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. 

Tupelo Honey - Van Morrison

Today I finally sat down and decided to review, or finish, this album. I've heard songs and parts but here it is, front to back, in all its glory. This is the fifth studio effort by famed Irish songster George Ivan Morrison. This album was released in October 1971 and is the only album not on Spotify he's released. What the hell bro, there has to be a reason for that. Legal stuff most likely, but I like to think of it like this. Either the albums a hidden gem, or it's a piece of shit. There are also a number of notable musicians whom I know like Ronnie Montrose, Ted Templeman (who also produced this), Luis Gasca and Connie Kay.

1. Wild Night: I genuinely love this tune. The first time I heard it, I feel in love. This is one of those just, if you can't feel it I don't know. Remember Sir Duke, what's the line "You can tell right away from the letter A, When the People start to move. They can feel it all over". That could be incorrect, but this is one of those songs. The backing band is so damn amazing I kind of, I wish I could find players to be this nice tight and make it sound as if it was on the spot as this. It's kind of the perfect opening and its kind of a flawless track. Even when I get into the arrangement of the bass line and the guitar notes it still works quite well and I'm glad that it is what it is. The horns even accent what they're supposed to and add an extra texture that makes the song more interesting than just a straight forward rocker. I wouldn't and you shouldn't, change a thing about this. While I prefer my radio when I hear this, the guitar seems louder and the horns are a bit more subdued, I still think this works. Plus that saxophone solo is something that I'm glad wasn't a guitar solo, but could have been you know.
2. (Straight to Your Heart) Like a Cannonball: I like this title, and think it's rather funny. The song it self has a very country twang to it, but it's not straight country. John McFee (I checked he plays the pedal steel) has a sort of bar band sound to his guitar, but I like the added acoustic guitar and the sort of extra vocal harmony part. I really like the flutes in the track and it's nice. I wish the track was maybe a bit slower, not much but just a bit to sort of let you soak everything in possibly. I don't think it's the greatest track ever, but I do think it works and keeps me listening the whole time.
3. Old Old Woodstock: This track's refrain very much reminds me of Caravan. Not the one with the drum sola, but the one he did two albums prior. I do like the laid back feeling of this track, but I don't think its really does all THAT much for me on my initial listen. It doesn't really go anywhere, but it's not terrible.
4. Starting a New Life: This has a sort of nice country shuffle to it. I like the bouncing bass line, and the drums sound pretty solid. I also like the chord progression, I mean it isn't anything that crazy, but I like it. The harmonica sounds pretty good, not phenomenal, but it fits the tone of the track. There's something about this that appeals to me, kinda like the same way Country Dreamer (outside of the musicality) does. I know the idea of starting a new life with someone very special and being able to just be with the pulls a chord with me. But I don't know for sure. 
5. You're My Woman: This song has a nice vibe to it, but there is a feeling to it that reminds me of maybe Chicago, or something. Soft rock, that isn't a complaint just an observation. The only thing is the beginning of the song doesn't do much for me. Yeah I like the build and the tension that happens in the pre-chorus, but it still doesn't completely pay off for me. I mean I like the vibe, but I just don't think it really pays off so much. Plus it's kinda long, in the same way the following song is long.
6. Tupelo Honey: On paper, and lyrically, this look like a great tune. I've actually hear other versions and it is a great tune, sadly the thing about this is just...... I don't think it's the tune everyone says it is. At least based on the sole performance used on this album. To be honest, I couldn't even listen to the whole thing at first. It took multiple tries to even get a minute in.... Honestly. Once I heard it I liked it, but the reused Crazy Love melody hurts it a lot for me. I mean it's great tune, just no click for me. I prefer Crazy Love if I'm being honest. But for being as praised as it is..... I don't get it. Then again the only song that "doesn't fit" on Astral Weeks is my favorite, and only one I like. So.... I once read that Bob Dylan said this song has always existed and Morrison was the only who happened to have the song go through him, that's a load of bullshit. At no part in the performance do I feel it needs to be 6 minutes or do I feel elevated. Fuck, Wild Night is more natural and flowing than this track. I mean it does flow in one ear and out the other, but I don't get it. I just ain't diving his version bru. I mean as time has passed I've warmed up to it, even to where I can forgive the CL thing, but it's still not the master piece people say it is in my mind. Lyrically though, I do enjoy the imagery and I like the sax solo. It's more when he sings and what not where I can't get behind the track. The instrumental sections are gorgeous and I wish there was more moments like that. When the vocals come in something just isn't right. I guess it might not work as well if there was no words, but I just don't feel when he's singing. Maybe its a drop out or a mixing problem or editing problem more noticeable on the CD version, but I don't know. Also I feel the song could have ended at around the 4:30 mark and it could have slowed down or faded out but this feels like a live jam that lasts too long. You know those, where they keep going or ad libbing. I'm just not as sold on the song as some others I guess. Also once I played it on guitar I was like, this reminds me a lot of People Get Ready. But whateva... also I'm not sure if the organ, played by Ted, is all that necessary.
7. I Wanna Roo You (Scottish Derivative): This song makes me wanna do a country jig or whatever it's called. I'm actually surprised that this isn't a Dylan song, like if it was slowed down I could see it being on one of the early 70's albums, or one with The Band backing him. This isn't a terrible song, and I kinda like the change of pace. This isn't the best song ever, but it's well enough.
8. When That Evening Sun Goes Down: I really like the piano in the beginning, the kind of ragtime/honky-tonk. It's also nice that it's only 3 minutes long and not 6. This is a country number that kinda actually wouldn't sound out of place if played by The Stones. I mean, if you like Exile or Beggars you might like this track. I like the latter, I'ven't heard the entire former. Also I fucking love this title. 
9. Moonshine Whiskey: This is another driving country tune, that again isn't that bad and feels kind warm.This is a decent song, the only problem is it keeps going for almost 7 minutes. I do like this track, but really like what the fuck. This song could have so easily been edited to the three main sections being condensed to 4 or 5 minutes.

Overall I have to give this album a 7/10. I guess you could compare this to a Nashville Sky or a more country folk record. It isn't that, but there is a sort of secluded and more mature, less fiery feeling I am getting here. It's easy to listen to and comfortable, and that's not a bad thing. As if he's at peace with life. I mean, like Cat Stevens, I find their beliefs and song topics more interesting than the music itself. While I've grown more found of Stevens I've also grown more found of Morrison. But I like Cat more.

Even thought I felt as I do I still feel I should review the first string of records to at least Common One, or maybe up to Veedon Fleece and then some albums that I think are worth after that. But I can't imagine myself really reviewing anything post The Philosopher's Stone, or Back on Top.

Clear Spot - Captain Beefheart and The Magic Band

This is the album seven by Beefheart. This is the follow up from The Spotlight Kid released earlier in 1972. This was released in October and recorded in Autumn of that year. This is a part of his unloved period and I decided why not take a crack at it. I know that TSK wasn't all that bad, so why not do the album that it has since been paired up with on CD reissues of the album. And after this will probably be.... well a surprise. The album was, for commercial reasons, co-produced by Don Van Vliet and Ted Templeman. It was also released in October 1972 on Reprise Records.

1. Low Yo Yo Stuff: This song is kind of cool. It's kind of slick. I think it has a groove to it. It's a good way to start out the album. It has a drive along the lines of Bat Chain Puller. 
2. Nowadays a Woman's Gotta Hit a Man: The drum beat in the beginning of this thing reminded me of Ballroom Blitz by Sweet. Then comes in that harmonica. This song isn't anything special that isn't kind of redundant after hearing The Spotlight Kid. The solos kinda cool in this song. 
3. Too Much Time: This sounds like it could be Beefheart backed by Chicago. Then the female vocals in the background damn, I see how he "denounced" these albums. This is very radio friendly and I could see angering the Trout fans. This is a decent song though that I could play for my mom with few complaints though. 
4. Circumstances: This guitar reminds me of that one commercial in the beginning. Then the harmonica takes over. Then during the normal verses I can honesty say it feels like it never quite lined up, but that drum roll. I think that's kinda cool they did that, and love the guitar distortion. The harmonica reminds me a little of Bat Chain Puller. I really like the drum roll part. 
5. My Head Is My Only House Unless It Rains: The best part of this song is definitely the vibes. Other than that little thing that reminds me of Ruth than there isn't really much positive I can say. In all 100% honesty based off this album, and this song, this is the type of artist I'd only listen to the album once and probably never regret never hearing it more than once. Forgot to mention that The Tubes covered this in 1977 on their album Now, which Don also plays on the track Cathy's Clone.
6. Sun Zoom Spark: This is a little more colorful with the vocals, bass, and cowbell thing. The cowbells keeping the rhythm of the song, and this song is more in the vein of Circumstances. It's interesting, but probably because its on this album were there isn't much to keep one's interest. 
7. Clear Spot: The title track, and well I  don't know what to say. After 7 tracks deep I can't say much good about this LP. The chorus is kind of cool when it sounds "bad" and out of sync. I like that, and that beeping in the background. I also like the guitar and bass. I like it, not love. 
8. Crazy Little Thing: This song could be a cover of Funk #49, but with female backing vocals in the track. I'm literally not kidding on the sound, the solo is neat up against the James Gang idea, but yeah, it's charm might only last so long. To be honest, this is the only track I'm keeping thus far. 
9. Long Neck Bottles: This song is pretty epic power chords in it that remind me of 21st Century Schizoid Man or some other where it has a powerful strum. Won't Get Fooled Again is another example, though I can't quite pick what song it reminds me of exactly. This album is starting to pick up its slack. 
10. Her Eyes Are a Blue Million Miles: This is kind of pretty, it's got a neat acoustic arpeggios that kind of remind me of Spanish flamenco music. This is a decent track, definitely one of the best here. Part of it reminds me of Dear Prudence. 
11. Big Eyed Beans from Venus: The guitar is pretty current sounding. The mix I'm listening to sounds like what a blues guitar sounds like today. I do think its neat this is kind of heavy, like conventionally heavy. This gives me hope for his other hated albums, there are hidden gems in the rough. I can tell I'll love this [track] with a few more listens. 
12. Golden Birdies: This seems like an outtake from a more ambitious Captain. The guitar and marimba harmony is just great. It is also in that Zappa vein. Possibly he best song here on The Clear Spot.

Overall I have to give this a 6/10. Damn Capt why did you do this to me. There isn't much for me to say about this thing. I know it was headed in a more commercial direction, but you kind of have up your personality in the process. Don't worry, I actually am a fan, just not huge on these ones. Though it starts to pick up towards the end. PS figured get the bad ones off my iPod first. Oh yeah, it's only this high because of the second half. Oh yeah, Roy Estrada and Art Tripp from The Mothers played on this album.