Done with Mirrors - Aerosmith

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

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

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

Making Movies - Dire Straits

Let's see how long I can keep this up for, who know's maybe not for long but I'm glad it's been consistent weekly reviews now for almost three months. I started in December, and I think I might actually do this from now on in general. Unless I have reason to other wise, but for this year I'll continue this for as long as I can. This was waiting till January to finish, but I guess I'll do it now since I've been busy. The third album by the Dire Straits, released in just as many years. This follows the 1979 album, often looked at as a remake of the debut, Communiqué. This album was released on October 17th, 1980 with production being handled by Mark and Jimmy Iovine. I guess after hearing the song Because the Night that made Mark want to get Jimmy to produce this album. Jimmy also engineered for Bruce Springsteen on Born to Run and Darkness on the Edge of Town and also was a recording engineer on The River. He also worked with Meatloaf as a remix engineer for Bat Out of Hell. There is other albums he has worked on, though they are less important for this review, but I digress. Speaking of notable things, Roy Bittan of The E Street Band plays piano on the record. I assume it's because the Iovine thing but who knows. This title somewhat interests me, Making Movies. It makes me think it's a concept album, or each song is a sort of mini movie within a song. They'd tell a story and take you there with vivid imagery and moving music. You later find out its a lyric, but that doesn't take away from my love of that title. Some of the songs do have a cinematic feeling, so it isn't all that off I guess.

1. Tunnel of Love: Opening the album with Roy quoting The Carousel Waltz from the Hartz/Rodgers play of the same name, minus "waltz". I can honestly say this is one of the greatest tracks I've ever heard. It was from second one of hearing to second whatever I'm on after a few dozen listens. I really dig it, plus I'll add what an opener. That quote also helps add a lot of atmosphere to the opening, and followed by piano arpeggios reminiscent of Jungleland. I mean, it makes sense, look who's fucking playing it. I also love that organ sound and the piano and organ at the same time that lead into the guitar coming in. So good! I love the guitar on this and the song has this urgency that grabs your attention, you know like a good opener does. I also love the details like the acoustic guitar and the keys/organ in the background. This song is quite fleshed out and it shows. I don't really know exactly how to describe this song other than it's very epic you feel it. I love this and am a bit disappointed I can't find more words to describe this. The quiter part of the song works great and I love how the song builds back up. I think it'd be best if you just heard yourself.
2. Romeo and Juliet: This opens with a similar melody to that in Jungleland. Though, that works and it isn't a negative thing. The track also features the use of a resonator guitar, the type showed on the Brothers in Arms album cover, which plays the intro to the song. I think it's a fine song, has some great parts,but that intro is great. I really like the way it sounds and there is a nice little swing to the track. I also love how the song goes up and down and doesn't really seem that forces. Everything, dynamics wise, is very natural. I like those touches of acoustic guitar you can hear strumming away at quieter parts. I also love those guitar chords and I really like the piano on the track too. This is a really good track, and I can't believe I didn't like it anymore at one point. Maybe I just needed time away in order to know what I was missing. I also like the solo and how it feels a bit distant and I think it works considering this seems to be about dying love. Or love that has already died. I think it kind of just ends, but I think it's still a great tune.
3. Skateaway: This is another epic. An epic that a person would think, well why have them all in a row. That's what I think, and the worst part for me is this is my least favorite of the epics. It's got a great music video and great lyrics. They really paint a picture of a girl rollerskating down the busy streets of NYC. Without a care in the world, its as if its describing a scene from a movie. But I don't think this song works quite as well as the last two tracks. I dig the song, the drums a great and the guitar is great and the pre-chorus works. It's just the song seems to be like the lesser of these epics. I don't really have much to say about it, it seems like it's kind of following a formula. Maybe that's why it doesn't work for me really.
4. Expresso Love: This is where the album starts to slide down. Am I the only one who hears this, "Because the Night belongs to lovers"? I mean it changes with the chorus and pre-chorus, but like the verses with that piano remind me of Because the Night. I mean it's not a terrible song, it kind of works as an in between of Romeo and Juliet and Skateaway but again it feels like it's following a formula. Like it's there, but the click isn't exactly. So close, but no cigar. I do like the organ and think this works a lot better than some later Bruce material, but still.
5. Hand in Hand: "heart to heart, everywhere. That you never start". This introduction reminds me of Two Out of Three Ain't Bad. The song isn't that a bad, but again it's quite forgettable. Like I can't imagine I'll be returning to this or have an urge to hear this unless I completely forget or am just revisiting that album. The song isn't a terrible song, it's just kind of bland. The chorus is fine, but again nothing ground breaking or memorable.
6. Solid Rock: This is a pretty good track, and as the title implies its a solid rocker. I can't say much more that that if I'm being honest. I mean it's pretty straight forward, no little twists or turns or grand story being told. Just a rocker, and I mean... what else can you actually say.
7. Les Boys: A bizarre track that I read somewhere was a cabaret track. While I see that, I think they got that from the lyric. This is a track that kinda reminds me of Make Up or Walk on the Wild Side. This tongue and cheek style track is something that sounds similar to the tongue-and-cheekness of New York Telephone Conversation or Goodnight Ladies. This track is pretty clear about what's its about. And I don't really think it's about anything. I mean he mentions the "Les Boys" and liking whips and that they are in fact gay. I mean I think the biggest flaw here is the fact that the song sounds like it starts then when it ends it starts over with almost a loop. It plays the song basically twice. I've heard songs where that isn't a bother, Oh Well Parts 1 & 2 on the album, but this just kinda takes away from it. There at least it was a section rather than a whole entire song. I guess this feels like an outtake maybe just left on. 

Overall I have to give this album a 7/10. The biggest problem is why have Romeo follow Tunnel . The album runs out of steam by the ending. Why not put Romeo in the second side at least. I like that the Les Boys has a closing vibe, though it could literally be cut in half and done just as good a job as if it wasn't. I digress, this album is pretty solid and is a step up from the last album. 

Sail Away - Randy Newman

So I am using this month to finish up some albums that can be finished either fast, or are in various stages of completion and are..... Basically I'm cleaning out my draft folder on the site. That doesn't mean I'm shitting out reviews, I am just doing ones I know I don't need to spend as much time on or i have spent the time and just need to type it out. The album I picked first is this. This is the only, besides possibly Trouble in Paradise, Randy Newman record I'll ever review. The reason being I like the title track and Political Science.  That's really the only reason, I guess that and to give this maybe another chance, considering how much I love PS. And honestly, that the only reason to do this review. Oh yeah this is album number 4th studio album.

1. Sail Away: For this record, I feel this to be a great tone setter and terrific open to the record. It's got that wit, and the cynic inside me loves the tone. So basically this song's story is a slave trader talks to the slaves, on the boat, about how great America will be and all the great things that lie ahead. The one thing he decided to leave out, is the fact they won't get any of those opportunities because they are slaves. Kinda dark, he doesn't have an aside or anything, he just withholds that part. It makes you think a bit, I wonder if they actually did that to make the slaves less irritable or more willing to submit. I don't know, and you probably don't either (we weren't there). But still, if a song can make you think, and not about something stupid, Damn! Man I wish I came up with that. The strings on this thing are great and it just feels American, it feels like it could fit in as a Nationalist type song, though it's not really. I don't know, I just know I love it. Also Ray Charles actually did a solid more gospel inspired cover of this tune, which I'm not sure if I prefer to this version, off his 1975 record Renaissance. If I do a review of that I'll go into more detail about the song, on the Ray side of things. 
2. Lonely at the Top: Hahaha, this was written for Sinatra. I do quite like the creeping feeling of this song. There is also a cabaret feeling to the song, if I'm not mistaken. I think this works, unlike that one song... *cough* Who Needs the Young *cough*. I wish I had more to say, but I do quite like this track and think it works for what it is. Plus this is some what smarter than some of the other songs Sinatra would sing. And it doesn't seem that pityful. I mean I like No One Cares and other tracks like that, but look at that cover.
3. He Gives Us All His Love: Originally written for a movie, and I don't think the joke works unless you have the back story. Unlike God's Song or Sail Away this is not as clear what its about. In the movie they were saying this and it was kind of point out the foolishness of believing. I don't really know how to explain it without you looking it up or making it sound like I don't believe in God. I do, but I love this song. It has a very strong standard feeling and I think it should be. While the lyrics are simple its kind of supposed to be. 
4. Last Night I Had a Dream: There is a slide guitar, played by Ry Cooder, present. This is a solid song, but his vocals remind me of what I think he's funny to laugh at. But this is an odd enough rocker that I think if someone else did it it'd be fucking phenomenal. Maybe someone with a larger range of vocals. Really everything else works here. I love the guitar ton, the building feeling and the anticipation I feel in my blood when the song builds to the chorus. This is also a rocker.
5. Simon Smith and the Amazing Dancing Bear: This song is about a guy who, by use of dancing bear. There's more to the story, but I feel like this has a sort of fun feeling to the song. The piano playing is very impressive and I like the changes in rhythm. While its not as grand as I could picture it, or rearrange it in my head, it is solid. I'm not completely sold on the track, but I do enjoy it. I really think the worst part of the song is the vocals, there's a part at the end that hurts my ears. Also I guess its a bit of a let down that there aren't other instruments like horns or woodwinds and strings. That would certainly add to the track. 
6. Old Man: I assume this is about an old man or his old man. I think ths song is a pretty sad song, and I has to have some personal meaning to it. There is something in the inflection if his voice where it sounds like a child singing to his father who is on his death bed. Honestly I could see this being a Sinatra, the string arrangement is beautiful enough to be on In the Wee Small Hours or another of his best records/ballads. There is something's very touching about this and the sole piano and vocals for one verse then the next having strings makes it more effective. I read somewhere he said after his father passed, years later, he revisited this song and pictured his father. Its funny because I hvemmave written songs where they either came true or they were more insightful of my ownself than I could have imagined. 
7. Political Science: Quick, straightforward and to the point, possibly Newman's best song. Really, another hit to Americas ego. This is how good Rednecks should be, but it isn't. This song makes me laugh more and more with each listen. There is a sort of Toy Story feeling tie this track, but I like this a lot. I cove the brushes and the horns that are in the background. A favorite part of mine is the Australia part. This really is a phenomenal track and the ending gets big and just works so fucking well. Great, funny, and on point.
8. Burn On: and on and on and on and on and on. This is a very piano oriented in the beginning and it has this weird cabaret feeling to it. Then the other instruments come in and I really like the um pa feeling I'm getting form the arrangement. The string/woodwind/brass arrangement on this is spectacular. Honestly I can't find flaw in it. It really is a fucking great track and I think his vocals even work well for this track. This is a pretty silly feeling song but I am pretty sure there is a son what deeper meaning. Maybe it was a topical song about Cleveland like Baltimore. 
9. Memo to My Son: I am surprised that I would love this thing, but I do. There is a sort of country vibe to this track. I can't exactly point my finger on what to call it but I do quite like it. It has a sort of honky tank piano and a rocking back and forth feeling. Like I could see this being in a movie from the 70s, maybe in a sort of flashback sequence. Or it could be the theme to a TV show about a single dad who has a son. It has a sort of sentimental feeling too it. I don't have a really reason why but I just can. There is also for whatever reason, Eagles pop in my head.
10. Dayton, Ohio - 1903: You know, this title pisses me off. It's not a bad song, it's actually quite sad, but it's also a sort of predecessor to Baltimore. This is a very mellow song and it kind of reminds me of Short People if it was depressed. I don think its that great, but it aint half bad. I could see it being in a movie or something when its someone pondering something maybe. He isn't the greatest player but he is far better than I. 
11. You Can Leave Your Hat On: I never liked this title, that's not saying the sing it self is bad. Just my feelings of the title. There is a sleezy feeling to this song, but I kind of like that. I like guitar in this and the sort of bar band feeling with the piano. Like a sort of piano blues feeling to it. Though I woukdnt say its exactly like Eddie Boyd or someone like that. Its nice and it is not half bad. I like guitar on the track or whatever is playing that sort of motif in the verses. The bass? I don't know for certain but the only real complaint is it goes a bit long for what actually happens in the song and looking at the length of the other tracks. 
12. God's Song (That's Why I Love Mankind): Funny idea, but I guess I feel like this is pretty dark. Its kind of like God does these horrific things to us, but we still love him. I understand that its probably pointing out people are foolish but I think its worth pondering. I also think the music is perfect for this and its a great opposition to the opening. The opening was much more cheerful and hopeful, in feeling not message. This is just a dreary and kind of straight forward song. Like it is kind of fucked to imagine like God just doing stuff to fuck with us because he doesn't actually care. I mean I myself don't think people should find value in themselves to the point if them being above someone else, but there is a part of me that makes me feel like yeah. I don't really think God owes us anything. That's a bit of a way off front the song. But the music is phenominal and his singing works very well. A great track that grows with each listen. 

Overall I have to give this album a 8/10. I don't care for Randy, his albums are structured in a similar way and his music is very samey. There are some songs here that are okay, but most are average or boring elsewhere in his discography. But the upon meditation, and the cynicisizing (?) of my heart I kind of grew to love this. It's far from the greatest thing ever, but I laugh at it and contemplate what it talks about. It's funny, it's satire, it good. The only negative is these aren't really the definitive versions of some of these songs for me. But the template here is great, and the songs are all solid and have high potential to be re-imagined. I know most of these have been redone or covered in the last 40-50 odd years, but still. This album is great and its got solid song writing, but there are other versions of the songs far more realized. I hope that nukes sense, but ill say this. If I can make something as good as this ill be happy you know. So, yeah, as we all know, Randy Newman's the best. Also as a side note, I think I might do a De La Soul review. I mean I was disappointed by The Chronic and Reasonable Doubt, so maybe their debut will fill that void. But hopefully up next was a surprise favorite of mine from last year. I was not expecting to dig it as much as I did and continue to. 

Braver Than We Are - Meat Loaf

So the last 2016 album I did was pretty solid. I mean not much of a point, but I enjoyed it none the less. Now on to an album that sucks. This is the new Meat Loaf album that was released a few weeks ago. This follows his 2011 album Hell in a Handbasket and is the fifth album to feature songs written by Jim Steiman, though he did co-writer tracks 2 and 7. Now while I could be wrong, their last collaboration was kind of.... it wasn't that great. I haven't heard all of it but what I heard I didn't like. I'll still review it, and the other Bat out of Hell II but this is kinda like (or 5 if you count Dead Ringer). Well I looked into the credits to see something, what I found was this album was produced by M.O.D. guitarist, and features a number of people who have been playing with him for a number of albums.

1. Who Needs the Young: Opening with a bluesy feeling, which to be honest it isn't a bad beginning. I don't really jive with it, but its not a terrible opening. Well for all you fans of blues, don't get to comfy. The song changes to a different style completely. I will point out that transition from the introduction to the horns.... ewwww. I feel the doo-wop/50's vibe that kinda reminds me of Valarie (The Mothers cover), but like what the fuck is this. It kinda sounds like fucked, and not in a good way. Like it kinda slows down and moves the speed of everything around as if the tape is being manipulated. Which could be very interesting, if this was on tape and done more better. The song then goes into a sort of slick jazzy, somewhat cabaret track that I hoped would be really neat. The music is fine, but the vocals.... oh shit. I've heard this song three times now, and it doesn't get easier to listen to. I think the effects on the backing vocals are stupid. I mean I'm glad that he's having fun, but this is just like weird, using it in a negative connotation. It doesn't feel like someone experimenting and doing something fun. I want the flair, and confidence and power... but nothing. You know Bowie'd do a great job with this, song and arrangement. It kind of reminds me a bit of Alabama Song. The song doesn't really ever click together, making that 5 minutes feel even longer than 5 minutes. Yeah there's tons of ideas that happen and this could have been stretched out to 11 minutes and have been an overture.... But it doesn't click ever. Like there are parts where it sounds like they're either intentionally off or they just can't feel the groove. I do see potential in the song though, the doo wop parts in particular.
2. Going All the Way (A Song in 6 Movements): This track is supposed to be the epic one. I mean they kind of all are, but this is, even based off the title, kinda "epic". You know the double digit, and almost double digit, tracks likes Bat Out of Hell, I'd Do Anything For Love, Paradise by the Dashboard Light, For Crying out Loud and well that's kinda it. It features Ellen Foley (the girl in Paradise on the album) and Karla DeVito (the girl on who toured with him and would sing that song with him live). They've done other things, but off the bat there are similarities, almost set against it to have to live up to at least Paradise, a song with three movements (though I think it's more like three movements, but there are four or five sections). I mean I can dig into why I think this doesn't work, each individual part but I think I'll try to keep it simple and be straight. The vocals from Meat hurt my ears, this songs no where near as engaging or charming as past songs and I won't be singing any of the lyrics here ever.  The most important thing in one of thoses is to take me there, this doesn't.
3. Speaking in Tongues: This track features Stacy Michelle and is obviously is a nod to the Talking Heads album cover. The picture on the front of the 1983 album, not the music. No who would do such a crazy thing as that? Actually, the vocals kinda remind me of a white Blowfly. And if the lyrics were dirty and there was no acoustic guitar, this could be a newer track by him. This is a pretty generic track that does absolutely nothing to be honest. The female vocalist who has a bit of flambe reminds me of Feel Inside.
4. Loving You is a Dirty Job (But Somebody's Gotta Do It): Before I get into the cringe that is this title, this track also happens to feature Stacy Michelle. Okay, so where was I.... Oh the title. Are you fucking kidding me? I know Faith No More don't own that phrase, its a dirty job but someone's gotta do it, but like what the fuck. Really, even if he didn't know of that tracks existence or the fucking TV show (which sucks) this title still is a cringe. The only time I'd give this a pass is if the song was about being in love with some who has klismaphilia or whatever the correct tense would be for this sentence. If that was the case I think this entire album would get a pass for how hilarious the song would be. Actually.... Holy shit I have an idea for a song. But as for the song it's self, it opens and is kind okay. I mean I am not digging the keys or synth sound but whatever. This kinda feels like a Paramore song. Like I am in visioning them more or less, but if they had a guest pianist. I like the cadence in the song. Other than that, I don't really know. I mean it's not a terrible song, but there's so many things that sound terrible in the song. I think this works better with older production, this is too clean and clear.... I don't know, where's the bite. This is like nothing, I want a tear jerker or a punch in the gut. I'm not getting that, like the only response here is boredom and I'm more thinking about the cute girl I saw while driving today. Like the girl who I saw for about two minutes, not even, is having more of an impact than the supposed tear jerker of a Meat Loaf album.
5. Souvenirs: This might be the only song, so far, I'll revisit out of the review. This has a very Lean on Me comrade feeling to it. There's also a very prevalent soul feeling. Well maybe not that, but more of a closing SNL theme. This song isn't terrible, and I kinda like it. I mean it doesn't really feel like it's a great or even satisfying song. But I do like the horns, the saxophones are nice. And over all this is the track I have the least problems with. And if you forget about the horrible fx on the harmonies, the sax solo is satisfying. That doesn't mean it's hard to praise this song, or be positive for me, but I still think it's the best one here. And I like that organ on the track, or the organ sound at least. I guess I hear a great Meat Loaf song in this track, something like All Revved Up with No Where to Go, but it just isn't there. Also a negative, it just keeps fucking going.... and leading no where. I don't care if the sax is pay off... it's not enough to warrant this length.
6. Only When I Feel: What kind of a title is this....... okay so I listened to this. If I didn't know him prior, I'd think Meat's got a disability. I'm not trying to be funny, I'm being serious.
7. More: Alright, this totally reminds me of 2001 A Sex Oddysey. I'm not even kidding, like that albums kind of.... bad and cheesy, and this song could be a more serious lyrical cut from that album. So I've heard this song three times, and I'm still speechless when it gets here. Like I'm not even kidding, my eyes just pop out of my head like someone just out of the blue goes "I wanna fuck you". I swear I would hear this on a song from the 90's I just stumbled upon while looking at samples on Whosampled. And this just keeps on going.
8. Godz: This song is, to be honest at this point, fucking corny. Like I'm not jiving with this. Maybe it's supposed to be fun tongue and cheek.... but this is just kinda like lame. Was he trying to make his version of Hamilton.Though there is a part that does remind me of a watered down Residents.
9. Skull of Your Country: This is the last track to have a feature, the feature being Cian Coey. And during my first listen I had kind of checked out for a second and then all the sudden I hear, the "turn around" response to the call from Total Eclipse of the song Meat Loaf turned away before it was given to Bonnie Tyler and made one of my all time favorite songs ever and included in this run on. Now besides the total jarring nature of why; as mentioned he originally turned down the song before it was given to Bonnie Tyler, how does this help this song. Now yeah, Jim wrote the song and its not like he's stealing lyrics or quoting someone else's song for no reason like King Kunta (IMO). Sometimes call backs are really cool, Zappa does them and Aerosmith kind of did... Though the latter I'm not as found of the why they'd do it now as I was before. But like... Why? I'm pretty sure this explanation makes as much sense and I've gotten out of this song. So the second time around this is almost completely un listenable. There is so much happening, but it's not to create chaos it's just a terrible arrangement. Kinda like a jumble fuck, but not in a good way. If you wanna hear what I think they were going for with the drums done right listen to  Packard Goose's solo.
10. Train of Love: This features a slide solo from Rick Meadlocke who was a member of Blackfoot and Lynyrd Skynyrd. To be honest, this introduction isn't half bad. But it's the vocals that kill the song for me, this could have been great but it goes down fast. Here's a visual representation *intro** (vocals)*|_rest of song_. Potential, but it just got ass fucked.

Overall I have to give this album a 3/10. There is way too much off, pitch, tempo, energy, to say this is a good album. This album is kind of a mess and not in a good way, I can't really suggest this in good conscious, what happened. There's no charm, charisma, heart, soul, enema jokes, epic numbers, colostomy bags, fire, enema jokes. I don't know what happened, but like this kinda sucks. Also if Hilary is elected I think I'm gonna drink myself to sleep and cry on the inside. Not that Trump's any better, but for the fact that were at a point the spectacle that was the election even happened.

Frank Zappa for President

Now I have been contemplating to do this since the day it was released, I kinda wanna do The Crux of the Biscuit too, but I figured what's the real point. But I also could do a quick and easy Zappa review for both of these, since I know exactly how I felt the first time I listened to them. So in the spirit of the election year we get this, a collection of tracks with somewhat political themes and what not. So, yeah.... Let's dig in. Also to do a decent review I spent probably more time than I need to listening to the other versions of the songs.

1. Overture to "Uncle Sam": Dated 1993, this is a Synclavier piece by Zappa. Okay so that means it'd fond it self around the time of Dance Me This or Civilization Phase III. Now I've yet to listen to either of those, completely, for the fact I'm not that big on the synclavier pieces. Some I like, like on Thing-Fish, but for the most part I'm just either in different or don't care for. When I listened to this, I have to be honest, I just though it was okay. I mean I liked it I guess, but I didn't love it. I was probably more like on a scale of 1 to 10 a 6, just over half but not much over. I think it would be better if he added something into it. Like maybe a guitar or some vocals or something else rather than just the synclavier and it's samples. All thought I guess I do still enjoy this, it's just I'd rather it be with real instruments. The biggest complaint is that it's 15 minutes long and kinda gets old a bit.
2. Brown Shoes Don't Make It (Remix): In 1970 Frank remixed a number of tracks from the Freak Out! album, some of which later appeared on MOFO. This is a similar affair, but differs in that Dick Kunc remixed it in 1969. Now this is still the album track from November 18th, 1966 but remixed. Now to do an accurate review I needed to revisit the original mix, and the Ryko mix to be able to compare and contrast. The biggest comparison I heard was that it was cleared up. On the original it sounds much more mixed together, for lack of better word. Like if your not paying attention I could see you losing track of what's what. But for the most part you can pick out the different instruments. Now on the Ryko version they added digital reverb and I think it kinda fucks with.... Just look it up its not hard to find hate for the Ryko mixes on a Zappa fansite. But you can also hear the drums much more pronounced at certain parts and there is other louder things mixed louder in certain parts. Now this does make it a bit harder to focus on the overall but whatever. The reverb can also distract you at certain parts, but whatever. Now this version it sounds pretty good. I mean I don't know if it's all that necessary since there's... I don't know. I do like it, but I don't really see the need to include this other than the story of the song. I mean what if they included at version from 1969 or 1968 live, that would be a year that hasn't been released yet. I know I didn't really describe the song, but I don't  want to go to into the song because of next year. 2017 is the 50th anniversary of Absolutely Free review, and because of that I plan to have the review out on June 26th. I also wanna point out I really love the freak out at the end and how it sounds in this remix, you can hear everything.
3. Amnerika (Vocal Version): Now this track, thanks to globalia, pointed out that it's the backing track to That Evil Prince on Thing-Fish or it's the music. I haven't heard that album in a long time, I'm feeling like it could be the same thing, or not, I don't know. I do know that Napoleon sings on this, and it was recorded somewhere from 1982 to 1984 (same time as Thing-Fish). The vocal version reminds me of an extension of The 'Torchum' Never Stops, the section with The Evil Prince. I guess it's nice, I could see some people hating this, but I happen to love Thing-Fish so it's a nice addition I guess.
4. "If I Was President...": The music is dated as 1985 and the spoken word, probably from an interview, is from 1990. I've actually heard the interview that this was taken from, I don't remember what channel or radio or whatever it's from but you can find it on YouTube. As much as I don't LOVE this, I feel like this is what the album probably should have been a mix of him talking on his views over his compositions. I mean he's an intelligent man and his view take the for front over the composition in this situation. You could go, that's against what his intentions for piece so and so was, but I think the synclavier pieces work best when there's something else going on to. Maybe they didn't do it because of the Eat the Question movie thing, but you know but what the fuck. The funny thing about it though is I've seen most of these interviews in the trailer for the movie.
5. When the Lie's So Big: This was taken from the March 25th, 1988 show at the Nassau Coliseum in New York. This track though, finds it's original album as Broadway The Hard Way. So I should touch on this, this is a song making fun of Pat Robertson, who was a televangelist who was very far right and he would later make an even bigger ass of himself. Look up his views on the ERA that he said when he ran for office in '92. Now I am not sure on the music front, if this was or wasn't more his vision of what it was to be. I mean it's welcome because it doesn't just sound like the exact same performance as the album version, which is kinda played straight. This has more changes and things that make it feel like it was the dick around that happened on songs from the band. I mean the message isn't really a dick around message, but it is a bit more fun to listen to than the original released version. This version is better at keeping my attention than the other version.
6. Medieval Ensemble: Another synclavier piece from 1985 and unlike the last sole instrumental piece on this, sits are over 6 minutes. I do find this piece a bit more interesting than the last, it's a bit more chaotic I'd say up front. I also like the way the melody is moving. Yes this eventually starts to get old, but I isn't as bad as say the opening.
7. America the Beautiful: Taken from the same show as Lie's So Big, this is a cover of the famous song, and it was previously featured on the AAA·FNR·AAA Birthday Bundle from 2008. Now that pisses me off a bit is they are the same fucking length, they don't really even differ at all. I dig the track, but like what the fuck guys, there's no other performance of the song. Okay now that that's over I can say, what I like. The '88 band, while his "best" I don't love everything they did. There's a lot of great shit, but not everything is as good as everything else. These the great performances, then there are the songs that have a certain charm to them. This song has that charm, for me at least and I also do like Bobby's vocals a lot. It's a nice way to end this and probably the best choice, though I'd prefer a different date or live recording. The solo also works in this song so that's a plus. 

Overall I have to give this album a 7/10. I mean it isn't terrible, no. Is there any cohesiveness, kinda. I mean I get the Presidential Year (kinda like how they released Understanding America in 2012) theme to it and the political message, though instrumental might not be the best for this type of album. Basically what it is... It's just a collection of tracks and I mean I guess you could go why? But I do enjoy it and I don't mind this album. That could be the fan boy speaking, probably, but I don't hate this album. It's not as bad as Road Tapes 3. If your a fan I'd check this out, if your not I don't know if this is the best first album for you. I mean it is easy to take, for the most part, but if you don't like it don't let it turn you off. So yeah, hopefully that makes sense. I'll probably end up doing Crux in 7 or so reviews.

Young And Rich - The Tubes

This follows the classic 1975 Self Titled debut album by The Tubes. Instead of Al Kooper on production, they got Ken Scott to produce. This album is the first to feature Re Styles, the girl who's hand is on the covers of the first two albums, and also that's really the only difference between the first and second I know of. You know there isn't even that much info about this album on the web either.

1. Tubes World Tour: This opens the album with an explosive track. It kind of is like a world tour recollection by way of Aerosmith's 1979 song No Suprise. Well with an percussion heavy chorus, and song Utopia keys. And a really funky solo. While not as explosive as the debut it's still pretty great. This is one for the few moments on this album that has this much excitement, or at least pulls me in this much. It's very fun to hear and kinda of makes you want to love this album. It might not be the same pull the previous album had, but it comes pretty damn close. During right before the solo there are sounds that remind me a ton of Space Baby. Then after the solo I had to laugh when I heard the accordion. Which works very well here. I also like the little touches and changes in this song. This really is a Tubes tune.
2. Brighter Day: I heard this about five times now and I can't remember a single second other than its softer than the intro. Upon listening to this for the review, like in the moment, it's very Thin Lizzy sounding. At the very least in terms of Fee. The backing vocals, at parts remind me of Bowie's backing vocals on some songs. I think the best part is the classical guitar in the song and the solo. It's nothing that crazy or mind blowing, but it keeps the mood of a slower song and doesn't blow the steam away by the end. Upon revisiting this, it isn't terrible, it's just a bit different. I guess should also mention, those dual guitars (or what sounds like it) do pull on my heartstrings a bit. I mean still this isn't a 10 or anything more of a 7 or 8.
3. Pimp: This is the type of track that I see The Tubes covering, but they cover it so unenthusiastic. I mean it's tracks like this that beckon the question, did they really want to be there. Well at least they didn't really go full out funk. There are some parts that sound like they added funk instrumentation, strings, bass heavy, and a harpsichord or a clavi. But the string swells are gorgeous. This song, if it was more alive would probably be as good as a song off the last album. Actually this sounds like it could have been an outtake from the last album. Earlier I said it was unenthusiastic, yes it's very much so. Like this song could have been epic, but they went the subdued way... but not to it's real benefit. I mean yes I have Morricone flashbacks (good thing), but it's just his music punches me in the heart sometimes.... this makes me kind of feel something, but not the brought to tears emotions that Ennio can.
4. Stand Up and Shout: This is a rocker. The thing is this isn't really anything special. Ok maybe the piano rolls are kinda cool, but still. This isn't anything you can't really hear on any other album that has a rocker. There is a similar-Tubes World Tour feeling to this tune, but it's not as exciting. This also sort of reminds me of maybe the cover of Let's Spend The Night Together off Aladdin Sane. Just not as...... engaging. Even that little talking thing Fee does reminds me of the sort of breakdown in the cover.
5. Don't Touch Me There: This is my favorite tracks here. Not that there is a ton to work with, so to say, this still stands out as a great. This is supposedly a "send up" of Phil Spector's wall of sound production. I can see that, but this is still my favorite track. I think the reason it is is because it's very doowop/brill pop influenced. The biggest problem is probably the "wall of sound" that I didn't realize was there. For whatever reason I don't care for the type of production. Now sometimes it is perfect, and awesome River Deep, Mountain High, other times it gives me a headache after multiple listens, Long And Winding Road. But its fitting seeing how it's a tribute to it. I don't know, I'd love to hear another version of this song because it'd be a 10 if it wasn't for that production. Seriously. This song is also very reminiscent, with the vocals and what not, of a Ronettes track. Hell Shirley (Re Styles real name) even vaguely reminds me of Ronnie or Veronica Bennett when she sings. Also this needs to be said, two people who are not in the Tubes, wrote this track.
6. Slipped My Disco: Dancin' Fool and Disco Boy did it better. Also this song isn't really anything that I remember after hearing it. It's kinda like Brighter Day. There is this weird sort of reggae thing they do in the chorus, I think this is an interesting song, that I feel like if I went into actually what was going on (notes) it'd like it more. But audibly, I feel like there is something missing. I do laugh at the slickness of the way he says the title. And the ending gets pretty solid, but yeah. I just don't think it's as funny as a tune off the prior album.
7. Proud to Be An American: "Were at least i know I'm free." This basically a lesser sequel of the What Do You Want From Life? track off their debut. This is done in a very Elvis rockabilly feeling. It's harmless. Oh, I figured it out, this would totally appeal to a Rockabilly or it's a pretty solid tune. Also if you care, you should look into those lyrics. There are a giggle or two given.
8. Poland Whole / Madam I'm Adam: At 6:31 this is the longest track here. The second longest being 5:03 on the next track, nothing after that is longer than 4:42. So while not super long, it's quite a bit longer than most of the songs. It starts very, I feel like this is an epic tune but I also feel like it's trying to recapture moments that open the debut. The tune is still pretty solid in it's own right, it's just I feel like it's trying to redo it a bit. I think it's pretty hard rockin', but yeah. It does make me smile though to hear Fee go "crazy". He sounds like a crazy person a bit. Oh one last thing, I like those little touches to the song.
9. Young and Rich: Closing the album we get a lounge acoustic track. And honestly, this is a fitting end. I feel satisfied when I hear this close the album. There is a chill feeling to this that I think fits considering it was chill on other tunes. Also really diging that organ/keyboard/synth what ever it may be. That solo melody is really nice, and the drums sound awesome here. And I love that build and all the little details that are happening here. Great great ending.

Overall I have to give this a 7/10. While its enjoyable it has its problems. What's wrong here only continues on to the next album. There are great tracks here, and then there are ok tracks. I assume Al didn't produce this either because of them not wanting it to sound like the last or because he was busy. I understand both cases, but still. When I hear the first album it makes me pine for singers and groups to gain an ounce of the personality that Fee has, but here it sounds like he's devolved into an everyday guy trying to be eccentric. And the group and recording doesn't seem as fun either. I should note the addition to the group didn't mess anything up. The song she sings is one of the best, if not the best.

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, 

Music From Another Dimension! (Deluxe) - Aerosmith

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

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

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

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

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

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.