The Book of Souls - Iron Maiden

Something I want to note is I think I wasn't clear about my list of disappointing albums. The thing is Motörhead has been making the same album since, who know how long. So honestly you really can't find.... there isn't really any point to argue. They do still play well, it's just not enough variety. This is the sixteenth studio album by NWOBHM legends Iron Maiden. This is a band I loved, the not so much loved as much as certain album's by them I love. For this album I was looking forward to it. I wasn't impressed as I wanted to be by Bad Magic and Beauty Beyond the Madness was good enough. So I was kinda hoping this would be interesting, which it is... kinda. I mean this band, even if the song is bland, almost always has great topics. Topics I couldn't ever imagine me writing a decent, let alone epic, song around. Something that should be noted is this is the longest record by the group, at 92 minutes, and it's also a double album. And this also contains the two of the longest songs by the group. Though they have been putting out more progressive structured songs. Or rather longer albums in general. Another thing I like is that this has some pretty cool song titles. Not the coolest, but that first and last track sure paint a picture in your head. But anyway, I might do reviews eventually for The Night Creeper (I plan on it), Repentless, Lost Themes, Chasing Shadows, A Raw Youth, I Worship Chaos, Sour Soul, The Magic Whip,  among others.

1. If Eternity Should Fall: For such a bad ass title, this track doesn't live up to it. With a title like this this should be the epic journey The Red and The Black wishes it could be. It should be in line with such tracks as The Odyssey, Paradise by The Dashboard Lights, The Foreigner Suite, Larks' Tongue in Aspic Part I, LA Woman and so on. Listen to this, and hear me out. I have a much better idea for a song that could be an epic. One could be a song about heaven literally falling, or figuratively and it fall to sin. It could be a metaphor or allegory for the way man is becoming less Godly. Another could be the fall of a relationship, on that you thought would last though eternity. Another could be the end of the world, and you standing witness to the end of everything you knew and loved. There is endless number of Epic topics for a title like this, and they did nothing of the sort. Fuck I might write one of those. the best part is anyone of the above topics are totally song topics they'd cover. 
2. Speed of Light: For a second track this leads to a whole lot of nothing. Seriously there isn't a single second of anything here you can't hear elsewhere. Not that this is bad, its just... Nothing special. This sounds like a Guns N Roses song. That intro is a spitting image of Nighttrain or I wanna say Double Jive Talk or Perfect Crime. The music is very similar during instrumental sections to that band.
3. The Great Unknown: While better than the previous track, tell me this doesn't scream Number of The Beast in the intro. I can't quite pin a specific song for the riff section, but that's because I need to revisit my Maiden. As I sat here, I though nice solo. I also thought, wow... .I don't know if I'm ever gonna review a new album by an old artist again. Unless it's Zappa of course ;)
4. The Red and The Black: This track sits just 12 seconds short of being the second longest track ever released by the group. Now will this hold up to it's epic 10+ minute brotheren. No, but let me explain. That riff is solid, it has power. But it has the same problem Music From Another Dimension has. There is no real punch. The guitar is mixed to low and it's played with force. Bruce also isn't singing with as much conviction as I want. This did cheer me up when the riff started reminding me of Rime (this is kinda of a reworked, less interesting version of the track). That vocal chant reminds me also , a little, of Rime. I guess I like the synths and keys, because they  are evoking Symphony X a little, but Underworld is a far more interesting progressive metal, or rather metal with progressive song structures, than this. I can assure you I'll never return to this or any track on this album again. (unless it's bolded). The ending picks up, but not enough. This doesn't have any business being this long. If you want to hear something that's got a real punch and's 19 minutes long, listen to Peter Brötzmann Trio's 1967 classic For Adolphe Sax, the title track specifically has a bad ass punch. Also that ending riff reminds me too much Róisín Dubh to forgive. :(
5. When The River Runs Deep: What can I say that I haven't said earlier. Well I guess I can say this song doesn't click. It kinda sounds like a cluster fuck. There are so many different elements here, and they just don't really compliment themselves. It's almost like a young punk band wanted to play and they add a melodic hook, and shift tempos and stuff as often as they want. There are some songs that reminds me of this one but it'll take to long to remember. If I figure it out I'll post it up after this goes up.
6. The Book of Souls: I really don't want to listen to this anymore at this point. But upon listening to it on it's own, I have to say I do have stuff to say. Listening to it on it's own helped me understand the song better. I read somewhere they took the tracks and kinda wrote them, rehearsed and recorded them at the same time. This is too, this proves (as with the other tracks) they can't hold a song this long (are any length) with it being well rehearsed. When I listen to this all I hear is re-arrangments that need to be done. This isn't that bad of a song, it's just not hammered out enough. Maybe a counter guitar lead over the riff. Make the bass more booming. Make me feel it in my gut. The thing is the reminds me a shit ton of Brave New World, at parts. I am kinda waiting in the pre-chorus sounding lines for him to say that. I actually like the synths in this track. They remind me of the little hidden synths in another album I was listening to earlier this year. I can't quite remember, but when I do I'll add it in. I feel like this song would be better if this band maybe listened to V: The New Mythology Suite. This could use more Egyptian/ancient/eastern scales. They could be using them, but I can't really pick up on them. But also I shot my ears (the pitches) out before listening so it's hard to hear the fine details. Even thought I've heard the intro to this song tons of times, even in non metal songs like Roundabout, I'll cut them some slack.

Now on to disc 2, and based on Disc 1 ............... :(. The biggest disappointment I'll come out and say right now is the fact that this album isn't epic. I know voices change over time, but this is a double album and should be so fucking epic you cum in your pants when your hear it's name mentioned. And yet I get flaccid when I think of this. Does that make any sense? And the fact it could have been (and still could be) Bruce's last record, only makes it worse. And honestly, after reading what was said about the album before it was released, and what should have happened, it doesn't even come close. There isn't anything here at all you can't easily find on another album by the band, minus an 18 minute long track. I kinda wish this was made in 1988.

1. Death or Glory: Again, nothing. On every album there's always a song that is really nothing. Like it doesn't equal to anything. This is very much a clone of those songs. Thought most of the songs here are pretty much clones of each other. Not much variation. But I will say this, this is the closest to excitement on the album I've heard. Excitement in the vein of Flash of the Blade (though over time I've grown sick of that cut), Number of the Beast, Wrathchild, Wasted Years, The Trooper even Transylvania (by far my favorite track by the group). So that's a positive. 
2. Shadows of the Valley: "As I walk though the valley of the shadow of death, I take a look at my life and realize there's none left. 'Cause I've been brassing and laughing so long that Even my mamma thinks that my mind is gone But I ain't never crossed a man that didn't deserve it Me be treated like a punk, you know that's unheard of You better watch how you talking, and where you walking Or you and your homies might be lined in chalk I really hate to trip but I gotta lope As they croak I see myself in the pistol smoke fool I'm the kinda G that little homies want to be like On my knees in the night, saying prayers in the street light". Name this Tune. If you can I'll let you read what I have to say about this track. It opens very similar to what 1986 track. And it continues with a very similar feeling to that track. I guess it's a solid track, but really how solid is it. It's so.... I don't know.
3. Tears of a Clown: Being inspired to write the song about Robin Williams' suicide, Bruce has noted this is his favorite track. And honestly, this goes beyond the fact I don't like Williams, this song is not that good. I'll stick with Smokey Robinson's version.
4. The Man of Sorrows: More like Man of U.N.C.L.E. hahahaha that movies just came out, and I know about the show way before the movie was even announced. :) But this isn't half bad. It reminds me a little bit of Avenged Sevenfold, it also reminds me of Wasted Years. The song I'm thinking of specifically is one like a Crimson Day. Thought the solo in the beginning reminds me of Dear God, if I'm remembering correctly. Or maybe a song off City of Evil or Hail to The King. But it also reminds me of Symphony X a little. You know if I liked this album more, or way more interested I'd care to think harder but no. Then the song goes into a more "synyster" territory. Not awesome solo are awesome writing wise, just it gets darker but fucking looses it's evil grips and goes to just okay after about 5 seconds. What happened to these guys. The solo is also one of the most boring solos I've ever heard in my life. The pre-solo, not the fills, the pre-solo. It's so fucking un-energetic, it's no. And then the real solo, just barley gets to say it's anymore exciting. Even if they were going for a more subdued solo or a more emotional ballad solo, fucking listen to a Scorps record or something COME ON! and then another fucking solo. This album has so so so much you can just take out of it. If the healthy weight (for the analogy basically no filler) of this album is 150 pounds, this albums 600. And worst of all this tainted the only song I actually gave a shit about....................... (>XO)
5. Empire of the Clouds: This is the closer to the album, and is the longest track ever released by the band. Written by Dickenson, who also plays piano on the track, this sits at 18:01. The song that is behind this sits at 13:45 and was Rime the Ancient Mariner from 1984's Powerslave. That song was well worth the 13 minute length, now the problem here is, is the worth the 18 minutes. Another 18 minute track that is justified in it's length is Foreigner Suite. That song is amazing and works perfect. This song, while it isn't of the ranks of the aforementioned tracks, this is solid. I mean This is honestly the first track I heard from this album, I heard them out of order and listened to the long tracks and the single first, that I want to revisit. Not to better understand, but because I want to. Is it perfect, now, but it's a nice change. I mean even Seventh Son is kinda long, at 9 minutes, but the whole breakdown the build up is cool enough to let it go.

Overall I have to give this a 4/10. If you want to hear what this should sound like listen to Paradise Lost by Symphony X. Every track is different and each has a kick. Now back to the thingy, there are moments here that are the softest moments I've heard by the band. While I appreciate it, some softer moments don't live up to what they should. The closer on the last album was a soft ballad but that had some grit to it. These ballads go straight out ballad, but not as exciting. I've also heard more moving strung sections on a number of songs by other artists. As it stands though, with Bruce's illness in mind, this is a great last album. It's not hateful, nor is it angry, its kinda like they're looking back but fondly instead of with rage. In 1998 Brian Carroll released Colma, which was an album that is softer and easier to listen to than his prior work. It was made for his mother who was recovering from cancer treatments (if I am remembering correctly). This album reminded me of that album. Maybe not sound or style wise, but energy and loudness wise. I kinda feel like, unless this is a last hurrah there is no reason for this album to exist. That's kind of a dick thing to say, but seriously. And lastly, double albums need to be ambitious. I'm not talking about albums that are like Directions or Circle the Rounds or an archival concert album that happens to be a double albums worth. I'm talking albums recorded that are a double albums worth of new material. The Wall, Tommy, Bitches Brew, The White Album, Use Your Illusion, I can go on and on. Fuck Load & Reload are more ambitious than this album. If you want my suggestion on what to listen to by the group anything from The Soundhouse Tapes to Seventh Son of a Seventh Son (I will admit I've yet to hear either Real Live One or Real Dead One as of yet). Well on to Paper Gods and then Underworld. Or vice versa.

Go West - Village People

Well I am doing this review, so I didn't asphyxiate myself. I chose to do the alternative instead. This is the fourth studio album by Greenwich Village's disco group Village People. They were founded by Jacques Morali and Henri Belolo. Both men had success with a group prior, The Richmond Family. According to legend Morali, a homosexual, was frequenting gay bars in New York. One of which he saw a young Felipe working at (the Indian), he looked around and he took the costumes of the most common he professions people were dressed up as. That last sentence makes no sense, but basically the most common costume he saw he used as the basis for the Village People. He also named them after the Greenwich Village. Now how do I know this, I looked it up. Why should I review this, well I recently watched Can't Stop The Music. To be honest, it's just a little too long..... at spots. I mean it's not actually a good movie, its very campy, but its entertaining. The only serious problem is it's too long, it has terrible dialogue, and the lead singer (Police Officer/Patrol Man) Victor Willis isn't in it. He's honestly the thing that makes any of these songs, and any of their any songs. Well and its ridiculous, makes no sense and is also kinda stupid. So many non-sequitur esque jokes and scenes. And they should have been cut, especially since there is no room for the lines to breathe in this movie. Some lines are even cut off mid sentence. Hell if they cut the dumb fucking scenes maybe other scenes could have been drawn out. Whatever its the Village People so who would want to read this review. Well to those who believe this to be the fruit of love, I say then read on.

1. In The Navy: This is a famous song which is kinda ridiculous. While not their best song its still worth listening to. I don't think the chorus is as effective as on the following track. It's kind of a little too over blown. This is also, like Y.M.C.A., very propagandist. Like seriously, under a different musical beat and style I could see the lyrics having been written to those two songs in the 40s or 30s. This, in list in the Navy help your country and grow. But it's like the lightest propaganda I've ever heard in music. It's almost in genius. What's the best propaganda, either shock or light hearted and openness. And the latter usually opens people up to your cause a lot easier. Victor Willis, the sadly unloved lyricist of the 70's. And if you actually read theses lyrics they paint a vague, but clear enough picture for you to get it. Oh also the beginning is so Santa Esmeralda it's not even funny. Hey two Esmerelda references in two days.
2. Go West: Lets be honest with each other, we are all grown adults. Its 2015, I have a secret to admit. This [track] is the sole reason for this review. I really wanted to talk about this track and how much I love it. And if you disagree you suck. Based on Pachabel's famous Cannon in D (The Wedding Song, not Here Comes The Bride) this is just as moving as that piece, but for different reasons. Cannon in D gives me a feeling of reflection, and being associated with weddings, leads me to ponder on the past events of ones life leading up to "the happiest day of your life". Almost like a sitcoms finale, or a wedding in a sitcom. It's a real tear jerker in the same way Independence Day makes me reflect on my relationship with my father..... well not exactly but you know. It's that gut feeling that just makes you think and, honestly, feel. This on the other hand is glorious and large, even epic. Where one starts in the past and leads to the present, this takes off now leading to thoughts of the future. While it may be about living in Cali and going to beaches and living that free life, Or it could be about moving West because it was cool (acceptable) to be gay there in the 70's. Maybe it's a call back to the old phrase it's named [allegedly] after from the Gold Rush era. No matter what its about its all irrelevant to me. I believe it's best suited, and truly is meant as a " Go Forward" and "Don't Look Back" and there's A Better Tomorrow. And musically the song agrees 1000%. The strings, horns and vocals here are at top notch, and while I love cheese and camp this song is so happy it isn't really that cheesy. It's almost innocent... Hear me out, someone looking to move to better themselves. Someone being hopeful and there's a feeling, and the fact it's so happy, its a child like innocence. And this is also so infectious, as long as you are one of those people who has grown up since they were 15, I feel like there isn't anything wrong with LOVING this track. Well that and as long as your comfortable with you're sexuality. You know I feel like instead of having police talk people down, just blast this and it'll get the job done. There is no way it won't make your sadness dissipate, and just nonexistant for the full 4 minutes it runs. Who knows, maybe I'm looking to deep into a silly song from the 70's that might have more real meaning. But, as I've said so many times be fore, let's be honest.... I can't find a single flaw in this track at all. If you can I'd love for you to point it out. Please, I dare you. (Since it's hard to tell, this track is bolded and highlighted. That means it's one of my favorite songs ever.) {10/10}
3. Citizen of the World: This is similar to In The Navy's intro and then most disco. This is a pretty solid track, I mean I think it's a 6 tops, but it's so disco I can't really say I think it's any better than any other disco track. The strings are pretty great, but that is something you often hear in other disco tracks. I do like the chorus, and the vibe of this track. But I mean it takes elements from the prior two tracks and just does them but waters them down or does them not as well. That's probably more accurate.
4. I Wanna Shake Your Hand: When I saw this title the song that plays in my head is Milkshake, from the movie. When people thing of camp, don't think of Y.M.C.A. think of this instructional that gives you advice on how to shake your hand. It assures you not to be "shy" and that they "are not rude". I think this is either so ridiculous it was intentional, or it's part of the I Am Who I Am type of theme. Don't fear someone because they are different, except each other, equality. But that fricken rap, not hip-hop rap but what a rap was before the genre, it's.... just listen to this track. As dumb as this song is, it's not half bad.
5. Get Away Holiday: Does this intro sound similar, the percussion. And you know I really can't say anything about this track that hasn't been said earlier. The instrumental break is pretty dandy. But it just takes me to the far better Macho Man. At 5:22 this song just kinda keeps going when I listen front to back. Maybe it's the anticipation of the review being over, maybe it's just I want to stop. But this is the least entertaining track here. Don't get me wrong that clavi (?) in the beginning sounds cool, but I don't know.
6. Manhattan Woman: That first note, not percussion, synth reminds me of John Carpenter. And then to imagine these guys singing over John Carpenter. But the song comes to bloom, just as the others do.This is more interesting than the last track, and I think deserves some plays by it's self. This is at least on the same, or maybe a similar plain to that of In The Navy. I like that bass, and like the keys they could do something really interesting here, but they instead do the stereotypical Morali thing he does on this. Well the guy who arranged it does. I don't know. I can't really damn this, it may not be prefect, but there is still a charm I feel inside my soul. I also like the strings here.

Overall all I have to give this a 6/10. This album isn't that bad of an album. It's biggest downfall it's the repetition of sounding like other songs they'd done by then. While there are some variation, it's almost like a variation on a theme. This has saxophone and flute, this has cello and harpsichord, this has banjo and stylophone. Either that or they are all different movements of the same piece. But the thing is they are all basically the same thing, or similar enough. But the best tracks here are still decent to the sole AMAZING track. I'm gonna definitely do some more of there guys albums. I almost want to review their movie also. I'll do the soundtrack for sure, but like the movie on it's own. 

Honeymoon - Lana Del Rey

This is the third, forth if you include her pre-Del Rey album under her real name Lizzy Grant 2010 release, album by singer Lana Del Rey. One of the first reviews I did was Born to Die back in 2012 and I liked that. Sadly I still haven't picked up a copy, but I also dug some tracks off Paradise. So I was anticipating the Dan Auerbach produced Ultraviolence (note this was before I saw Clockwork Orange. If It was after I'd probably have shit my pants in anticipation). That album ended up being kinda not very good. Actually a review of that will be coming out next month maybe.And after some of her worst string of promotional singles..... well you know how this is gonna be.

1. Honeymoon: This is the only track I heard prior to the albums release. And to be honest, I don't remember a single note about this track. I have listened to it now -- times and nothing. I seriously don't retain anything, other than Lana sings, well a woman's voice, slow and that's all I can get. Not a good sign. But anyway, this very much sounds like it wants to be a subdued Skyfall. It doesn't come close.
2. Music to Watch Boys to:  I prefer watching girls, but to each their own. I also prefer Music to Make Love to Your Old Lady By. Much more interesting than this. All these singles, or promos, released to promote this album are so.......... boring. I kinda want to give this album a shot of heroin to at least give it some energy. This is like if Abel was seriously going to kill himself. Or he just wanted to seem more shallow sad.....AHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!! Actually It's funny, that wind in the background. I have and idea, but it'll have to wait till the end.
3. Terence Loves You: Ah finally, a love ballad written to Phillip. They finally get to express their Canadian Love for one another. Another track that I heard before listening to he LP front to back, and it proves to me this albums seems to blur it'self together. I almost think I'm gonna have to listen one by one vs in bulk. Another Bond connection, that intro singing and arrangement sounds familiar to that of You Only Live Twice's. And I'm not acknowledging the reference in the song. At the end sing intro to the YOLT theme. Trust me.... it'll it's uncanny.
4. God Knows I Tried: I thought it was I'm Good, maybe I'm dyslexic. "God know I tried, God knows I tired, God knows I tried. Surely God Will Look the other way"... actually it still kinda works. As much as I think the title is reminiscent of a far better song, actually a song that is at least good (thought it's fucking great). There is a song that I at this point care too little to look up, what it reminds me of. Thought there are hints of Ennio's classic Spaghetti Western scores echoed in the tracks. If you want a good modern take listen to Cat Edmonton's album from last year. There whole thing is pretty good though.
5. High by the Beach: The first track released as a single, I believe the rest are just promo singles. It opens with an organ that I kinda like the vibe, but once the chorus comes in with the drum machine or programmed drums..... it looses it's "nostalgic" feeling for me. It just sounds... I mean it's not terrible. Its more of a drone to me than anything. And I've heard more exciting drones. And I literally mean drones.
6. Freak: Ahhhhhhh (sound of pain)
7. Art Deco: I hope she knows what that is. And sadly, first time through it just went in one ear out the other. Also her singing is so back it's more atmospheric than a singer actually singing on an album she stars on. This would be better fit as a filler, or lesser Bond themes. Well lesser lesser.
8. Burnt Norton (Interlude): If you sub tracked her fucking voice, this wouldn't be that bad of an interlude. Actually this might be the best original song here. The words are taken from a T.S. Elliott poem, he's credited as writing the words.
9. Religion: Never has there been such a thought provoking title of this capacity since awe inspiring Wow by Prince & 3RD EYE GIRL. I don't expect this to have any type of insightful, heartfelt and maybe something that makes me think. Nothing even close happens, in fact my brain shuts off. I want them to make a law, unless you are truly making a heartfelt expression, religion should be an illegal song topic. Like you can say it's retarded for all I care, just please do it with taste (and by that I mean do it with heart and emotion). Convince me I'm wrong for believing in God, you won't be able to, but at least try. Don't just go..... Shallow Shallow Shallow Religion Shallow Shallow Shallow UGH!!!!!!!!!!!!!!!!!!!!! Also I looked it up to make sure I was right, I can't stand, I love you so much you're my religion type songs. They have become a cliche in their own right
10. Salvatore: This has to be a tribute to Dali. Thought I prefer the shout out in Dali's Car. Hahaha, it's actually with a 'd' not a 't'. This word means savior in Italian. And I think it'd be awesome if she did an Italian feeling song. Get out the old pipe organ, or the accordion, or even an other Italian instrument I can't figure the name our form. But not Italian enough for me.  
11. The Blackest Day: Dammit, if it was "the blackest night" I would have put the entire lyrics to Titties & Beer. 
12. 24: "24 Hours Ago, __fill in the blanks__". There is a glimpse in this song where it seriously could go into a jazzier rendition of the Monty Norman theme.
13. Swan Song: Is this a cover of Symphony X's new song, or did they do it later and release theirs first. While I was listening to this I told myself, I kinda wanna asphyxiate myself. Not for pleasure (I don't get how that sounds fun), no to hope I kill myself in the process. Also chocking yourself to death would be more exciting than anything on this album. I'll do that or put on Dead Goon. Which ever I'm in the mood for more. Though the strings here remind me a little of the more 90's songs on Beauty Beyond the Madness.
14. Don't Let Me Be Misunderstood: I've heard her ruin epics such as Blue Velvet, though Another Woman is a solid cover. So going into this I was unsure. But seriously, that Blue Velvet cover is horse shit.... it hurts to listen to. Opening with a organ that sounds very childish, or rather more like what you'd get from a child's organ. It also features I believe a music box. This opening has guitar that is very reminiscent of  Bang Bang, but strummed chords not that arpeggios. I'm getting more of a Bang Bang feeling from this more than a Nina Simone or Santa Esmeralda vibe. And I don't think she does a terrible job, I think the arrangement is very mellow, and should get more exciting, but maybe that's Leroy Gomez imprinted in my skull.

Overall I have to give to give this album a 4/10. I really can't say that I have any feelings on this. Serioulsy, I forgot how I felt after each song ended. This doesn't really have any highlights and it's more of a blur ;). I'll never revisit this album and never care too either. This album is so samey it's crazy. I mean all there songs sound like if they didn't stop at the end of each song, it'd be her take on 1975's Timewind. Anthony Fantano once said she steals her style from the past, which her look is very very indebted to the past. But this, the similarities to Nancy Sinatra are so forward it's garbage. I can now say, this is probably the worst year in music since I've been listening to new albums. Everyone who has been able to put out decent to great albums have either put out shit or uninteresting and forgettable music. Iron Maiden, Prince, Tyler the Creator, UFO, A$AP Rocky, Sublime with Rome, Scorpions (thought it's not too bad), Motörhead (again same as usual so), Retox, blur, Falling In Reverse hell even Faith No More. I've heard about 70 new albums this years and only about 11 of them would be eligible for a top ten of the year. And of that only like 4 are actually on the list of best albums of this past 5 years. And sadly those four probably wont be done until next year (the reviews). PS please listen to the new Tuncle Tacid album. It's an 8. Also when I look at the list of instruments actually used on this album (Mellotron, Omnichord, Sampler, Organ, Dulcimer, Celesta, Vox Organ). DAMN IT! Those are things I'd kill to touch let along use on an album. And you can't even hear them being unused in an interesting way. I almost want to give this a 3 for that.

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.

HITNRUN Phase One - Prince

This is the newest album by Prince. It follows his two simultaneous albums release of last year by 3 weeks short of a year to the day, or so. Now both of those were ok/nothing special (AOA) and kinda shit/ok/boring/nothing new/shit (PE). This album, based off the art work, looked like it could be a sequel to the two, and when I saw the track listing I was indifferent. One of the best song of his I've heard of his since the 90's, Fallinlove2nite, was on this. But at the same time it pissed me off a little it was here. Not only that but 3 tracks here were released as singles, one being released prior to his last two records. Long story short based off the track listing it looks like this is a compilation put together in the style of Circle In The Rounds and Directions but in a more condensed 2 years period. Actually a better comparison might be Water Babies. Yeah I'm going with Water Babies. Well except the tracks aren't released on someone who plays on the tracks album, and they weren't written by someone other than the main artist. All though they do first appear on the artist who wrote them, their album. Whatever, I'm just passing the time. So while I type this, waiting to listen to this album, I don't have High Hopes. Also I feel I should finish the reviews for those two albums, but one is just..... I'll do this first.

1. Million $ Show: This track features Judith Hill. This song opens with something that I'm pretty sure is taken from Darlin Nikki, the back-masked part. Then it pays a clip from 1999 (the intro) before playing a clip from Let's Go Crazy and then the song starts. This sonically would be snug on Art Official Age. The best part is probably the strings, which I'm sure is sampled from Purple Rain. Though I did watch a video of them recording strings for the album, which did sound neat. They could have just rerecorded the string part. 
2. Shut This Down: While this song sounds like a hip-hop song from the 2000's, I have to give it to him. I loved that segue. It reminds me of the segue on Sign O The Times from the title track to Playing In The Sunshine. This also sounds like Lap Dance, or TC's Cherry Bomb. This isn't really that good, but it's not terrible. I do like the electro sounds here, just. This is probably best described as a new updated version/sequel to Housequake. The ending isn't anything spectacular. It's a voice transition. Sorry the segue I was thinking of is Playin In The Sunshine into Housequake.
3. Ain't About To Stop: Feat. Rita Ora. Now I don't care for Rita and the only reason I anticipated listening to her second album was for the Prince collab. Seriously, and I guess this is the track. I previewed the track and upon first browse the thing that stuck out like a store thumb was the vocal contribution for the Purple One. Serious, he didn't sound that good in his co-lead with Ora. Now this sounds like it'd be better fit here, because Rita barley is audible on the copy I am listening to. I like the whole eastern sounds, but at the same times I'm not huge on the whole ETF self titled electronic stuff. Or the sounds that would fit better on a Disturbed album than on a Prince album. Now I give him props, and remember hearing a preview in the "Album Release Party" from last September, but you know. I didn't even really retain anything form that. Now the best part is something that sounds like it's playing a variation of Lady Cab Driver or maybe.... I'll go with LCD.
4. Like A Mack: This track features Curly Fryz. This has more of a hip-hop feeling, but I don't.... I kinda feel like Nicki Minaj would be good on this track. Yeah I just said that, Nicki would sound "good" on a Prince track. The best part is another part that sounds like it is sampled from something else. It's pissing me off that the highlight of tracks are the parts that almost don't fit the rest of the atmosphere. When The Purple One is sing/raping it reminds me of Flight of the Conchords. And even Curly's second rap reminded me, the music, of Prince of Parties. This seriously could be a remix of Sugar Lumps and Prince of Parties in one. Plus saxophones, because everyone know the 80's is hot now.
5. This Could B Us: This is also, like what they did for FunknRoll, a remix of the track off AOA. I really don't even think I should count this towards the score. Really, I'm being serious. It was cool on the two albums at once, two different version of the same track. Kinda like a Japanese Bonus track, or remix exclusive. But it's with every copy of the album. This on the other hand, I didn't even remember caring for this song in the first place. The remix, I care even less about.
6. Fallinlove2nite: I can't hate this song. It appeals to my weakness of 90's pop. I don't know why but if done right, and 90's.... I love it. The cheesier the better, but this.. this isn't cheesy. I kinda feel like this is what this whole album is supposed to be sonic ally, just different experiments. And this is the best song he's done since at least The Rainbow Children. I love the atmosphere, the feeling, the only difference here is I don't here Zoey on this track vs the single. Which I prefer her on the track. The single edit is one of my favorite songs of all time, sadly the lack of Zoe surprisingly hurts the track. 
7. X's Face: Another chopped and screwed feeling song. Which I haven't heard him do this that good. I like it on some A$AP Rocky track but usually I don't like it. I really, there's a rap, then monkey sounds. I would feel better if I just left this as this. No more to be said here. Also it sounds like Left Brain produced this on the older OF stuff.
8. HardRockLover: A single I never heard, not wanted to. But the intro to this, it got my attention. While not the best track, this reminds me a lot of FunknRoll when it picks up. There are also parts that remind me of When Doves Cry in his delivery.
9. Mr. Nelson: This technically could be a left over from AOA. This features Lianna La Havas. From the beginning of this track is sounds like a remix of Clouds. This isn't that bad of a remix if it is, and I loved that whole eastern scale. But I mean, I'd prefer this released as a stand alone single, or on a remix album.
10. 1000 X's & 0's: Recordings of this exist, with Rosie Gaines from 1992 and then with Nona Gaye (Marvin's daughter) from 1993. While neither were released, it still is a left over form the 90's. Honestly, again another song that'd be a snug fit on the last album. Almost sounds like it's a leftover.
11. June: A decent closer. But again, it really amounts to nothing special.

Overall I have to give this album a 6/10. I get the call backs to previous music, but The Resident's 2008 album Bunny Boy had the music much better integrated into it than this. And he literally samples the tracks. The Next Day also, recalling old songs and styles, is a better example of what he should have done vs remixing and sampling past material. I know its not a huge part of the album, just pisses me off. I know im dwelling on that, but I feel... Ill explain why later. In reality I'm not buying this on CD the 15th, not until it's like 5 dollars. And it'd just be to have it for my collection of Prince album's not because I like it. Did I enjoy it more than PlectrumElectrum, yes, did I enjoy it more than Art Official Age..... No, but its only short behind in terms of decimal point percentages. I guess the best part (and also worst part) is it's only 37 minutes, and as fast as it goes by I forget even hearing it. If this truley is "Phase One", I'm not looking forward to "Phase Two". To get a review done correctly I need to hear the album a few times. But to be honest, I'm only waiting to hear the CD version. To see if my copy is inferior. But then again, "Tidal is CD quality music" so here's the review.

Squeeze - The Velvet Underground

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

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

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

Let's Dance - David Bowie

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

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

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