Reviews Supplemental

14 Feb 2012: "Space Ship One" by Paul Gilbert
This was Paul Gilbert's last album. Notable things include:
The second track, Every Hot Girl is a Rockstar, is lyrically silly and not in a good way.
The fourth track, SVT, is probably the most badass Paul Gilbert song. After that is an instrumental, though. Fuck. And after that is Terrible Man, which tries super-hard to be SVT. It does not succeed. it's terrible man
G9 is another instrumental, slower, less boring, but still you know. But, as always, Mr. Spock saves the day.
After that, Boku No Atama happens. It's, well... Japanese or something. Kawaii desu colon-three and all that. Then the mood changes from KAWAII DESU UP ARROW UNDERSCORE UP ARROW to... Good Man. Which is also a good song. Life is okay sometimes.
Next is Wash My Car, which is standard Paul Gilbert. Upbeat, silly and generally fun. Certainly a highlight.
The last song is a cover of The Beatles' (specifically George Harrison's) It's All Too Much, from Yellow Submarine. It's pretty much a straight cover, albeit with Paul Gilbertised instruments. And a solo. It's almost a highlight. Almost.
Highlights: SVT, Wash My Car, Mr. Spock, Space Ship One, Good Man
Lowlights: Jackhammer, G9, Terrible Man, Every Hot Girl is a Rockstar
In relation to other albums:
It's the worst of the four I've heard, but it's still good.

15 Feb 2012: "Born to Run" by Bruce Springsteen
So, this is a classic album, and I figured I should review it. And hey! London Calling set the bar pretty low for classic albums, so.
You know how I'm always complaining about albums with massive jumps in quality? Overly long albums that could be halved and make an orgasmic album? Not this album. Every track is really good and you know.
That is, once you get used to what you're actually listening to. Once you get used to Springsteen's voice, the album opens up and lets you really enjoy it. And that I did.
Most songs rest comfortably around three-to-four minutes. Two, however, don't. And both are highlights. I won't waste time on the six-minute song.
As soon as the nine-and-a-half-minute Jungleland started, I knew I was in for something great. For me, songs this long are extremely hit-or-miss. This song starts slow and piano-y and picks up to fast and piano-y, then drums, then guitar solo, then oh my god I love this. It changes tempo every so often, and it never feels forced. So many instruments happen, but it never feels forced. The entire song is the perfect closer to the album. It encompasses everything the album was. TAKE NOTE GUYS THIS IS HOW YOU DO IT
Highlights: Jungleland, Born to Run, Backstreets, Meeting Across the River
Lowlights: fucking none
In relation to other albums:
I think you know I'm doing another.

16 Feb 2012: "Murmur" by R.E.M.
I've been trying to get more into R.E.M. for a while. When I first heard Document, I fucking loved it. It's one of my favourite albums. Then I listened to Green and Out of Time, which were sub-par. Collapse into Now was really good, but I haven't heard anything close to Document.
Murmur is R.E.M.'s first album. I figure I'll start from the top and regroup. Murmur was about what I was expecting in quality, which is to say, it's really good.
It sounds like a cohesive whole, and the songs are all good. It may not be R.E.M. at their finest, but it's certainly R.E.M. writing good songs.
Highlights: Moral Kiosk, 9-9, Shaking Through, We Walk, West of the Fields
Lowlights: none
In relation to other albums:
Document is still the best, but this album is about on-par with Collapse into Now.

17 Feb 2012: "Queen" by Queen
The absolute fucking worst thing about this album is the fucking backing vocals. Fuck them. Fuck them to hell. They ruin nearly every fucking song. They're so fucking badly done. Fuck them.
On top of that, none of the songs are very interesting. Only a couple even weakly point to the next year's Sheer Heart Attack.
Don't even get me fucking started on Jesus. (hint: fuck it)
The Seven Seas of Rhye instrumental is obvious filler. The songs wasn't even fucking done yet.
In conclusion: fuck this album. Fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck fuck 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STAY TUNED NEXT MONTH FOR FUCKING QUEEN II
BECAUSE I'M FUCKING MASOCHISTIC
Highlights: The Night Comes Down
Lowlights: Jesus, Seven Seas of Rhye, My Fairy King
In relation to other albums:
Worst Queen album yet. I'd rather listen to The Works or fucking Hot Space.

BONUS REVIEW: "Zinc Alloy and the Hidden Riders of Tomorrow" by T.Rex
link to review: http://musiccouldbebetter.blogspot.com/2011/10/ugh-argh-ugh-men-by-ugh-argh-ugh-men.html
Since the bar was set so low today, I figured it's the perfect time to an album universally panned by an artist I love! Also, I kind of wanted to get my mind off Queen.
It's actually the polar opposite of Queen, but not in a good way. The production actually worsens the album and makes it seem far less genuine, whereas Queen was worsened by a lack of production.
Before listening, I'd heard Teenage Dream and Explosive Mouth, both of which I have on a singles thing.
You can pretty much assume from the title that this album wants to be Ziggy Stardust pretty bad. Shame the music is almost nothing like Ziggy Stardust.
This album is pretty much T.Rex continuing in the direction of Tanx, with some chick doing weird backing vocals. Not weird as in bad, but weird as in what the fuck.
Teenage Dream comes out of nowhere at the halfway mark (or should i say the halfway MARC HAHAHAHAHA I KILL ME) and is just like "OH YEAH IT'S ME". It's pretty different than what's around it. In a good way, though. Also, it has a solo at the end that isn't in the single version.
If you take the backing vocals out of Liquid Gang, it could have been on Electric Warrior. Shame they kind of ruin the song.
The album's subject matter is pretty much Bolan through and through, in that it's nonsensical. But that's certainly not a bad thing.
In the end, the songs would be much better without the backing vocals. Glossy production is not what I want in a T.Rex album. I loved the raw acoustic/electric thing they had going on the self-titled. I loved that Marc's vocals weren't always perfect. I loved that he struggled with a few notes. I loved hearing human inconsistencies. Marc was best when it was just him singing.
One thing, though: I would certainly recommend this album to anyone who's listened to the previous four. It's not a bad album, and is certainly one you'll have to figure out and experience for yourself. I wouldn't recommend it before any of the previous four, though.
Highlights: You've Got to Jive to Stay Alive/Spanish Midnight, Painless Persuasion v. the Meathawk Immaculate, The Avengers, Explosive Mouth, Change, Teenage Dream
Lowlights: Liquid Gang
In relation to other albums:
Not as good as T.Rex, Electric Warrior, The Slider or Tanx. It's a shame, because a lot of these songs could be better with less production.

I guess the final question is: do I actually enjoy it?
Well, yes. The songs are very good, and I can certainly overlook how glossy it is. It just could have been so much better.

18 Feb 2012: "Full Moon Fever" by Tom Petty
This album features three of Tom Petty's biggest hits: Free Fallin', Runnin' Down a Dream, and Stand My Ground from You. This is technically a solo album, though the Heartbreakers did make contributions, and those three songs appear on their greatest hits.
Jeff Lynne produced the album and co-wrote most of the songs.
Free Fallin' opens the album. Runnin' Down a Dream would have been a much better opener, but whatever. It's followed by Stand My Ground from You. You know both of these songs, so I won't explain them. Well, George Harrison does backing vocals on Stand My Ground from You. I didn't know that.
ACTUALLY I WON'T EXPLAIN ANY OF IT BECAUSE IT'S EXACTLY WHAT I EXPECTED
Well, that's not true. Love is a Long Road is SOLORIFFIC. Well, it has a great outro solo. Soloriffic is a bit too grandiose a term.
A Face in the Crowd doesn't work for me. Tom sounds really bored.
Runnin' Down a Dream is next. It's fucking orgasmic as always. Soloriffic and rifftastic would both describe this song. Riffgasmic more like. It ends side one. And Petty does an interlude. It's kind of funny the first time. I can see it grating on me later.
Side two opens with I'll Feel a Whole Lot Better. It's certainly not as good as Runnin' Down a Dream, but it is a very good song.
You're so Bad is... I want to say "so bad", but that's not true. It's actually pretty good. Not very notable. Middle-of-the-road.
Depending on You is pretty much a standard Tom Petty song. The Apartment Song is that, but better. Alright for Now is a pretty good ballad. Mind with a Heart of its Own is different, but great. It's still very Tom Petty-y, though.
Finally, Zombie Zoo is pretty much Tom Petty in one song.
Highlights: Runnin' Down a Dream, Love is a Long Road, I'll Feel a Whole Lot Better, The Apartment Song, A Mind with a Heart of its Own
Lowlights: A Face in the Crowd, You're so Bad
In relation to other albums:
Oh certainly

19 Feb 2012: "George Harrison" by George Harrison
This... is not a rock album. It's serious music for serious adults who may be waiting in a dentist's office or an elevator.
Notable transgressions include:
Not Guilty. Back in 1968, George wrote this song about Macca. The original demo was punchy, rocky, and biting. This is none of those things. It is adult easy listening. It's casual, laid-back, and makes me weep.
Here Comes the Moon. The idea made me cringe. The reality also makes me cringe. George has an inability to leave well enough alone. I'm just glad that I Can't Keep This Guitar from Crying isn't on this album. I couldn't take three of these "LOOK AT ME I WAS IN THE BEATLES ONCE" attention-seeking pieces of shit.
Okay, that's a bit harsh. On their own, they aren't bad songs. They just feel so cheesy and ingenuine, like quick cash-grabs.
AT LEAST IT DOESN'T GET WORSE
So, aside from those two abominations, it's not a bad album. But they are rather abominable. Despite this, the rest of the album is very good. But I really fucking hate Here Comes the Moon and this version of Not Guilty.
Actually, without Not Guilty and Here Comes the Moon, it would be his second- or third-best album after Living in the Material World and maybe All Things Must Pass. Oh well. Money comes before quality, I suppose.
Highlights: Blow Away, Faster
Lowlights: Not Guilty, Here Comes the Moon
In relation to other albums:
Worst.

BONUS REVIEW: "Funeral" by Arcade Fire
http://musiccouldbebetter.blogspot.com/2011/10/so-i-go-to-by-men-of-men-of.html
I wanted to do this album so that I could realise I hated it and move on. It backfired. The guy's voice is kind of weird, but it didn't hamper the enjoyment I had but didn't want. The chick's voice is really shitty. Most notably in the last track.
Except for Seven Kettles. The sound of the guy's fingers sliding across the guitar strings overpowers the entire song. I fucking hate that sound. I'd rather listen to nails on a fucking chalkboard. They should have just used a fucking piano.
Overall, this album feels very hipster-y. I wish I could hate it. I want to hate it. But I don't. And I hate it for it.
Highlights: Une Année Sans Lumière, Rebellion, Crown of Love
Lowlights: Seven Kettles, In the Backseat
In relation to other albums:
I'LL KEEP DOING THEM UNTIL I FINALLY ACCOMPLISH MY GOAL OF HATING THEM

20 Feb 2012: "Bringing it All Back Home" by Bob Dylan
This album came out just before Highway 61 Revisited (same year, even). It certainly points toward Highway 61, but is a bit bare. I don't know how to explain it. It feels like there's something missing in most songs, but I can't place it.
The obvious(-ish?) draw is Mr. Tambourine Man. Plus some others maybe. I don't know.
The tracks most similar to Highway 61 are Outlaw Blues and On the Road Again. No, not that On the Road Again.
Mr. Tambourine Man doesn't really fit, based on the way it sounds. It's a great song, but it feels a bit weird located where it is.
The longest song is I'm Only Bleeding, at 7:33. It's pretty much the same throughout, but that's Bob Dylan for you. You don't listen to Bob Dylan for EPIC SOUNDSCAPES; you listen for fucking Bob Dylan. That being said, it should have ended the album.
Instead, It's All Over Now, Baby Blue ends the album. It's okay, but Bob tries to reach for notes that sound pretty bad coming from him.
Highlights: On the Road Again, I'm Only Bleeding, Outlaw Blues, Mr. Tambourine Man
Lowlights: It's All Over Now Baby Blue
In relation to other albums:
Better than Blonde on Blonde and Blood on the Tracks, but not as good as Highway 61 Revisited.

21 Feb 2012: "Discovery" by Electric Light Orchestra
Yeah.
Shine a Little Love starts off by fooling you into thinking it's some shitty ambient intro track. It's not.
Confusion is really cheesy. Not in a good way. Need Your Love is just a generic love song.
The Dairy of Horace Whip is really interesting. It's like, the singing and lyrics aren't too odd, but the instrumentation is way out there. Definitely a highlight.
Last Train to London is very disco-y. But in a good way. Midnight Blue dials it back a lot, and is, you know, good. On the Run is a lot more uptempo. It's almost a highlight. Wishing brings it back a bit, but is every bit as good as On the Run.
The final track is the reason you came. Don't Bring Me Down. You know it.
Highlights: Don't Bring Me Down, The Diary of Horace Whip, Last Train to London
Lowlights: Need Your Love, Confusion
In relation to other albums:
Better than Face the Music.

22 Feb 2012: "Crying" by Roy Orbison
This is the oldest album I've ever listened to in full. It came out in 1962. Big strides, here.
The obvious draw here is the title track. You know.
Side A is slow and orchestrated. Side B is ROCK 'N' ROLL, with brass sections, guitars, and all else. I think you can guess which side I prefer.
I actually kind of like this idea. People who don't like one style can just not listen to that side of the record. Doesn't really translate well to CD, but hey.
Highlights: Crying, Let's Make a Memory
Lowlights: She Wears My Ring
In relation to other albums:
I'm actually interested in doing another.

BONUS REVIEW: "Sweet Baby James" by James Taylor
http://musiccouldbebetter.blogspot.com/2011/10/dust-in-by-kansas-guys.html
Suggested by Yellow and Purple.
The only James Taylor song I remember hearing before today is that one Yellow showed me. Sunny Skies. It's on this album. Yeah.
The second track mentions "the lord" and "Jesus", and I'm usually turned off by that, but I really like the instrumentation and the rhythm of the vocals. I'll let it slide. But not after docking a rating. Or two. Or three.
Oh Baby, Don't You Loose Your Lip on Me is like, acoustic blues. Or something. It's weird. But certainly a highlight.
Don't really have much to say.
Highlights: Suite for 20G, Sunny Skies, Fire and Rain, Oh Baby Don't You Loose Your Lip on Me
Lowlights: Sweet Baby James, Lo and Behold, Blossom
In relation to other albums:
yeah probably perhaps

23 Feb 2012: "Vol. 1" by Traveling Wilburys
It's really weird to hear all of these super-famous voices together. Roy, George, Bob, Tom and Jeff's voice go together pretty well, but something about it is just weird. It's like, the first song has George singing the verses, but Roy sings the pre-chorus. There are also harmonies on the chorus between Tom and... Roy I think. Tom's voice is more pronounced there.
I mean, their solo careers are all compatible types of music frequently played on classic rock stations, but hearing them together is odd. Especially spread out through an entire album.
I don't want to have a favourite member, because I love them all, but it's clearly George.
also i don't think i can review this album with mentioning that end of the line is all right
Highlights: Heading for the Light, Handle with Care, Tweeter and the Monkey Man, Not Alone Anymore, Rattled
Lowlights: Margarita
In relation to other albums:
It would be kind of silly not to do the other.

24 Feb 2012: "Raw Power" by The Stooges
This is a classic album; I figured I should do it. Also it was Kurty's favourite album, according to Wikipedia.
It opens with GH2's Search and Destroy. The main difference is that the studio version sounds a lot dirtier and... has less solos. It still has an outro solo, but it's a lot less lengthy.
Gimme Danger is a lot slower. It's still distorted to fuck, and has Iggy being, well, Iggy. It feels different, yet the same.
Your Pretty Face is Going to Hell is one I remember Wings liking, but I'd never heard it. It's the most ROCK song on the album. IT IS ALSO PRETTY LOUD
Penetration dials things back a lot and has... what the fuck is that? I'm confused.
The title track opens side two. It's about what you'd expect.
I Need Somebody is probably the slowest and least distorted on the album. Not that that's a bad thing, of course.
Shake Appeal is fast and riff-based, about what you'd expect.
The album ends on Death Trip, which is also about what you'd expect, which is good. It sums up the album well.
Overall, the album is super-good. It's just a shame it came out in 1973, which was one of the best years in music for me.
Highlights: Search and Destroy, Death Trip, Shake Appeal, Raw Power, Gimme Danger
Lowlights: Penetration
In relation to other albums:
I'm intrigued enough to do another.

25 Feb 2012: "L.A. Woman" by The Doors
This was the last album by The Doors before Jim Morrison's death. I've been procrastinating on it for ages. Well, it's time to bite the bullet.
One thing to note: every fucking song on this album is at least a minute too long.
The Changeling sounds like Jim Morrison is struggling to imitate... Jim Morrison. Oh dear. It wouldn't be so bad if Jim Morrison weren't Jim fucking Morrison.
On Love Her Madly, Jim sounds more like himself. He still sounds like he's trying too hard, though.
Then on Been Down so Long, Jim decides he's not being Jim Morrison-y enough, so he goes back to what he was doing on The Changeling.
Cars Hiss by My Window isn't even fucking trying. Come the fuck on, guys. It goes on for five minutes and goes fucking nowhere.
Next is the title track. It's the most The Doors-like song yet. On any of their other albums, it would be a lowlight. I can't believe I'm listing it as a highlight.
Side two opens with L'America. It spends over a minute building to the vocals. It's certainly the best so far.
Hyacinth House is another good song. It's also the shortest on the album. Maybe side two's going to be different?
... or not. Crawling King Snake is okay. It's certainly better than 80% of side one.
Texas Radio and the Big Beat starts with the line "I want to tell you about Texas radio and the big beat". That's never good. It's basically Jim talking over music. Sigh. The music itself is all right, but the vocals ruin it. Once Jim starts singing, it's not bad. But fuck.
Riders on the Storm closes the original album. This is the only song on the album where Jim Morrison sounds 100% like Jim Morrison. It's also really long and boring. Fuck. I skipped it. Because I hate it.
This version has two bonus tracks.
Orange County Suite is so un-The Doors-like, but in a good way. But it's two minutes too long.
Finally is Don't Go No Further. It's generic blues, and is Jim Morrison even singing this? It doesn't sound like him.
Overall, this album is bad. Bad bad.
Highlights: L'America, Hyacinth House, L.A. Woman
Lowlights: Cars Hiss by My Window, The Changeling, Riders on the Storm
In relation to other albums:
Abso-fucking-lute worst.

BONUS REVIEW: "Live After Death" by Iron Maiden
http://musiccouldbebetter.blogspot.com/2011/10/hands-of-guys-by-guys-of-men-of-them.html
I decided to do this because A: I wanted to get L.A. Woman off my mind, and B: it goes between Powerslave, which I reviewed this month, and Somewhere in Time, which I'll review next month.
The show opened with a speech from Winston Churchill, which segued into Aces High. It's kind of cool. They even separated them as tracks, in case you didn't want to listen to Churchill's speech.
The first thirteen tracks are all from one show in 1985. They played most of their biggest songs, plus a couple Di'Anno songs.
The next five are all from another show in 1984. They're deeper cuts, but all certainly recognisable.
Dickinson certainly gets the crowd going between songs, even by just shouting the name of the next song. Though he does seem to mumble during The Trooper. To be fair, it's really fast and complex. But he has been doing it for two years.
One thing I like about this album is how it sounds so genuine. Instead of going the KISS route and re-recording the vocals, we have Dickinson not being perfect (not that KISS are perfect [or good at all] but it's pretty obvious they studioed the fuck out of it). Revelations would sound terrible if the studio version were like this. But as part of a live album, it's amazing. These songs aren't as good as the studio versions. But they don't need to be.
Even the Di'Anno tracks don't sound bad at all. The rerecorded studio versions of them would indicate otherwise. Iron Maiden sounds a bit slower, though. And I've never much liked Phantom of the Opera.
It's just a shame that Flight of Icarus is on the album. Fuck Flight of Icarus.
Highlights: All of it, except
Lowlights: Flight of Icarus
In relation to other albums:
It's certainly a great summary of Iron Maiden's first five albums. As far as live albums go, it's certainly one of the best.

FINAL TRACK LISTING BREAKDOWN:
Iron Maiden: 3
Killers: 1
The Number of the Beast: 5
Piece of Mind: 4
Powerslave: 4

Overall, pretty even. I didn't expect many Di'Anno tracks anyway.

26 Feb 2012: "Innerspeaker" by Tame Impala
Suggested by Yellow
One thing that surprised me about this band is that they're Australian. This is not what I think of when I think of Australia.
The album is really um good and stuff
It's like if modern rock, hipster bullshit and psychedelic had some deformed child. In a good way.
The only tracks I didn't like were an instrumental and... whatever The Bold Arrow of Time is.
Runaway, Houses, City, Clouds runs on for too long, also. Luckily, I Don't Really Mind brings the quality back up a lot.
Highlights: Why Won't You Make Up Your Mind?, I Don't Really Mind
Lowlights: Jeremy's Storm, The Bold Arrow of Time
In relation to other albums:
THIS SECTION IS USELESS HERE

BONUS REVIEW: "Rock in a Hard Place" by Aerosmith
http://musiccouldbebetter.blogspot.com/2011/10/good-ideas-by-men-who-have.html
This is one of two Aerosmith studio albums that I don't own. Not-so-coincidentally, it's also one of the two Aerosmith albums without Joe Perry or Brad Whitford.
I did not have high expectations going into this.
The album kicks off with Jailbait. It's a high-energy opener that only really sounds like an Aerosmith song due to Steven Tyler. Despite (or perhaps because of) this, it's a highlight. I think it's because of not-Joe and not-Brad. Though, Steven is a bit lower in the mix than I would have liked.
Next is Lightning Strikes, which opens with organ. The guitars in the beginning, hell, the whole intro, makes it sound like we're going towards a glam metal song. But then the actual riff comes in and reminds you that this is an Aerosmith album. Then Steven comes in, sounding a bit lethargic. He gets over that after a bit, though. Also, Brad Whitford guests on it.
Bitch's Brew starts off by fooling you into thinking it's going to be a ballad, but then it turns into standard Aerosmith fare.
Bolivian Ragamuffin is as huge a ROCK song as Aerosmith ever made. Until the first verse happens and makes you realise that it's a blues song. BUT THEN IT KICKS BACK INTO A ROCK SONG Well played, Aerosmith.
Cry Me a River is a ballad, which morphs into something much bigger. I can't describe it, except by saying that it's their best not-blues/not-rock song since Dream On.
Next is Prelude to Joanie/Joanie's Butterfly. Prelude to Joanie is kind of filler. I don't mind, though. It caught me in a good mood. Joanie's Butterfly is the longest song on the album, even without Prelude. It has ACOUSTIC GUITARS. It's much better than its Prelude (or its length) would indicate. If Yellow were to listen to this album, I think he'd like this song best. It has a lot going on, but it never sounds cluttered. It picks up, but not obnoxiously. It's an entirely different side of Aerosmith that they forgot about when Joe and Brad came back. I'm so glad it and the Prelude are separate tracks.
The title track comes right after and reminds me of Train Kept A-Rollin'. It's pretty much Aerosmith being Aerosmith, but better.
Jig is Up is a dirty-sounding blues song. Again, Aerosmith doing what Aerosmith do best.
Finally, Push Comes to Shove is... weird. In a good way. I have no idea what it is, but I love it.
In the end, this album pleasantly surprised me, since I thought it would going to be bland and uninspired. I do not understand why people don't like it. If you like Aerosmith, you should like this album. I haven't been this excited about what an album will do next since Back to the Egg.
Until Cry Me a River, I was convinced that the album would turn to shit. It's panned for a reason, right? WRONG. It's like fucking Chinese Democracy. The only complaint anyone ever has is that it isn't the original line-up. Boo-fucking-hoo.
For posterity, I will list the guitarists who made this gem possible: Jimmy Crespo, Rick Duffay.
Highlights: Joanie's Butterfly, Bolivian Ragamuffin, Cry Me a River
Lowlights: Prelude to Joanie
In relation to other albums:
Best Aerosmith album. Fucking hell. It's the fucking epitome of Aerosmith being a blues/rock band. They capture everything they want perfectly. Lightning in a fucking bottle.

27 Feb 2012: "Secret Treaties" by Blue Oyster Cult
This was their third album. It was apparently super-acclaimed when it came out.
The main draw is Astronomy, which ends the album, before bonus tracks. It's also the best song on the album.
Oddly, the bonus tracks sound more like previous Blue Oyster Cult songs than the rest of the album does. I mean, the album still sounds like a Blue Oyster Cult album, but it's a lot more held-back. Not that that's a bad thing, even though it sounds like one. It's not.
The bonus tracks end on a cover of Born to be Wild. It has gang vocals. I do not understand it.
Highlights: Boorman the Chauffer, Astronomy, Flaming Telepaths, ME 262
Lowlights: Born to be Wild
In relation to other albums:
About on-par with the other two.

BONUS REVIEW: "Cosmo's Factory" by Creedence Clearwater Revival
http://musiccouldbebetter.blogspot.com/2011/10/rains-washing-by-rainmenguys.html
The most important thing to note going into this is that I've already heard seven songs on it. Seven. As in, I have heard seven songs on it without really trying. There are eleven songs on the album.
More impressively, the album opens with two of the four songs I hadn't heard.
ALSO OF NOTE: This album came out in 1970. In 1969, CCR released three albums. Three. As in, three. As in, one, two, THREE. Fucking hell.
The opening song is, appropriately, seven minutes long. It starts off sounding pretty CCR-y, but then starts to remind me of Green Grass and High Tides. Then they play a riff for a while. It's not a terrible riff, but it is rather bland. Then they get a slide? Is that a slide? It sounds rather slidey. At least after that they get their shit together and end the song like it began. Shame that four minutes of this song are entirely disposable. Not a good way to open an album with seven hits. Just saying. Seven fucking hits. Seven of them.
The next song is laidback and not inappropriately long. That is points. I hadn't heard it before today. It's not terribly interesting, but it's rather nice. Certainly better than that goddamned Ramble Tamble shit.
Third is Travelin' Band, which should have opened the album. It's an attention-grabber, what with Fogerty's urgent-sounding vocals, but it's placed third. It's also the first of the seven hits.
Fourth is a cover of Roy Orbison's Ooby Dooby. I'd heard Roy's version, but not this one. It sounds silly when Fogerty sings it, but in a great way.
The next three songs are hits, or at least on their Greatest Hits. They are: Lookin' Out My Back Door, Run Through the Jungle, and Up Around the Bend. They aren't any different than you remember them.
My Baby Left Me is the last of the four non-hits. It's okay.
Then the album ends with three more hits. They are: Who'll Stop the Rain, I Heard it Through the Grapevine, and Long as I Can See the Light. Their cover of I Heard it Through the Grapevine is an eleven-minute jam as usual.
Overall, the seven hits are the glue that keep the album together. Without them, we'd have a mediocre four-song EP. I'd say you should probably listen to it, but only because it has seven hits.
Highlights: Ooby Dooby, Travelin' Band, Up Around the Bend, Lookin' Out My Back Door
Lowlights: Ramble Tamble
In relation to other albums:
I should probably do another.

28 Feb 2012: "Little Queen" by Heart
This is Heart's second album. It features their biggest hit, Barracuda, which you may remember from Guitar Hero III: Legends of Rock, or Grand Theft Auto: San Andreas.
Overall, this is pretty much Heart being... Heart. I say this a lot for different bands, but it's true. This is Heart not shying out of their comfort zone, except on Say Hello, which has, like, weird instruments. They are certainly not rock instruments.
The problem with this approach is that nothing stands out. There's nothing that makes me go "wow this is awesome". The most impressive song on it is probably Barracuda, but I've heard it a million times. After Dreamboat Annie having Crazy on You and Magic Man, this album feels a bit light on content. More than half of it is acoustic songs.
Okay, I lied. The last song is really fucking weird. I do not understand it.
Highlights: Barracuda, Kick it Out
Lowlights: Sylvan Song
In relation to other albums:
Not as good as Dreamboat Annie.

BONUS REVIEW: "Sap" by Alice in Chains
http://musiccouldbebetter.blogspot.com/2011/10/world-on-top-of-sitting-by-men.html
This is an EP, released between Facelift and Dirt. There are five songs, one of which was a merger between Alice in Chains, Soundgarden, and Mudhoney.
In essence, it's Alice in Chains, but with acoustic guitars. There are also electric ones sprinkled throughout. Do not mistake this as it being ballads or whatever. These songs may be slower, but they're every bit as dark and broody as anything else Alice in Chains have done.
If you do not like Alice in Chains, this album won't turn you. Probably. If you do like Alice in Chains, you have to listen to it.
Highlights: Got Me Wrong, Brother
Lowlights: none
In relation to other albums:
About on-par with Jar of Flies.

29 Feb 2012: "Pronounced" by Lynyrd Skynyrd
Well, this wasn't my first choice for today. I was planning on doing American Pie, since February was very shiver-worthy, but I'm apparently horrific at finding things. So, many choices later, here we are.
I've never listened to a full Lynyrd Skynyrd album before, relying only on a greatest hits. I feel kind of silly.
The obvious draws here are I Ain't the One, Tuesday's Gone, Gimme Three Steps, Simple Man, and Freebird. I won't bother commenting on them. Though, Tuesday's Gone was much better than I'd remembered.
Things Goin' On is one of the best mergers of country and rock that I've heard. They sort out their differences and meet eachother halfway for this song. Ronnie sounds a bit lethargic at first, but it works for the song. The guitar riff is great, and the piano parts are perfect.
Mississippi Kid features a very bored-sounding Ronnie on top of a few guitars. There's also a harmonica solo. No drums or anything, though. It's... okay.
Poison Whiskey is the last not-obvious song. Ronnie and everyone seems to actually try, which makes the song great. Every instrument is there, doing what it needs to.
The final song is, of course, Freebird. I cannot imagine a better closer.
Highlights: Freebird, Poison Whiskey, Things Goin' On, Tuesday's Gone, Gimme Three Steps, I Ain't the One
Lowlights: Mississippi Kid
In relation to other albums:
I will definitely do another soon.

01 Mar 2012: "Twist and Shout" by The Beatles
This is another Canadian album. It's basically Please Please Me with a few songs exchanged for singles. The only song from Please Please Me I miss is I Saw Her Standing There.
From Me to You is one of The Beatles' best early songs. It does exactly what a pop single should: it's catchy without being overbearing or horrible.
Do You Want to Know a Secret was one of George's two lead vocal songs on Please Please Me. It would certainly be a highlight... if John and Paul's backing vocals didn't nearly ruin the song.
The album ends on She Loves You, which comes right after Twist and Shout, for some reason.
Highlights: From Me to You, She Loves You, Twist and Shout, Chains, Boys, Please Please Me
Lowlights: A Taste of Honey, Anna, Ask Me Why
In relation to other albums:
Overall, it's better than the original Please Please Me. However, Please Please Me was one of their worst albums, so.

02 Mar 2012: "Begin Here" by The Zombies
I chose this because I thought the title was perfect. I couldn't disobey.
The version I downloaded is apparently from Zombie Heaven. It features the original album, plus a SHITLOAD of bonus tracks. The total track amount is 31. Original album came out in 1965.
I have to say, right here: I love this guy's voice. I love the use of organ; it reminds me of The Doors a bit. It transitions perfectly between ROCK songs and slower, more emotional songs. It's never predictable. Fuck, I love this album.
NOTABLE TRACKS:
Work 'n' Play is an instrumental. Pass.
I Remember When I Loved Her. I can't describe why I love it. It's just so... perfect.
What More Can I Do, which has pounding drums and an ORGAN SOLO.
Singuy sounds sort of like Rod Stewart on It's Alright with Me.
WHAT THE FUCK IS THAT SOLO ON I LOVE YOU IT'S FUCKING AWESOME
This entire album is just... believable. Unbelievably so. I can't describe it any other way. Though, I can't imagine it without the bonus tracks. They add so much. This is one of the best, most surprisingly great albums I've ever listened to. I was expecting to hate this, but I fucking love it.
Highlights: I Remember When I Loved Her, What More Can I Do, It's Alright with Me, I Love You
Lowlights: Work 'n' Play
In relation to other albums:
I think I have to do Odessey and Oracle.