REVUE DES DISQUES

Ne pas confondre ce "Livret des fidèles" avec celui qui a paru vers 1960, avant la messe en français. Tout ces chants figurent dans la série de fiches, dont les sections vont de A à Z. Ici, quatre chants d’entrée, deux graduels-alleluia. un chant d’offrande, deux chants de communion et quatre chants finals, ces derniers étant dérivés du répertoire plus ancien, et qui nous paraissent, après cette comparaison, encore comme les mieux réussis, comme « Nous te louons Dieu, Créateur », « Jour du Seigneur » et « Nous chanterons pour toi, Seigneur ». À ce propos, on pourrait faire, je crois un bien meilleur usage des trésors passés dans la liturgie actuelle je pense surtout â cette quantité de très belle musioue composée par Gastoné, Guilmant, Terry, Tourte et les abbés Delporte, presque tout le contenu du Delporte, et paroles et musique, est encore utilisable et souvent beaucoup meilleur que bien des chants récents, qui font les frais de l’expérience actuelle. Plusieurs des chants ici sont de Lucien Deiss et de Gélineau. On veut cerner, le "propre" de près; mais le succès n’est pas plus grand que celui de dom Mercure; j’aime la simplicité avec laquelle ce dernier accolle les vieux airs grégoriens à la traduction française du texte, en éliminant plusieurs neumes et en soignant fort bien l'accentuation. L’exécution ici est additionnée de ce qu'on appellerait des obligati d’instruments s'ils étaient vraiment obligatoires, mais vraiment, le plus souvent on s’en passerait ; Ce n'est pas le manque d’imagination de Dompierre qui a fait ses preuves merveilleusement dans ce genre, pour la chanson, mais ici ça ne mord pas – à peu près jamais. La plupart du temps les chants sont pris trop lentement; plusieurs qui portent l’indication « vite » ou « assez vite » sont pris ici « lento ». Le ténor est très beau et il met beaucoup d’intelligence dans son expression et son intelligence du texte montre qu’il a dû comme Simonneau faire des études classiques.

Avec tout ce déploiement, l’orgue ne ressort guère, mais ce qu’on en entend montre qu’on a affaire à un organiste sensible au-dessus de la moyenne.
(Le TOURNEUR - L’Action, vendredi 16 septembre 1966, page 20)

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DISQUE CONTENANT TREIZE CHANTS DU LIVRET DES FIDÈLES

Un nouveau disque canadien, "Nous chanterons pour toi ”, contenant 13 chants du Livret des fidèles interprétés par le choeur Vaudreuil-Soulanges, a été lancé sur le marché récemment.

Le Livret des fidèles, dans sa nouvelle édition canadienne approuvée et recommandée par les évêques, veut être un instrument stable et aussi complet que possible, afin d’assurer la participation active des fidèles aux prières et aux chants non seulement de la messe, mais aussi des différentes autres célébrations communautaires.

Les 13 chants du disque figurent dans le Livret comme un premier choix qui devrait s'imposer pour les célébrations des dimanches après la fête de la Pentecôte. Un puissant choeur de 60 voix mixtes, une orchestration de François Dompierre, le soliste Georg Coulomb, l'ensemble dirigé par l'abbé Denis Rivest de la Commission de musique sacrée de Montréal, donnent à l’enregistrement une dimension remarquable.
(La Presse, samedi 8 octobre 1966, page 34)

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This another of my favourite albums, yes I do have a penchant for Organ music. On this LP you truly have a battle of the Organs with Grove and George on Guitar on the left speaker and Jimmy and Bernard on Guitar on the right speaker giving you a full Stereo experience.
There's some wonderful funky Jazz tracks with great Guitar, Drums and Conga backing.
Also a great sleeve especially on the rear with Jimmy and Groove looking Superfly.
Unbelievably you can still pick this LP up for under a tenner so what are you waiting for !

8 people found this review helpful.   ✔︎ Helpful Review?

Unlike its two predecessors, it sounds like it was thrown together very quickly. Most of it is disposable. "Some People Never Know" and "Dear Friend" are decent ballads but “Mumbo” “Love Is Strange” and “Bip Bop” are absolute time wasters. The title tune "Wild Life" sounds like a plagiarism of CSNY's "Almost Cut My Hair". Of his first three LP's, it is by far the least enjoyable.

7 people found this review helpful.   ✔︎ Helpful Review?

One of the all time classic Welsh Folk albums. Probably THE classic Welsh traditional folk album. With harmony vocals, lots of guitar, fiddle and bouzouki / mandolin giving string variety. I can't recommend highly enough this album. It's a mixture of traditional tunes and songs with such an interesting variety of tunes and vocals that no two tracks are similar. My favourite is the last track on Ochr 1 (Side 1) which is called The Little Tinker Lad with a really catchy chorus. The other stand out track (although to be fair they're all wonderful) is the first track on side 2 which is a round quite reminiscent of Pachelbel's Canon in D.

The vocals are beautifully performed with a slightly nasal male voice and the chorus singing is vaguely reminiscent of early Steeleye Span although without the rocky input which came later. Unless you hate folk music in general, you can't help fall in love with this album. Every track!

3 people found this review helpful.   ✔︎ Helpful Review?

10-12 superb tracks, with excellent vocals by bobby whitlock, superb and sometimes call-and-response matching, sometimes soloing, and occasionally harmonising lead guitars with duane allman arguably pulling some of eric clapton's finest and extended virtuoso performances out of him for a long time to come, all built upon a good, reliable rhythm & bass from jim gordon and ginger baker, who was relatively constrained, not often able to seize the spotlight with flashy drum solos, but still worth listening to for all that.

a classic album, and one of the very few double lps without a single duff track.

8 people found this review helpful.   ✔︎ Helpful Review?

This is good listening for the type of music. Nothing else on it is the caliber of Raunchy.
There are errors in the compilation due to the new owner not identifying the master tapes properly.
The Stranger is incorrect, it should say The Stinger. The Stranger was a soft vocal on the flip of College Man.
College Man is far from being the single master tape. It omits the intro vocal of "We hate college ....". The volume levels are faulty - it starts off too low and halfway the engineer raises it.
Raunchy is the correct single recording but not the single master. The volume has a wide range and the guitar does not have a strong impact. The single sounds better.
Many reissues now duplicate these errors and Raunchy does not have as good a reputation as it should.

I have posted a volume graph of Raunchy and College Man.

7 people found this review helpful.   ✔︎ Helpful Review?

"Picture Of You", "Don't Tell Me That", and "Is It Love" are all on a compilation I have. I really like those songs, so I added this album to my discogs want list, thinking that it may be some lost classic.
Today I listened to a rip of it on YouTube, and promptly removed it from my wantlist. I think that 2 tons of Perry Como would do my collection better than this crap, and that's only a mild exaggeration. Freddy & Co. had some wonderful material that hadn't yet been released on a U.K. album, but it seems that their sense of good taste had been demolished by their last two albums.
The 3 songs that I mentioned above are still great, and I highly recommend them, but I don't think I will ever be purchasing this album. Their versions of "Juanita Banana" and "Sing C'Est La Vie" are simply inexcusable, and the rest of the songs are too dull to talk about. This is what people who hate Freddie and The Dreamers think all of their output sound like.

6 people found this review helpful.   ✔︎ Helpful Review?

Joseph D Rowland wrote the following for "Louder" yesterday:
"Prior to his stint in Gong (and presumably before he penned one of the best riffs in existence via Master Builder), Steve Hillage had a short-lived project that flexed much of the same muscle of his most ripping later material. While perhaps outpaced in sonic heaviness by other outre-contemporaries like Message, Gravy Train, High Tide or Mahogany Rush, this record delivers the goods for me in a way that absolutely holds its own. Filled with the flighty eccentricities that would become Hillage’s signature, hurtling through many psychedelic musical landscapes, it often lands on amazing grooves that contain an undeniable gravity, including an album outro that stands as some of the best doom metal on the books. Astonishingly he was a mere 20 years old when this album was written."

4 people found this review helpful.   ✔︎ Helpful Review?

A great album for casual Elton John fans. The rest of the hard core ones will appreciate the song selections, but will be put off by the fact that most (if not all) of the songs are heavily edited. A great selection of Elton John tracks but only necessary if you don't really care for the originals. The real dissapointment is when "Someone Saved My Life Tonight" ends without the "Someone Saved, Someone Saved" ending.

5 people found this review helpful.   ✔︎ Helpful Review?

A question I often ask with Freddie & The Dreamers is "what were they thinking?", and this album is no exception. Who is this for? Who would buy this? They were already fading from the British charts, and the ever-changing consciousness of the British record-buying public, so with this album, they should be trying to get their audience back. Instead, they committed "pop band suicide" by releasing this puzzling piece of crap. As I've stated before, some of the group's best material went unreleased in the U.K., which makes schlock like this all the more incomprehensible.
If you compare the release dates of this album and "Beach Boys Party", it seems almost as if the group was trying to re-create that. But I have an amazing revelation: Freddie & The Dreamers are NOT the Beach Boys! That album was fun! They covered new, hip songs! Bob Dylan! The Beatles! Everly Brothers! These are songs that work with the band. Freddie & co. chose to cover old show tunes and big band songs, most of which weren't any good to begin with. The teen audience that they (previously) had would've hated these songs. To them, these songs represented everything wrong with their parent's generation. So was this album marketed to parents? That would be even more astounding.
And to add insult to injury, the arrangements are awful! They're a dreadful mix of beat music and big band jazz that doesn't work even remotely. Some of the instruments used on this album include piano, trombone, clarinet, tuba, and saxophone, all playing the most cliche ragtime parts that I've ever heard. Even the drums are stuck in 1940.
In conclusion, whose idea was this? This album disgusts me. I want to scream at the band and tell them to leave whatever studio they made this in. Listening to this is like watching a car crash in slow motion, except it's less fun for everyone involved.

6 people found this review helpful.   ✔︎ Helpful Review?

I came into this album with low expectations. I had just listened to "Sing-Along Party" and "Freddie & His Dreaming Knights" back-to-back, so I had almost given up on the idea that there were any lost gems hidden in the grooves of the albums from this often forgotten era of the band. I was shocked to then find that this album is middlingly enjoyable, albeit in moderation.
"The Ugly Bug Ball" kicks this album off, and I'm surprised with how much life they kick into this one, it almost sounds like a real rock song. Mind you, I've never heard the original, so take this with a grain of salt.
"When You Wish Upon A Star" shows just how good of a singer Freddie could be. He may be overly-reliant on his mediocre falsetto, but he hits every note perfectly. The arrangement is also phenomenal, albeit nearly identical to the original.
"When I See An Elephant Fly" is a wonderful song with great lyrics, although that credit should go (begrudgingly) to Disney. I must say, I can easily see why Mr. Garrity went on to be a children's T.V. host, as his voice suits a song like this perfectly. The ending sounds somewhat ominous though, which is perfectly out of place on a song like this. Wonderful!
"Winnie The Pooh" is not the best Disney song IMO, but they do it alright, I guess.
"Chim Chim Cheree" If I had a nickel for every time that I've heard this song, I would have about $1.95, although it feels like I'd be a millionaire. To say that I'm sick of this song is an overstatement, but this version is nothing new.
"Heigh Ho" is the only song on this album that I had heard before, and it's easily the best thing on here. The off-key intro is brilliant, the harmonies are wonderful, the strings are beautiful, the horns are triumphant, and it's one of only two times on the album that we get any backing vocals (the other time being the final track) and I actually prefer this version to the original.
"The Unbirthday Song" is another song that I've never heard before, but I wish that I had. I do think that Freddie could've done with a few more takes, as he's a bit off in spots.
"The Siamese Cat Song" ignoring any outdated factors there are in this song, this just isn't very good to begin with. But I mean, come on! That accent? That won't fly under my roof. I expect better from you, Freddie, although at this point, I'm not sure why.
"Whistle While You Work" is one of the best songs every featured in a Disney movie, and is a perfect choice for this album. It's not as good as I want it to be, but it makes me think of simpler times, and I'm very young, so that's impressive. If you want a better version of this song, I highly recommend NRBQ's version.
"Give A Little Whistle" I used to think that this and the last song were the same song, and it's easy to see why. I may actually prefer this song to "Whistle While You Work", both with Disney, and with Freddie.
"The Ballad Of Dick Turpin" Never heard this one either, but I'm going to have to seek out the original. The arrangement is again wonderful, and for once, the guitar is given more of a chance to shine. It almost sounds like a real band at some points.
"Supercalifragilisticexpialidocious" We all know how brilliant this song is, and so does Freddie. He delivers it perfectly, and so does everybody else on it. For once, Freddie's manic personality actually adds something to the song. It's energetic, fun, and makes a good finale.

Overall, this is a pretty good album, although there are very few instances where it sounds like the work of a Rock group. But comparing it to the band's other albums around this time, this a masterpiece, and yes, I'm aware of how ridiculous that may sound. And yes, it isn't actually that good. But seriously, those other albums are awful.

8 people found this review helpful.   ✔︎ Helpful Review?

I bought this when it came out and sold it shortly afterwards. Absolute crap would be my verdict. Jilted John was a punk novelty act and the original "Jilted John" single had some charm even though it was a bit long. I still have that single though but the LP is a different story or rather the same story given the record company cash in treatment and is overly produced filler at best. Even the single "Jilted John" on this record is a re-recorded airbrushed version and the quirky charm of the original is single is completely lost. The rest of the album is basically a needless extension of the same story that the "Jilted John" song expounds and needlessly fills in the details of the boy likes girl, girl goes off with popular knobhead narrative. A good novelty single ruined and the rest is totally unremarkable filler. Avoid at all costs, don't even accept this LP as a gift is my advice,

4 people found this review helpful.   ✔︎ Helpful Review?

I Liked Rush from the (very underrated) first album. I bought all of the albums as they were released. I was blown away by 2112 which was a fantastic album at the time (it hasn't worn as well as some of the others) When "A Farewell to Kings" came out I don't think I played 2112 for a few years. This album has some absolutely brilliant tracks with Xanadu being perhaps my all time favourite Rush track. It also has the concert favourite "Closer to the heart" and every other track was excellent........ Then came "Hemispheres" ..... What more can be said.

RIP Neal Peart perhaps the best drummer I have ever seen, and I've seen a few.

Several years ago someone relieved me of quite a few LPs - the original of this being one of them, so I bought another. I have a good idea who the thieiving rat was but alas had no proof.

9 people found this review helpful.   ✔︎ Helpful Review?

After Edgar Winter and the popular Blue Sky singles, lost track of Dan Hartman until one evening in 1984, JK in his rather splendid Entertainment USA TV programme heralded a "return" with a recommended single - I can dream about you. Sat up and took notice, single and album purchases followed. Just re-listened to the album - encompasses some decent varied lyrics and different musical styles. Stands up today.

6 people found this review helpful.   ✔︎ Helpful Review?

I Billy Ralph Reynolds sang on this album also loved these boys now men had to work that day so did not get my picture made with them. I have a facebook page and would love to get in touch with any of them.. Billy reynolds 276-688-0029

2 people found this review helpful.   ✔︎ Helpful Review?

This album came out after Black Sabbath had faded somewhat by their standards. The early albums with Ozzie Osbourne were excellent and they had started to go downhill after Sabbath Bloody Sabbath. Punk had emerged and black sabbath were now “has beens”. Ronnie James Dio had shown his prowess with Elf and with Richie Blackmore’s Rainbow, making good albums especially Rainbow Rising. Dio was the outstanding Vox of that genre, along with the Riff Master Tony Iommi with Geezer Butler and Bill Ward cut this outstanding record. It was Black Sabbath reborn. Every track on it is a gem which still stands up there today. Like many others, I think I have a top ten best albums (which changes back and forth). There are not many where every track is a gem. “Blue” and “Court and Spark” - “Argus” and “There’s the Rub” – “Fire and Water” – “The Last Puff” - “Marauder” along with “Hemispheres” come to mind where every track is as good as the one before or after it. Heaven and Hell comes into that category.
Punk had had it’s day, Led Zeppelin had finished as had Lynyrd Skynyrd and new “Hard Rock” bands were up and coming, Van Halen, AC/DC, NWBHM etc. but this album was up there with any of those produced by the up and comers.
I’m not saying this is my favourite album – it can be depending on my mood for the day – but it has to be one of my all time favourites.

6 people found this review helpful.   ✔︎ Helpful Review?

Musically, the album is excellent and most people who have listened to it knows about it, so there is nothing new to write. However, it's worth mention a few words about this Polish release from the Tonpress label.

I must admit that there weren't so many beautifully released albums in that period, especially on two LPs. The whole graphic design and gatefold with the book were very good quality. The only downside was the labels, in a typical label red colour, while on the original British releases they contained an image. But at least it was possible to quickly distinguish this Polish edition.

Originally posted in: Iron Maiden Live After Death

4 people found this review helpful.   ✔︎ Helpful Review?

It's been a long time since I bought music on vinyl, but seeing how good it looked, when Ian was plugging it on his brilliant Lock-down shows on Facebook*, I clicked the link and took the plunge. I own a lot of records, but can safely say that this is the best presented album that I have ever seen. It is almost a work of art, well impressed, and that's before it hit the turntable, this man has some brilliant songs, highly recommended.

*Friday's at 20:00 UK time

4 people found this review helpful.   ✔︎ Helpful Review?

This was given to me when I was around 11 or 12. It was in the wrong sleeve and the artist is not printed on the label, so for many years I had no idea that it was Owen Gray.
I loved this album and played it to death for years, it was only after 2 Tone exploded that I delved into the ska goldmine properly, but this record was my first exposure to this music, which is why I rate it so highly. First loves and all that.

6 people found this review helpful.   ✔︎ Helpful Review?

Just replayed this album after many years, as a result of the lockdown I'm revisiting some of my more neglected LPs.
What a wonderful voice Willie Sutherland has on this LP, released the year before his tragic early death in his mid 30's. Even an old grizzled atheist like me is moved when hearing Willie's rendering of these mostly old classic hymns.

5 people found this review helpful.   ✔︎ Helpful Review?

Devised more as a Stereo demonstration record, the music is what it claims - perhaps "wide ranging" is a slight overstatement. The drums are augmented by percussion instruments including bongos, Chinese cymbal tree, timbales, claves, scraper, cymbals, marimba, cow bell, celestatemple blocks and tambourine

[YouTube Video][YouTube Video]

4 people found this review helpful.   ✔︎ Helpful Review?

This is the Back To Black 30th anniversary release on the Polar label. It kicks out a good sound but everything about the sleeve is wrong. Polar opted to go with the Epic UK version of the sleeve, with the white fading into a 'blue sky' effect. This blue is a completely different shade from Epic's, more turquoise than blue. All pictures of the group are grainy and you can barely read the labels because the writing isn't a solid black.

6 people found this review helpful.   ✔︎ Helpful Review?

Behold, quite possibly one of the rarest Canadian pop rock records known to exist. For those who don't have the album and never had a chance to listen to it, this album is very different from their other tracks like August 32nd, Do It To 'Em and Jack Rabbit. If you've heard those tracks before, I hate to tell you but this album is way too soft to be on par like those ones.
Anyway, the album itself is decent for a pop rock record. It has some surprising hints of northern soul (the songs Eternally and Put You Down come to mind) and has a nice Beach Boys' cover of Little Honda. However, being able to find a copy is extremely scarce and can fetch a pretty penny. Nothing in absurd amounts of money compared to say an original pressing of The Haunted's debut album. Unfortunately, I'm unaware of any reissues of The Big Town Boys' only album known to exist, which makes it even more difficult. If you're on the lookout for this album, I wish you luck... If you happen to have it or somehow managed to get this for a decent price consider yourself lucky. (I obtained my copy awhile back for $40 in a pretty well worn condition. Luckily it still plays from start to finish without any hassle.)
Overall, if you're into Candian pop rock music (or just pop in general) consider giving it a listen sometime. Also a nice addition to your Capitol 6000 Series collection, especially since this is one of the rarest ones out there.

9 people found this review helpful.   ✔︎ Helpful Review?

Alpha Omega is a compelling song-cycle written and composed by David Gordon, brother of renowned UK musician, Yusuf (formerly Cat Stevens). It concerns humankind’s never-ending pursuit of the meaning of existence combined with their perpetual urge to destruction, enabled by a failure to find common ground on which to unite all the peoples of the world.

The concept album for Alpha Omega was recorded between 1976-79 at many leading recording studios, performed by many of the well-known artistes of the day including David Essex, produced by Cat Stevens, and released by United Artists as a vinyl double-album package. However, in the early stages of rehearsals for a Musical Theatre version, David Gordon became uneasy with how his work was developing and to everyone’s amazement, he closed the musical production.

A version of Alpha Omega, re-worked as an oratorio, has taken place in Coventry Cathedral (1980), the Royal Albert Hall (1982), Southwark Cathedral, and Holywell Music Rooms (2005); an adaptation called, Peace Child has received over 6,000 performances worldwide.

The Artists:

DAVID ESSEX, SUSAN GEORGE, CAT STEVENS, MAXINE NIGHTINGALE, EARL JORDAN, GLORIA JONES, NOEL POINTER, SUZANNE LYNCH, ARTHUR BROWN, KIM GOODIE, TERRY CASSIDY, VICKY SILVA, DEREK JAMES, THE COVENT GARDEN OPERA SINGERS

3 people found this review helpful.   ✔︎ Helpful Review?

I found a copy of this last year, and bought it impulsively.

...As I already have an original UK issue (With a 6E / 4E Matrix), with all the stuff that was famously edited out on later issues, and even contemporary issues for other countries, I didn't think I'd be missing much by stowing this on the shelf and forgetting about it, in order to prioritise other records on my listening schedule...

...But stumbling across it again on a tidying mission, I thought I'd give it a go, to see how much better the UK one was, and where this fell short. But to my utter astonishment -

This sounds better - much better - than the UK issue!

I'm talking about the sonics here, that even a non-audiophile will immediately notice, sit up, and go: "Wow... what the hell!"

Yes, it's missing the Morse bits in Starman, there's the drop outs, and a couple of other well documented quibbles, and yes, the UK issue does have more of a balanced, natural sound, but sonically - the soundstage, separation of instruments, detail, punch, and the use of the stereo field simply blows you away here.

Totally unexpected.

If only you could somehow meld the two issues together, in order to have the best of each - the completeness and open, naturalness of the UK one, with all the bits in there, but coupled with sounding like this in terms of the "Holy Cow!" factor, you'd have the definitive version I think.

...But certainly, having a copy of this Canadian one (not sure if the U.S copy is identical sounding to this) and the U.K. one is a recommended task of comparison for the curious at least, and those seeking definitive sounding issues of this monumental album.

9 people found this review helpful.   ✔︎ Helpful Review?

When this recording was first issued many reviews were negative. True, it might not be as good as "Ram" but it has several charming tracks that need to be heard if you are a Beatles/McCartney fan. The first two songs on this record are ones I want to get out of the way quickly. "Big Barn Bed" is an over the top piece of typical PM fluff that rankles the life out of me. It is the "Monkberry Moon Delight" of this record, if you know what I mean. Truly it is a load of tripe but then so is the next track "My Love", or as I like to call it "Woh, Woh, Woh, Woh", but for different reasons. This one has my vote as the most bland and perfunctory piece of refuse ever created by Paul. (Okay, okay, maybe it’s not quite that bad. I’ve just heard it 5000 too many times.) I actually recommend you skip these first two to get to the good stuff because from here the LP takes a decisive turn for the better and we get one quality song after another. "Get On The Right Thing" is a strong song that would have been a great single, ditto for "One More Kiss" and then there's "Little Lamb Dragonfly" perhaps my favorite track of all here. Side two opens with the delightful "Single Pigeon" and then there's yet another strong song in "When The Night". From here it the quality dips a little bit but this is a Paul McCartney/Wings record well worth owning. The critics unfairly maligned it. Unlike his previous offering “Wild Life”, this wasn’t thrown together at the last minute. You can tell he took his time and put in a valiant effort. Some reviewers have had the audacity to say "Wild Life" was better. Sometimes wax builds up in the ears. I don’t know how else to explain it. "Red Rose Speedway" isn't his finest outing but it is a definite winner and one I like to listen to as often as I can.

4 people found this review helpful.   ✔︎ Helpful Review?

I’m not going to pretend I understand all of Frank’s music because I don’t. There are entire LP/CD’s that are totally over my head but then, if you have read any of my previous reviews, that might not be difficult to believe. “Freak Out” is, for the most part, quite understandable. If you like music that is off the wall, iconoclastic and different, this might be the ticket. But there's something much more than humor, parody and the unconventional to this record. Zappa rails against something much more sinister and specific. “Hungry Freaks Daddy”, the opening track, is a call to arms to every underdog in America. What Frank Zappa is saying probably needed to be said but it’s the way he says it that is so alarming. There are other tracks that are much lighter in tone, like the humorous 1950’s doo-wop parodies such as “Go Cry On Somebody Else’s Shoulder”, “How Could I Be Such A Fool” and “Wowie Zowie”. A favorite of mine is “Who Are The Brain Police?” whose verses sound sweet and lightweight but the chorus is harsh and ominous. “Trouble Comin’ Every Day”, a Zappa rap over a bluesy backdrop is truly powerful and an unusual recording for 1966. Sometimes Frank’s humor works but often, for me anyway, he is far too angry to be really funny. Frank’s rage and frustration with conventional American life is an underlying theme in much of his music I have heard. Let’s hope that this mastermind and madman has finally found peace and contentment.

8 people found this review helpful.   ✔︎ Helpful Review?