Green Day "Dos"

        The second installment in their ambitious-nostalgic trilogy proves that you can sound just as relevant, and possibly intelligent, without all the bombast and conceptual excess. There is a duality to how one perceives their significant other, or current lover, and the first two tracks illustrate them well; whether it is the tender-hearted “See You Tonight,” or the straight-forward “F*** Time.” Even these “Lazy Bones” livened up; because for the first two albums the monotone of Casablancas was annoying. Wait a second, this is Green Day! The riff is pretty nice, and I also think of my dearly beloved. “Wild One” seems to be about a human battleground for angels and demons, and all because she chose planetary travel over the glory of God?                   The rhythm of “Makeout Party” sloshes between what could be two slightly different time signatures; like the swapping of spit after the tongue enters the black hole. While this “Stray Heart” sounds like it used some (social) distortion, and “Ashley” is about a riotous old fling with a tempest hooked on meth: “Back when I loved you but you're scaring me to death/This careless memory and now I could care less.”  It seems that the pursuer of “Baby Eyes” might be the prey of the “Lady Cobra.” Isn’t karma a b****? Fight or flight… that percussion will not save you either. The previous song might be about the only feature on this record, and her “Nightlife” sounds pretty low-key despite what we may believe; when it comes to the song anyway. Anybody remember the Super Mario Bros. Movie? “Wow! That’s Loud” Favorites: See You Tonight, F*** Time, Lazy Bones, Lady Cobra, Nightlife, Wow! That’s Loud, and Amy.                                I was planning to write a review for the third album, but I decided not to. Not because the album is bad. It can be called the album with the "hairy chest," with a mini suite written by some "Dirty Rotten Bast---" that recalls their 2004 release; you know the name.  You can call it lazy, or just honestly sick of writing about the works of others, but Tre! is worth more than one listen;appropriately so, it may take more than one for some of the songs to grow on you.

Bruno Mars "Unorthodox Jukebox"

He might have intended for these songs to be played on an Unorthodox Jukebox, but there are traces of artists who may even be prominent on traditional ones; not just the artists you expect either.  

Neil Young/Crazy Horse "Americana"

In true Young fashion would he label his record Americana, and include old-fashioned R&B as well as livelier, or slightly obscure covers. You may recognize the majority of the titles, but not exactly the sound of these traditional folk and pop standards. I appreciate his approach; some may say it is disrespectful, but credit is given where it is due, and not everyone enjoys another’s point of view.     

Bobby Womack "The Bravest Man in the Universe"

Bobby Womack may just be The Bravest Man in the Universe making a comeback after 18 years; when it comes to an album of all-original material. Sixties’ soul with modern-day touches? Sounds risky.  He has worked with Albarn before, such as on the mystifying stylo. The title track sets the tone for what follows, and what ensues sounds like its’ accompaniment recalls sounds of the Beatles, but if not “Please Forgive My Heart,” and ignore my idiocy. The acoustic “Deep River” may not seem very poignant, but it is a short rush with more meaning than one can assume. The female vocalist of the past year, who sounds like she originated in the wrong decade, assists Womack in some “Dayglo Reflection.”                                                      The next cut sounds like pure magic, but at the same time reminds me of bands like REO and Styx (among others); it causes me to ask “What Happened To The Times” when music like that was being made? There is still great music among us! It may take a little bit more effort, or might be right in front of you, but you must be willing to listen with an open mind! Russel’s previous producer gig with Gil-Scot Heron led to what may be a “Stupid Introlude” to the next cut, but in those 21 seconds all your attention is focused on some of his last words, and they’re not basic. This may be a “Stupid” comparison, but I think of Stevie Wonder when he was looking for higher ground; it could have been simply the first line, but there are absolute differences (from the vocals to the percussion). The production of “If There Wasn’t Something There” could have even been an upcoming Timbaland track. The duet with Fatoumata Diawara is both a lesson and a blessing, or maybe that is just who the song is directed towards. The final song’s bloopy production and chugging beat is married to a melody over 170 years old! “Jubilee (Don’t Let No One Turn You Around)” turn you around, turn you around, don’t let no one turn… angsty, not profound?

Wiz Khalifa "O.N.I.F.C."

He’s still a Wiz, but now he seems more focused on “The Plan.” Just what is the plan? To become the O.N.I.F.C , and maybe even assist his pockets in gaining a lot of muscle. The verses can become tedious because of the sole ambition to stack cheese on cheese, and smoke some weed; some can say that it will only make the music suffer, but there’s more than meets the ears and more than that to offer. There are a lot of hooks, and beats that may cause you to “Fall Asleep,” but not because they lack solid songcraft; it is just the state they sometimes bring you to.  They might even be the saving grace; the formula causes this record to be very cohesive. I wouldn’t be surprised if the “Intro” was produced in a Dream he might have had, while it seques nicely into a song documenting his “Paperbond.”                                                              While track three seemed to be more about braggin’ while commentary arose on rivals “Bluffin,” I had to say that the outro took me by surprise. To top it off, he even faces “The Bluff,” but one good line is never enough (“Now point that camera at my pockets cause they saying ‘cheese," and there’s more, not just one, so roll those eyes at my fun; yes, it’s lame, and I know I’m done).                                                                                                      The first single is also his motto, and he makes more in a day then he would, by chance, in a lotto. “Make sure you do whatever is that you gotta do, that's your job/And n***** gon' hate, but that's no prob'/So hey f*** 'em, don't need nothing from 'em/Some n***** talking but the s*** they claiming don't mean nothing.” Well said Wiz. Another one of the best songs “Got Everything” I need, and he doesn’t even waste one line about weed. Courtney Noelle handles singing the infectious chorus well, and it’s absolutely about Amber Rose (I can tell). Success not only brings out the fakes, and the bluffs, but those who hate them for having all that stuff; “Cause jealousy and envy that's a trait for mostly b******/Not a man, so, you ain't one if you letting it show.”  The track featuring the line, and song four urge you to “Rise Above” the haters, and the negativity? “Let it Go.” I favor the latter because it is more relatable to myself; I don’t have that much cash, but that doesn’t mean I hate.                                                                                                                   As for some of the features? I skipped the 2 Chainz cut like “It’s Nothin,” and I have much respect for what he achieved in his life so far; I’m not just talking music. Lola Monroe is part of the Taylor “Initiation,” and is accepted, for her Minaj impersonation. The last verse features a phone message from Amber Rose, and while the song that follows is not a feature; it is one of the best sex anthems (or slow jams) to get “Up In It.” Juicy J wowed enough to be featured on, not one, but two. The catchiest collab is hard to forget, much easier to “Remember You.” The latter is about giving a groupie a chance to audition for a dream “job,” or one night stand; it all depends on how she works it. Best: Let It Go, Work Hard, Play Hard,  Got Everything, Fall Asleep, Time, Up In It, The Plan, Remember You, and Medicated.               

Yeasayer "Fragrant World"

First Impressions of the record are that this stinks, or at least smells, because it is a Fragrant World after all. It reminds me of my first impressions of Sauerkraut.

Neil Young "Psychedelic Pill"

To think it only took a Psychedelic Pill to produce some of his best music in the past decade, or we can simply say the longest. It even has him “Driftin’ Back” to the sounds of his heyday; every album is an attempt to recapture that magic. Young even sings “When you hear my song now/You only get five percent/You used to get it all (x2)” on the sprawling opener, but I honestly believe he is one of his worst critics, and is too hard on himself. She’s not the only one looking for a good time, and like those dance moves, every note is like a “Psychedelic Pill” that cannot be purchased. “Ramada Inn” is roughly a third shorter than the opener, but depending on your point of view may have more to say. It’s a good song, just a little long; like that war with the bottle that has overstayed its welcome, and is causing friction between the two lovers. He may have been “Born In Ontario,” but “It don't really matter where I am/It's what I do, it's what I can/This old world has been good to me/So I try to give back and I want to be free.” The walk on this “Twisted Road” may make you feel like a rolling stone for the first time, again; references to another Bob (Seger), Hank Williams, and Roy (Orbison?). A fellow reviewer mentioned that “Walk Like A Giant” was not nearly as cumbersome, yet still as epic, as what the opening song tried to become; without some of the cheesy lyrics? Favorites: Psychedelic Pill, Born in Ontario, Twisted Road, For The Love of Man, and Walk Like A Giant.