and the groove and forward pushing drive of this song is great. The piano sounds fucking great and they even were able to throw in some variation. Fucking James Vincent, I gotta look into more of his shit. I really like the percussive sounds they got on this track, and it's kinda like outta nowhere. I'd never in 1 million years expect this to be on this type of album.
3. Coven in Charing Cross: Ah. Classic titular band track. This song has a very psychedelic feeling, but it kinda makes me smile. Hippies were like, happy and "peaceful" but it's funny to hear that mentality and sound for something more conventionally sinister. I love that group chant that makes it almost sound as if it's a cult, but this is a pretty solid tune. There is a song this kind of reminds me of, but I can't quite finger it. I don't like this as much as the last track, but I do still think it's pretty solid. The only thing I think they could have changed was maybe that last longer chant they could have had music or something going on to make it sound hypnotic or more textured. Like it happens three times, each time I think should be start stop start stop. Why not have it start, stop, then start then trip out. I fee like the sound could have been shortened, but I feel like based off the last two songs they could have done something really good with those two other pauses. Hell even reading the chant over the outro solo or having that phase out and then the segue in with a vocal harmonies and someone over it. I have tons of ideas for it.
4. For Unlawful Carnal Knowledge: This is a cover the the Van Halen album of the same name. But oddly enough this sounds much more reminiscent of The Doors. Maybe mixed with Uriah Heep's keyboards (only so slightly though). This still is a great tune, don't get me wrong. I love the grooves and the fucking bass player. Damn, I love that bass line (the tone). This could pass as a Door's reworking or a version before Jim joined the band. Hypothetically speaking of course.
5. Pact with Lucifer: This is a song that is kind of standard, it really isn't blowing me as much away as one of the other tracks. It's not bad, but it's kind just like a song with Satanic lyrics that could have been recorded at the time. This could so be a Jefferson Airplane song.
6. Choke, Thirst, Die: This is what my ex used to yell during sex, so as you can tell I have a sort of nostalgic connection to the song. Holy shit, does this remind anyone else of Soft Paradise. Mixed with Stange Days maybe a bit. There is a great solo on the track, I do really dig, but the song is just another song that kinda fits. It isn't throwing anything new at me. I do really like the vamp feeling to it though and the keys really sound great. There's a part where it sort of has a pre-solo vamp section, and they just go to the introduction. Like what the fuck bru, I get that it does pick up, but still.
7. Wicked Games: This is a song based on a cover of The Weeknd's hit Wicked Games, adapted to modern texts. This is a pretty solid tune and it's good a nice feeling to it. Again there isn't anything crazy here,
8. Dignitaries of Hell: This so reminds me of Cream in the beginning. Though I do like the keys added, like it gives a different flavor to the sound you know. Like an extra texture.
9. Portrait: of a picture of my parents, as I left for California? This is another track that fits, but it's a bit more organ heavy maybe. It kinda feels like a less intresting version of something happening on Fly to the Rainbow.
10. Satanic Mass: This track, at 12 minutes, is the longest by far and most unconventional track too. It's an actual "induction" into what sounds like The Church of Satan. It's creepy and in my option, something you only need to hear once, unless your an occultist or into paganism or satanic imagery, literally. I mean it's just kinda bizarre, it'd be like listening to a baptism on a record..... But into the Church of Satan. Not saying that its fucked because its for Satan, or whatever strain of Satanism it is. I'm more in the, its 12 minutes of an induction ceremony, so like do i really want to revisit this... Regardless of what its into. I don't know you know, its unique I guess but it is what it is. It also has a writing credit to Bill Traut (the guy who produced a number of singles and albums, but for me most notably the first four Styx records). #BillTrautIllimanitiExposed

Overall I have to give this album a 7.8/10. I like the record, there's a punch you dig. All terrible jokes, and confusing dumbass references aside check this out. It's a great rock record and great for Halloween. I think they sort of lost their creative steam after track three, but that's not a terrible thing. I know a ton of people who like songs that work together. It's not so bad it blends, but they all work on the same album. I just wish there were more parts that kind of threw in changes, and things out of nowhere (or at least changed it up a bit). Check it out if you think the cover, the themes, or anything about it is intresting. Hell even if it's just outta morbid curiosity listen to the last track. I think it can be summed up as if Jefferson Airplane, mixed with The Doors. And also if Janis Joplin wasn't boring as fuck. Side note: I wonder what this would have been if it was a live record.

Revolver - The Beatles

Fifty years ago today, the seventh Beatle studio album was released in the UK. This is the often looked at as the sequel, or part two, of Rubber Soul. While I can sort of see that now, I still think it's great in its own right. None the less this was the last album they toured for, and only played I believe one song or two off the record (the rest required too much studio trickery to do live). I can't really think of much more to say about the record, other than lets review this thing.

1. Taxman: Opening the album, we get George's ode to Tax Collectors. A pretty  funny song, and I love the guitar and beat to the song.  I love the little double time parts Ringo plays and I love the backing "oh Mr heath" (or whatever they say). The vocals on this are great, and I think this a pretty strong track that packs a punch. This has a tasty solo and I still like it quite a bit. 
2. Eleanor Rigby: When I first heard 1, the compilation that introduced me to the band after Across the Universe, I skipped this song. The reason was because I was seriously afraid of it. Now when I listen to it I think if all the times I heard it playing video games, bit I also hear a song that has some gorgeous string arrangements. It's a very sad and lonely sing, for a very sad and lonely woman. If my ears are correct there's viola, violin, cello and maybe contrabass (could be wrong, but hopefully my ears are right). While it's kinda repetitive, I still think it's a really cool idea for a really cool song. #ExperimentationIsKey
3. I'm Only Sleeping: This has a very dream like quality to it, very laid back and stream of consciousness feeling. By that I feel like, even with the backmasking (used correctly this time) add to the dream quality. I also love that acoustic guitar in the track, I also love the bass pops. This is a solid tune and one of my favorites off the record. I also love the weird noises, which were backmasked as mentioned earlier. 
4. Love You To: The second song on the record to be written by George. This song has a very raga influenced sound to it. It opens with some sitar and could actually add to the dream like feeling from the last track. I really like the rhythms on this track a lot, and like the vocal effects on this track. I doubt its only sitar, but there is some great sounds on this track. I'd love to hear a isolated version of each instrument for this track. I know sitars can have that sustain, or are supposed to rather. I also love the percussion on this. I also dig the double time at the ending g, or at least the pick up in tenpo at the ending. 
5. Here, There and Everywhere: This is a sweet Paul McCartney tune. You can tell because its very pop like, and he's singing it. The guitar on this is so sweet and the harmonies are so fucking great. There's a dream like quality to this, but its more of a romantic dream feeling. Like what it's like to be in love and I love the arrangement here. I could easily see this being played on strings and horns but work quite well without them. Finger snaps a plus. 
6. Yellow Submarine: I don't really feel I need to talk about this song, but I will. I really like the acoustic guitar on this track. It was written by Macca for Ringo and I love the sound effects. While I feel like, oh its this song, I still get kicks on the occasional listen. Plus, damn they really did a great job with all the effects on this thing. Honestly, listen to the non guitar, bass, drums or vocals (Ringo/harmonies) in the track. I wonder how long that took to do. 
7. She Said She Said: This song has a bit of a punch off the bat and it has some nice acid rock guitar on it. I also really like the bands tone on the track, we get some great sounds that make it a bit more trippy, and the bass sounds great. Plus that's some solid drumming from Ringo. The vocals work well here, and I like the part that changes. I like this but I have to be in the mood for it I guess. Also the ending where it kinda speeds up a bit, I really dig that. 
8. Good Day Sunshine: This is sunshine pop, I guess. I like the upbeat feeling of this, but for whatever reason it isn't as sunny as I feel it should be. Like if its sunshine shouldn't it be super bubble gummy. All though I love the piano work on this track. I like how the drums add a bit more punctuation to the vocals. I also really like the harmonies especially at the ending and I like the hand claps. And I appreciate that sort of loop at the end, that's really short. 
9. And Your Bird Can Sing: This is another track in the vein of She Said She Said, all though it's more fun to listen to. Again a killer bass line and some great drums. Though in the mix they seem to be a bit more buried. I like the hand claps, they are a nice touch. And I love the riff to the track a lot. I love the bass tone though, its like an electrified upright bass without the finger hits as audible. It's nice and fast and works quite well here. 
10. For No One: This is a bit of a baroque pop number. I really like the harpsichord on the track and its a gorgeous song that I could very easily cry to. I have heard this song a million times but that trumpet still gets me, I know its coming but I still love it. Paul feels very much like he's singing a Paul song. I think the only thing that could have made this possibly better is maybe strings towards the ending. It's still a solid track though. 
11. Doctor Robert: I like this song, but I also feel like its kinda filler. I mean there are a number of songs that give you what this song gives you on the album. I still like the whole Beach Boys thing in the middle, but I don't fully see the point of it I guess. But what that said its still a solid acid rock tune. And I do dig the bass and organ during that one part. I also want to point out, that guitar is weird. I mean throughout but still. Kudos for getting that in a pop record. 
12. I Want to Tell You: Another George tune, but I still dig it. This is more in the vein of say Good Day Sunshine. It's a pleasant track. I like the ending fade out, but I've kind of described what I like about it elsewhere. It's a fun song
13. Got to Get You Into My Life: This is a great time, great bass line and great horn section featured. I could almost see this, if done slightly differently, being on a Motown album. Maybe something like Away We A Go-Go. This has a fun feeling and while it's kinda bare for how large it could be, I think it works. I also love the guitar tone on this thing. It's great. The ending is also great. 
14. Tomorrow Never Knows: opening with a sitar drone, followed by what sounds like a drum loop with some snare. I really like the drums on this, but I'm pretty sure it's a loop. Like outside of the vocals, I'm pretty sure everything is tape manipulations. Now that's not bad, there's a great solo that is backmasked and the song keeps you interested. I mean some sounds do repeat, but I'd still pick this any day over.... Well a lot of stuff to be honest. I also bet this was fun to do when recording it, considering how this was the first time they played with tape really. I also like the thumb tack/honky rink piano at the ending. I never heard, or remember hearing, that before. Great ending and great prelude for what was to come next. 

Overall i have to give this album a 8.8/10. This is a Beatles record, so its inherently great. Well not always, but you know what I mean. They were lucky enough to not really make a terrible record, even when people fucked with the music. But this is a great, exciting record with a lot of interesting sounds and ideas. While I don't think it's perfect or mindblowing, I do like what's on the record and recommend it along with all the other Beatle records. 

Part One - The West Coast Pop Art Experimental Band

This is the second release by The West Coast Pop Art Experimental Band. I've heard of these guys before but I never really took the time to check them out. Recently (In like 2014) I thought I'd give this cover of Help, I'm A Rock a spin on the ole computer. Needless to say that inspired this entire review and I honestly need someone to know what if feel for the album. I'm not just basing it off a single cover, but that was the inspiration.

1. Shifting Sands: Opening the album we get a track that isn't half bad. I mean it isn't amazing, but it isn't bothering me. This is a pretty decent opening, and you know if you like psychedelic rock I'm sure you'd dig this. My favorite part is the guitar tone, though the sort of waltz feeling beat is pretty nice too.
2. I Won't Hurt You: This is the first track that appeared on the earlier Vol. One from 1966. This opens with a sort of heart beat and a guitar. I mean I get the whole idea of counter rhythms but I think this beat is too loud and over powers everything else in the beginning.I get this is sort of a nice short little number, or transition, but this isn't impressing me. Also when you get to the actual vocals and lyrics......... Well, let's hope the next track is better.
3. 1906: To be honest, at this point, I kind of know where this is going. This isn't horrible, it just isn't impressing me. I feel like this might as well be a loop of it's self.
4. Help, I'm A Rock: This is the real reason I started this review. Why, well this is such an underwhelming cover of this fah-nominal Zappa track of the classic Freak Out!. They didn't do this song any justice and it's, to be as nice as possible, probably the worst Mothers cover I've ever heard in my life. To be honest, I'd try to cover this cover up. :(
5. Will You Walk With Me: Let's just hope the rest of this album does a good job of not letting me revisit the prior track. Opening rather promising, it's not until the vocals come in and to be honest I could see this being a pastiche attempt at making this flower power sound baroque pop on an album like Spinal Tap or something like that. It's pleasent to listen to, but much like some of the new Coldplay record, I won't remember it once it's over.
6. Transparent Day: Oh what a happy tune, this ins't half bad but the vocals are so boring.
7. Leilya: The beginning isn't that great, but that acoustic section that fades in and is over the track is nice. But this isn't anything special. I wish that would have lasted longer.
8. Here's Where You Belong: Another song that is just Okay.
9. If You Want This Love: This track also appeared on 1966's Vol. One. Suprise, this is just okay. To be honest this sounds like it could be a re-write of Love Potion No. 9. And that solo is too short to be awesome.
10. 'Scuse Me, Miss Rose: This ain't half bad in the beginning. It has some promise. To be completely honest, get a different singer, and this would be a keeper.
11. High Goin': That as a decent closer, I was gald when I heard it.

Overall I have to give this album a 5/10. I mean this is pychedelic rock/pop. What do you expect, it isn't anything mind blowing or breathe taking. I'll never revisit this, and really don't care either. I think the best part is the thing that looks like a girl as Bowie on the Hunky Dory cover in that picture. The only difference is she's cute.

Turn Blue - The Black Keys

This is the latest album from The Black Keys. Before this album was released I knew its be problematic. First the promo was way to similar to the last albums promo. They were using like 90's VHS quality tapes. Also that wasn't that funny, but that's really not the end of the world. What pissed me off was that the album continued their Danger Mouse collaborations after they said something along the lines of "we sold out on that last album". Also what's why psychedelic music, if you want to make good psychedelic music use Sonic Boom or MGMT as your producers. Now I don't know if you know that but I'm not huge on Brian, and the only thing he's done I liked was The Grey Album, which he only mixed previously recorded albums together. He did a great job, but still. Outside of listening to the Gorillaz's there isn't anything else that I'm even that remotely interested in that he's touched.

1. Weight of Love: This is a track that sits at a long 6:50. The intro sounds psychedelic and is probably a great direction for the Keys to head. They aren't over using that stupid Danger Shit and this is a pretty interesting introduction. The vocals here are actually pretty cool, and I think this might possibly, with numerous listens, be my favorite Keys track I know. This is definitely their most experimental and ambitious I've heard. There is a very Breathe In The Air feeling I'm getting here. The ending reminds me a little of Black Sabbath's opener Black Sabbath. Overall a great track that I doubt will have others living up to it. Upon repeat listens this intro, until the percussion, reminds me a little of Gorillaz track Clint Eastwood. Maybe it's because of the western feeling of it.... I don't know, but all I know about this track is this is the best on the album, but I'd still get a better sence of what this is going for if I listened to Dark Side. That first note reminds me a little of Flight of the Conchords on one of their songs, I think it's Foux Du Fafa. As neat as this is, and baren a wasteland it paints I think it just doesn't 100% click with me.
2. In Time: This is kind of a part two of the last track. Well, if there was a segue it'd work better and be cooler. Some of the guitar melodies are interesting here, but you know for some reason there isn't anything sticking to me. This is another Gilmore inspired solo. This also has a feeling of Dr. John's album Locked Down.
3. Turn Blue: This is a pretty bland song, and the reason I use that word is because I don't care to think of any other description. This sounds like Foster The People's new album, but worse.
4. Fever: This was the first track released from this album. And honestly the song reminds me way too much of El Camino, with the exception of making it more trippy/electronic. Upon first listen, esp with the backing vocals.............. If I didn't know multiple listens help I'd probably never listen to this song again. Also if the whole album is any foreshadow of this track..........
5. Year In Review: This intro reminds me of Haim. But I can't stand this title, why I hope it's not gonna be a political message. But overall there wasn't anything that I picked up from that track. This is a pretty straight song, but you know it just doesn't click with me.
6. Bullet in the Brain: This is another decent song, but it kind of just gets lost in this albums "wasteland". As much as I like the ideas going on here, there isn't anything that makes me want to come back other than to not be indecisive about it.
7. It's Up To You Now: This song sounds like a I Want Candy, but more in line with the original. Also I think those wolf howls sounded better in Howlin For You. Actually I'd rather them cover the song then play this song.
8. Waiting On Words: I hope that he doesn't, post this album, use those falsetto vocals. Why, it's not that it's terrible, but he sounds like a girl. They should have just had a girl come in and sing this with him. But it's a decent song.
9. 10 Lovers: You know, they were going for a soul thing, but then they have this kind of synth that after a few listens will probably grow against me. Why couldn't have they just cut that out. It'd be a better song and fit better on the album if they left it off. I'm also not into that noise that sounds like me speakers are broken.
10. In Our Prime: Are you really? This is, no offense, kind of gay...... I mean the strings are kind of cool, but really this sounds like a rip of a Crimson song, mellotron. Just like with the Weight of Love I'll listen to the original instead. I do like how the song changes and the guitar fades out into an atmosphere. But still.
11. Gotta Get Away: This is a pretty straight forward ending to the album. The thing is that this is a song that is so so. I think this remind me a little too much of a Bob Seger track, but maybe with a synth. And the vox aren't that great here.

Overall I have to give this album a 5/10. I am a supporter of the further experimentation and pushing boundaries in music. In order to do that you need to push you boundaries first. Now with at in mind you automatically score support in my eyes. The next things is when you experiment and grow you try new things, see of they work or not and then that shows where you stand on that idea. That scores you points in my book too. When you make and album called True Blue it should basically be an album before Attack & Release. While there are good intresting ideas here they just didn't work at all. I hope they decide to either throw in their bags or make another Thickfreakness or if they dont want to go back FIRE!!!!!!! DANGER MOUSE. Now in the future I may review their next album, but remember that unless certain things change it won't look very good. I was glad to see Fantano agreed with me on this being not so good. 

Their Satanic Majesty's Request - The Rolling Stones

#4: I have my problems with The Rolling Stones. For one, I think a lot of their songs are too similar. I do think there are some good songs/albums, but I don't think they are amazing. Along with all their praised albums, 1968's Beggars Banquet, 1969's Let It Bleed, 1971's Sticky Fingers, 1972's Exile on Main Street (which I'm if-ee on). I think this should be among those. This is really the only time, though they basically copied Pepper, they really left the realm of blues. For God's sake, listen to Sing This All Together (See What Happens), there is no argument that this is the weirdest song in their catalogue. EVER!!!! That's part of why I like this album so much, and the good songs too. One last fact, this is the first LP, to my knowledge, that Nicky Hopkin's was on that was by the Stones.

1. Sing This All Together: This song. This one. The horns in the beginning of this song grab my attention. Then the singing, it actually sounds.... wait for it..... GOOD!. By good I mean actually pretty. This is such a fun song. I could see this being their All You Need Is Love. There is some experimentation that goes on in the "solo". I think it's actually really interesting. And I love how the horns bring the song into focus again. This isn't as good as some of the others, but it's still a good intro to the album. Also, this proves experimentation could work. 
2. Citadel: This song isn't the best song on this. But it actually kind of does remind me of some of their olderstuff. Until the chorus. Which I think it intresting. I don't really know what to say about this track. It's kind of, for the most part, more of a normal song.
3. In Another Land: The harmonies in this song. The can make me have an eargasm. They are beautiful. Instead of the usual, "ugly" and "bluesy" backing vocals, this is actually "harmony" vocals. They could bring a tear to any man, with a sense of decency, eyes. The harpsichord in the beginning of the song is just, I can't believe The Stones pulled this off. My hat goes off to Bill Wyanman. I love the vocal distortion echo the did during the verses. I think the snore at the end is pretty funny.
4. 2000 Man: This kind of reminds me of the next album. The more country feeling to it. It also kind of reminds me of a more upbeat version of Dead Flowers or a demo version of the song 39 by Queen. I also like how it changes. It's almost more of a composition rather then a blues/counrty song by Mick and Keith. I also like the little organ fill towards the end.
5. Sing This All Together (See What Happens): This is All You  Need Is Love 9. If you don't know what  I mean, Revolution 1 was a normal song Revolution 9 was complete musique-concrete. This is a total experimental track. If you guys like there guys at their normal tomfoolery, then you'll hate this song. I don't think I've ever heard another song remotely close to this one by this band. Now, for most people, they would say that the Stones experimented and it didn't work. They could say this track is a key example. I really like this track, but if you're one of those "artsy" people who "Knows what their talking about", then most every other song on this is normal. I don't want to ruin it for you if you haven't ever heard this before. But remember, it's different than any other song by these guys PERIOD!
6. She's A Rainbow: I don't understand if you don't like this song. It's super catchy and so fun to sing. This song can make you get pumped up and just run around. Ole' John Paul Jones, you know of Zeppelin, did string arrangement for this song. This was before he was in Zeppelin though. I also think it's kind of cool that there is talking in the beginning, then the piano plays. The strings in this song could almost make you cry. The "toy piano" sounds, beautiful.
7. The Lantern: This is a pretty cool sing. I really like the way the chorus is played along with the voice. It sounds pretty cool. This is a solid song, not together wise, but good/decent wise.
8. Gomper: This almost sounds like an indian song. Actually you could say that this is the weirdest song by the Stones. It's pretty much just noise. With bongos and desert sounds and just drone. I almost wish there weren't any vocals though. The keys are awesome sounding.
9. 2000 Light Years From Home: They really like the number 2000. The beginning of this song is kind of "scary". Like I think they are using cluster notes. This song has a lot going on. I don't really think a normal Stones fan could comprehend. I'm just kidding B-Dowg.
10. On With The Show: This is supposed to be the closer to the album. Supposedly this was inspired by Absolutely Free's last track America Goes Home & Drinks. Which you can kind of tell it's similar to that track. This is a really good way to end. The microphone effect on the voice reminds me of Magical Mystery Tour. Like they are on a bus that takes you around and you see this "show". The music going on in the background has beautiful strings and almost makes you wanna cry to it. The voice effect also reminds me a little of Uncle Albert.

Overall I have to give this, extremely underrated, Rolling Stones album a 7.8/10. This is the only album that was produced by them alone. Because their producer left because he was fed up with their drug problems. So, I guess something, beside Pepper, comes good out of drugs. You could almost argue that they, though they didn't (I know they didn't I read about it), were composing songs rather than jamming  They weren't going, "Lets do this fast, play this album in Open G". They did rush this at the ending for the release date, but still. They almost just made an mature album, leaving their normal style. They did make some changes on the next few release, but still. This is the most different, and in a good way. The next review will be of another favorite of mine. This album came out in 2010. I know, up to this point, the albums have been pre-1980. But well, I want to mix things up. I might also have two more post 2000 album's too. But this is a pretty psychedelic album. They just released a new single on Record Store Day, and their new album should be released sometime this year.

Surrealistic Pillow - Jefferson Airplane

This is the sophmore album by psychedelic rock band Jefferson Airplane. I love this album cover. I think it's cooler in person seeing it on vinyl. Obviously the beautiful Grace Slicks is on the cover. I think that this is a good. And from what I've already heard, this is a good album. I haven't heard the whole thing, but what I have, I think is pretty solid.

1. She Has Funny Cars: I am kind of wondering if this song title was conceived from a "trip". This is a slow song. Not like slow slow, more like a trippy song. It actually reminds me of Simon & Garfunkel 1966 album Sound of Silence. The fact seems more trying with just about everything going on in the song. Minus the psych vibe.
2. Somebody to Love: This is probably, most likely, their best known song. I really like this song and think that it's pretty catchy. I like the way it sounds on vinyl than on that damn Forrest Gump soundtrack. I don't know how old this is, there isn't a bar code on the cover, but it's probably at least 30 years old. It sounds damn good. I think that the solo sounds really sick and a lot better with the vinyl crackles.
3. My Best Friend: This seems like any old 60's "summer of love" love song. I don't think this is that special. Like Herman and The Hermits or Simon & Garfunkel. I do like like Simon & Garfunkel though. I don't get anything special from this song.
4. Today: The beginning of this song reminds me of the beginning of the 1971 song Bargin off the classic Who's Next album by one of my favorites The Who. But the it goes into more of a harmony voice. One of the vocalist really sounds like Paul Simon. Idk. It's got a mellow folky feeling to it.
5. Comin' Back To Me: This is the longest song on the album and has an intro that could be somewhat compared to Stairway. The fact that there is an acoustic guitar arpeggios and a recorder. That the beginning of that sing. The one thing is that It also reminds me of Parsley, Sage, Rosemary and Thyme album. This is a mellow song that I think you have to be in the mood for.
6. 3/5 of a Mile in 10 Seconds: This is what I needed to keep my interest. The album was kind of putting me to sleep before this. This has more of an up beat feeling that the last sing in side 1. This is a good way to start side 2. It has a psychedelic feeling I've been dying to hear from this bitch. I think if you like psychedelic music you'll like this song.
7. D.C.B.A. - 25: The bass in the beginning brought my hopes up, but then the song came in. I don't know why but I don't care for this that much.
8. How Do You Feel: This beginning reminded me if The Stones for some reason. It only lasted so long. But now that's over and I can't pay much attention.
9. Embryonic Journey: This could be a Simon & Garfunkel cover almost. I do like that it's instrumental. A good break from everyone's voice. I only like Grace's voice.
10. White Rabbit: The last song was a good interlude to this song. I like how it's kind of a break and then it comes back to this song. I love this song. This is a good song. I like how there are Alice in Wonderland references. I really think this sounds cool and so does the singer.
11. Plastic Fantastic Lover: this song is ok but. Here is the thing. Damn, Grace please sing lead. Please... PLEASE!

Overall I have to give this a 6.4/10. It's got it's moments, some more quiet than others. I did not expect this much quietness to it. I think that it was ok, but wished for more moments like Somebody to Love or White Rabbit. If I was younger and more close minded musically then I'd be in love with these songs. I'm not even that old. But thats how I feel now. Even the beautiful Grace couldn't make me love this album.