Black Astronaut Records – 39 Charles Street (The Renovation)

Black Astronaut Records – 39 Charles Street (The Renovation) – Album Review

Yikes homie…this is what playlists were invented for.

When 39 Charles Street (The Renovation) was dropped into my inbox with a note that said “Fixed,” I breathed a sigh of relief.  I am stoked to check out a BAR album that tightened things up…lord knows I had lots to say about the sheer magnitude of the twenty-five songs in the review I did on the original version of 39 Charles Street back in November of last year.  If it’s been “fixed” as the note had claimed, then I figure we gotta be lookin’ at a real tight ten to twelve tracks…lemme just pop open my browser here and queue this up!  Hmm.  Wait – did I open up the right page?  It says there are THIRTY-NINE cuts on this album now?  Thematically, considering the title and the amount of songs, sure, I understand where he’s coming from…but objectively?  Ain’t no such thing as a “fixed” record with this many songs.

With seventeen that I’ve already heard and a jaw-dropping TWENTY-TWO that I haven’t…let’s get to it.  Practically gonna have to censor myself so that I don’t end up keeping us here all week long reading…

“Whacking off into eternity” might have been a better title for the album considering its masturbatory length, rather than just being one of the lines in the opening track, “Cosmic Lollipop.”  Charles…brother – this is the cut to start the “fixed” version of the record?  Rewinding us back a decade to another cut that features Tino Red isn’t the worst idea, they’re a reliable collaboration – but the man behind it all is definitely taking a chance with the overall sound of “Cosmic Lollipop.”  He’s got it sounding like it came from four decades ago, never mind 2016…it’s like it was recorded in a tin can.  While I know that’s a stylistic choice and that he clearly intended to give it a classic, old-school vibe…it’s risky dude.  I’m not the rule, I’m the exception – the average listener doesn’t quite compute stylistic choices in many ways, and when you consider the dynamic production of the modern-day era is typically what they go for, it just seems like “Cosmic Lollipop” could give them the wrong impression of what’s to follow.  The main hook is solid and the lines are funny, yeah, and the stylized vibe does work for me…but I ain’t everyone.

The opening does give the man the opportunity to make a bigger impression through the definition and melody of “39 Charles Street” to follow…but mannnnn if you knew how quick them kids are when it comes to changing the channel or scrolling on these days, you’d likely rethink “Cosmic Lollipop” as the gateway in.  Bringing in a sample from “Our House” from the old Crosby, Stills, Nash & Young tune was a good move, and the autobiographical lyrics of this cut makes this a natural fit onto this autobiographical album.  All-in-all, I feel like this one is pretty easy to get behind and really highlights the insightful side of Charles Luck’s poetry.  If you’re not familiar with this guy, you’ll know he’s got a serious side and a sillier side – he can excel at either when he’s at his most focused.  The rap is strong, I like the pace of this cut, and Luck’s selected the right sample to work with…I can’t see people making any substantial objections to this, aside from a bar or two along the way where it sounds like the dude should really blow his nose.

What is that?  Is that a sample from Everclear’s “Santa Monica?”  Ahh yes…there it is…confirmation – it is.  Again, the roots of the Hip-Hop go back further than the sample does, with this track resembling something more along the lines of what you’d find in the mid-90s on records by Cool J or something like SNAP.  I dunno man…I get the desire for texture Charles, but clarity is underrated in your world.  As it should be, the verses are the standout element here…which is in-part due to the clarity, but more-so because the lyricism is so solid, along with the performance that comes with it on the mic.  As for the hooks of “Don’t Wanna Be This Disease”…I mean…that’s the easy part – or at least it should have been.  Choosing to make it tougher than it needed to be by dirtying this up way too much…not sure what else to say other than there’s truth in the whole “less is more” thing, but that concept doesn’t really come into play on an album that’s this grandiose in scope.  I’m hearing production that’s holding back the potential for these songs so far Charles…it’s concerning…I’m just not convinced it’ll land like it should.

The next three tracks in a row were what started the original 39 Charles Street, so feel free to click here and learn more about my original thoughts on “Everything” Featuring Tino Red and Stig, “Sober,” and “On Them Lines.”  With the shaky sound of how things have started on this album, “Everything” is in more jeopardy than it was last time around with its lo-fi vibes here, though I’ll admit, I can hear how it would have also been a risky start to the record last time around now too in that regard.  Still a solid set of ideas though…I still dig that tune.  Still dig “Sober” as well…the use of backing vocals is magnificent, and it’s one of those tracks that’ll really balances the space between Luck’s seriousness and humor.  The hook is great, the rhythm & melody are fantastic, the production & performance are strong.  “On Them Lines” details the man’s troubled history with drugs…at least to a degree.  Trust me when I tell ya there’s a whole lot more to that particular story, and to say ‘troubled history’ is such a weird way to frame it when it’s practically a celebrated aspect of his tale throughout a ton of the Black Astronaut Records catalog.  Why shouldn’t it be though?  Everything he’s been through got him here to where he is today.  Everything is an experience, and everything counts for something in the lessons we learn along the way.  “On Them Lines” is up there with some of my favorites from BAR – I was glad this made onto the album.

You can practically feel Luck’s fingers running through a vinyl collection searching for the samples he uses.  Grabbing The Lovin Spoonful for “In The City” isn’t exactly a bad decision – in fact, none of the choices he makes in terms of samples tend to be.  What is a little tough to reconcile sometimes is how hard he’ll lean on those parts of the songs…they’re doing a lot of the heavy lifting in terms of what we remember, as opposed to the original parts he’s adding in leading the way, you feel me?  Like, I LOVE the verses on “In The City” – these are bulletproof bars, and the rhythm/precision is truly spectacular.  I don’t know that things like that don’t get overshadowed by the use of a well-known sample that just about everyone & their dog is familiar with…that’s just me being honest with ya Charles.  It kind of feels a little on the easy-side/a bit formulaic in the approach, and from my perspective, there’s more to your creativity than that.  In terms of what makes something enjoyable to listen to, it’s hard to argue the methods he’s using – but the point I’m making is, are people into it for BAR, or for The Lovin Spoonful?  Tino Red is crushin’ it from start to finish here…and I sincerely hope that doesn’t get lost with listeners.

“I’d fuck a ham sandwich,” is…a choice…that’s for sure.  I’m kinda proud to report that I wouldn’t, but hey, you do you Mr. Luck…or a sandwich apparently if you’re feeling so inclined.  You can find my original thoughts on “Gone Off The Rock” in the previous review of 39 Charles Street, but suffice it to say that I still think the performance is magnificent, and I’m still dying for this dude to blow his fuckin nose.

Like I was saying earlier, calling it a ‘troubled history’ with drugs isn’t exactly the most accurate way to put it – Luck’s clearly proud of it, and I have no problem with that personally – I get it, I am too.  That being said, I’m quite positive he’s been higher than I’ve ever been by quite some margin, and likely used drugs for very different reasons than I personally chose to.  On “PURPLE” he’ll walk you through some of the trips he’s been on, and once again, you’ll find the real meat in the verses.  I don’t mind the hooks here, but I don’t know that I’d tell ya they’re the main feature.  I like the…what is that, altered ukulele in the music?  That’s got a cool quality to its sound.  And I like the way the vocals are mixed to match the tripped-out theme at the heart of “PURPLE” as well.  Stylistically speaking, this is a good fit all around.

HEY.  “Fixed?”  You’re still listening with your face right, Charles?  How is this “fixed” when “Demons” is still ninety decibels lower than the rest of the material around it, just like it was before?  C’mon man.  This song is so damn good it basically deserves to be treated BETTER than the majority of the material, not worse dude.  All you gotta do is slide those volume knobs up a little…it ain’t hard, and it would make all the difference.  “Fixed?”  Don’t lie to me brother…you know I’m THAT DUDE, and I WILL call you out.

Did the previous track leave a bad taste in my mouth?  “Everclear” didn’t end up putting this back on course…it’s one of tracks I’d have left on the cutting room floor.  I’m not really sure even what to say about this cut…there are always going to be great moments in the verses of songs created by Black Astronaut Records, simply because the lyricism always has something entertaining to offer ya.  And more often than not, the performances are equally solid…I’d still tell you that what you’ll hear on “Everclear” is strong in that regard too.  Thematically, it’s on-point and the concept itself is strong – so what gives, right?  It just doesn’t work, objectively, from my perspective.  It sounds too confused, like it’s searching for a main gear to rescue it, and in my opinion, it never quite finds the one that really works.

May as well drop in a track I wasn’t sold on in the original version of 39 Charles Street at this point.  I will say this…it was nice to have the volume restored to the record with “Death From A Million Paper Cuts,” but not too much has changed here…I still think it’s a good song, but I’m less convinced it’s a great one.  I’m not TRYING to be hard on Luck, but obviously I need to hammer home the point that when you’re capable of greatness, that’s what we’re going to want as listeners from the other side of the speakers.  I don’t mind “Death From A Million Paper Cuts,” but its static design don’t have enough dynamics for me.  Thankfully it’s followed by “Addicts Mind,” which I’ve written about a million times at this point in other reviews and talked about it on the SBS Podcast and such, so I’ll just keep movin’ on…but BAR should too.  Again, I get it, I’m the exception and not the rule…not everyone has had the exposure that I’ve had to this song & it IS fantastic – one of BAR’s undeniable best…but yeah…man oh man have I heard this tune.

As we conclude the *gulp…first third of the record, and shift into the second, “Lost My Mind (Remix)” featuring Stig continues a strong back-to-back moment on 39 Charles Street (The Renovation).  I still feel how I felt about it when I reviewed it back in November of last year, it’s a genuinely great track overall, even it might go one step too far for my own personal preference.  Continuing a solid streak of wins, “My Mind Is Gone” immediately presents itself as an appealing track with its combination of piano and horns…and then like, c’mon y’all, that performance should win the award for the most swagger on the mic.  I love what I’m hearing there, and I love the gospel-esque approach to the main hooks as well.  If you’re not feeling this one, please check your pulse and whether or not you’re still above ground.  This has got style, soul, bars & all that – “My Mind Is Gone” is another one of Black Astronaut Records‘ finest.

Pondering what happens after death on “The Afterworld,” I like that Charles has branched out a bit in terms of what he writes about on this record.  He’s presented us with a million and a half ways to talk about his dick in the past, and there’s a time & place for that…but at the same time, it’s nice to hear a few more topics in the mix as well.  As to whether or not “The Afterworld” works to its full potential, I think that’s a little harder to say.  I look at it like this – what you just heard before it on “My Mind Is Gone” is one of those universal cuts that we’d ALL agree is amazing…so to question “The Afterworld” even remotely, is kind of one of those alarm bells that should be ringing to cue you into wondering if it really measures up to the highest of standards, you know what I mean?  It’s a good song…and hey man, if that’s what you want to put out there as artists, that’s always going to be up to you.  When you’ve already shown us greatness though, again, that’s going to be what we’re craving from that point on.  I personally want a bit more than what we’re getting with “The Afterworld” in just about every category.

Borrowing from Aerosmith’s legendary hit “Dream On” for “The Stairway” – it’d be hard to resist this track as it starts up with the haunting guitar and beat combination.  Again, I’d call the production into question with this one being a bit on the blown-out side of sound, but I suppose we gotta consider that to be intentional at this point.  I know there are people out there that dig that kind of vibe, but I’ve just never been sure as to why that would be the case for the most part, though there are a few exceptions.  Props to shouting out Andre Drummond in this song of all people…that’s gotta be a musical first, right?  Dude’s been having a solid season.  Anyhow.  I think the religious connotations and allusions here are effective, and again, I appreciate that Black Astronaut Records is expanding its reach through a more variable lineup of songs in terms of the themes explored, even if it’s way longer than most folks could rock with.  I can’t help but feel like “The Stairway” would benefit from a whole lot more clarity than it has, but at the same time, I do like the depth in the content here…I guess I’m still on the fence about it.

“Ghost” is indeed, another track that existed on the original version of 39 Charles Street.  Moving on – I’m really here for the new shit.  “Desperado” immediately caught my interest and attention, and it continued to earn it from that first impression as it continued on.  Production-wise, I ain’t loving it – and just like The Dude in The Big Lebowski, “I hate the fucking Eagles” – so I had a tough time with a bunch of the stuff outside of the verses.  Hard to not acknowledge the piano being the right sample and a great beat to use overall…that all works to me.  Just shy of the halfway mark on the album, it’s also hard to argue that this isn’t more of what we’ve been hearing from Black Astronaut Records in terms of the approach and leaning on the sample to do the work in the hooks/chorus.  You kind of know what you’re in-store for if you’re familiar with the title, and I ain’t fully hating on this tune despite the fucking Eagles, but yeah…at the same time, how could I not want more of the greatness that we were hearing earlier?  To be completely fair, I’d toss “Kings Cross (Cocaina)” before tossing “Desperado” I guess…though aside from trying to satisfy the theme with a lineup of thirty-nine songs, there’s no real reason to keep either.  I appreciate the uniqueness of “Kings Cross (Cocaina),” but I don’t think it will keep folks coming back.

“Pussy On My Mind (Remix)” – finally, a subject we can ALL relate to, right?  Taking you into the G-funk era on this track with Stig in the mix once again…I wonder what has Black Astronaut Records only listing him as a guest star instead of other dudes like Tino Red and Gyro in the credits?  He ain’t bad by any stretch of the imagination, but at the same time, what makes him so special that he’s the only guest star that gets his name in the credits?  The beat & music surprisingly steal the show here…I honestly would have assumed this would be where the lyricism of Charles Luck would have really stood out, because the theme is definitely right up his alley & plays to his strengths…but he goes the more serious route with “Pussy On My Mind (Remix)” instead of busting nuts and jokes as much as you’d think that he would have I guess.

Yeah…no…don’t even need a sample of the world’s most overplayed song tyvm…sorry BAR.  “Life’s Electric” incorporates a slice of “Wonderwall” by Oasis, and it’s hard not to feel like we’ve been there and done that when it comes to hearing it, even if it’s chopped up in the way it is on this particular cut.  I’ll say this…I didn’t mind it as much as I thought I was going to at first, and thankfully (likely in order to avoid being sued/nasty comments from the Gallagher brothers) it’s not like he used the main vocal hooks or anything like that on “Life’s Electric.”  I dig that there’s kind of a positive message to be found in this track as well…that’s actually a fairly unique aspect in what Luck tends to write.  As to whether or not this whole record sticks to the main theme of it being about “how I became Charles Luck” – I don’t know…I feel that focus drifting in all kinds of directions in many ways, but I suppose that’s what life is like to live it too, ain’t it?  Still looking for more of the quality we heard between tracks 13-15, but it’s fair to say that after my first impression of “Life Electric,” it worked out better than I assumed it would.

I think we’ve just got different ideas of what “fixed” means, that’s all.  It doesn’t mean adding a whole bunch of tracks and potentially watering things down even further Charles…at least not to me.  It’s much more of a matter of refining the material and sharpening things up where it was required, and tracks like “Demons” and “Ponds Of Sound” confirm that none of that happened – we just got more songs is all.  So I don’t quite know what to tell you beyond the things I’ve already said about the cuts I’ve already heard.  That being said, “You And Me And Melody” grew on me a bit…so I guess there’s that.  I’m still not a huge fan of the vocals being drenched in too many effects…but I’ll admit I felt like I got more outta this track this time around when it came to what makes it great in the performance we hear in the verses overall.  “My Heart Is A Fading Star” was another welcome return…I still think that’s an exceptional cut, and I was glad to find that it was still followed by “Breathe” in the lineup as well.  Those two tracks back-to-back work really well for the content and the contrast they contain individually, and provide together as well.

With a third of the album to go, “Diamond” starts things out in the right direction, though lyrically, it’s one of the most frightening for sure.  I don’t know the best way to phrase it…it’s scary, but like, in a good way?  Honest.  Direct.  Powerful.  Real.  Luck is basically writing about how damn close he was to ending it all here, and then finding his way back to appreciating life from a whole other angle.  Dude found the strength he needed to continue – echoed perfectly in the line “I am a motherfuckin’ diamond” – I absolutely LOVE that.  Chances are, I know what Luck has been thinking about much of what I’ve had to say about a ton of the material that’s on 39 Charles Street (The Renovation)…I’m sure it hasn’t gone quite the way he was hoping, but he knows I just call it like I hear it, for better or worse.  When things go right, I’m the first person in his corner – anyone’s corner for that matter – all I ever am is objective.  So believe me when I tell you that there’s a VERY good chance that “Diamond” is the BEST song I’ve heard from Black Astronaut Records to-date.  Considering the theme it comes with, I think that speaks even more about all that Charles has achieved.  Smart sample to have used, great melodic pattern to work with, which is somewhat borrowed from “Shine” by Collective Soul, and it has the kind of open-hearted lyricism that stands out.  Luck’s put out one of his most vulnerable moments in time here, but it’s the kind of track that shows you how he’s turned tragedy into triumph.  It’s key to really understanding him.

How do you follow that?  Hell, how do you even re-spin this record without wanting to skip past a ton of tunes to get right back to “Diamond” again, right?  That’s a tremendously commendable tune.  To be truthful with ya, I was positive that the next track was going to suffer as a result of coming after such a magnificent tune, but “My Chains A Fallen Halo” exceeded every expectation I could have possibly had.  Moments like this on a record really test the mettle of an artist, and to hear Luck come out with some of his very best back-to-back was a testament to what his music can be when he’s dialed right into his craft.  “My brain is no bueno” is a really smart hook in this tune…brilliant really…and while it’s fair to point out that he’s clearly struggling on a personal level in terms of what he’s choosing to write about in these moments from his past, it’s creating some of his most thought-provoking, engaging, and evocative material.  I also think that tracks like these, where you do hear an artist detailing the struggles they’ve been through and yet they’ve come out with some of their very best, it provides real hope for others that are going through similar things.  It’s tracks like “Diamond” & “My Chains A Fallen Halo” that prove you can come out stronger on the other side of some of the worst things we can go through in life.  I like the idea of Charles Luck leading by example…he’s so damn lyrically gifted, and it’s hard not to hear songs like these and not come out feeling like he might have very well just stumbled into his truest purpose.  You add in strong cuts like “More Than Glory” that have him him professing “I love my life and I will always fight like I was trying to free Tibet,” with another one of my favorites in “About A Dollar” right afterwards, and I think it’s fair to say that we’ve reached the most impressive point of BAR’s new album.

We’ve also surpassed 4000 words.  Sorry y’all…you know brevity ain’t my thing, but c’mon – THIRTY-NINE songs…this could have gone a whole lot longer than it has been already to this point, am I right?  Probably only about 1000-1500 more to go…feel free to have yourself an intermission and smoke break.

Jeez…did he really just sample “If I Had A Million Dollars” from our little ol’ Canadian band, Barenaked Ladies?  Amazing.  I always forget how worldwide they ended up being.  I mean, it’s to the point where I’d imagine many out there don’t even realize they originally came from our country up here, because Canadian music doesn’t often make its way that far outside of our borders.  That being said, have we all been more exposed to it than the rest of y’all?  Probably.  I’m about as filled up on this as I was with “Wonderwall” earlier on…but thankfully, “If I Had A Million Dollars” isn’t really the defining sonic characteristic of “Life Goes On” – it’s just a clever accent to the rest of what’s goin’ on.  Luck has got his “BIG NUTS” back out here, but in an authentically inspired way…I’m a big fan of this track as well, and I’ve gotta say, Black Astronaut Records is on a remarkable roll here at this point in 39 Charles Street (The Renovation).  I want this dude to really pay attention to what’s working and what was just alright in this lineup of his…and I sincerely hope he’ll go on to tap right into what makes BAR sound at its very best as a result.  There’s a lineup of thirteen tracks that would be AMAZING to listen to if he condensed all this.

Serious props for one of the most impressive uses I’ve ever heard of sampling “Stairway To Heaven” – I’m honestly blown away by how it’s used in “Another Step On The Stairway.”  Haunting, mysterious, and beautiful too – this was another right move and incredible call to have made.  There might have been many ups and downs in the first two thirds of this album, but Luck has been hitting nothing but complete homeruns in this last section of 39 Charles Street (The Renovation).  “Another Step On The Stairway” is another leap in the right direction if you ask me.  I’m so freakin’ STOKED to hear such an undeniable rebound in this last third of the album…this is BAR at its best, and that is what we the people WANT, ain’t it?  You’ll get chills when you’re listening to “Another Step On The Stairway” – great tune.

Things have been going SO well, that I’ve kinda been waiting for the other shoe to drop, you feel me?  That was a string of six cuts that should ALL be considered in the conversation of what makes BAR an irresistible listen.  Now…I’m not going to say that “Miracle” brings that streak to a halt – it’s still a good tune, even if it doesn’t quite reach that incredible standard we’ve just grown accustomed to in the final third of the album.  “Miracle” packs in an impressively powerful performance, and that’s its main strength.  Production-wise…Mr. Luck…c’mon my friend…you can hear the volume has taken another massive nose dive once again…so fix that.  No bullshit, no waiting, no more settling for what’s not quite up to PAR for BAR, you feel me?  Because why?  I know you just well enough to know that it’s not the 95% going right that you’re going to hear…it’s the 5% you could have done better, especially when you’re looking and listening back to it all in the long run.  I don’t make these comments for MY benefit homie…these are the easily fixable things that take two seconds of your time…so do that!  “Miracle” is yet another track that is worth the extra time it would take to spend perfecting it…so again, do that.

“Atomic” is probably the track I’d be looking at as a potential single to bring people in to listen if I’m being real with ya…this one should get the full video treatment and get pushed out there on the ol’ socials & shit.  It’s been crystal clear that there is some significantly SPECIAL material on this album, and don’t get me wrong, that’s what’s kept me listening throughout this past week or so – but if we’re talkin’ about what’s likely to please the masses and get’em listening, that’s a whole different conversation and it starts with “Atomic.”  Every time this song comes back around in the lineup and those first couple lines come outta my speakers, I’m ALL-IN and turning this up to the rafters once again.  You wanna song to put on as you’re swerving down the highway or trying to get away from the cops in a high speed chase?  THIS IS IT!  “Atomic” obviously has way less to say than a lot of the material has before it, but it gives you a stunning glimpse at Luck’s gift for lyrical rhythm.  You don’t need to take this one too seriously when it comes to the substance of it all…it’s designed to get you movin’ and serves a different purpose.  It also pairs well with “Hugo” coming right afterwards, which kind of possesses a similar flow and feels like a natural part two of where “Atomic” left off right beforehand.  No objections from me on either of these two tracks…I might argue that “Atomic” is clearly the more single-worthy cut of the two, but at the same time, there’s really no denying the appeal of a track like “Hugo” either.  Right from the way it starts, it pumps out a deadly mix of sound you’ll be addicted to, complete with tires squealin’ in the background and videogame vibes that give it extra layers of dimension and depth that are really smart inclusions.  “I make lightning” – the dude ain’t wrong.  I really love hearing BAR swinging at full strength.  Speaking of, “Just A Lie” making a comeback from the original lineup continues the hot streak.  “Real recognize real,” as they say.  I swear I’m not ever talkin’ outta my ass, and it’s not just the edibles kickin’ in – when things are going right, that’s what I tell ya…I’m just not afraid to tell people when things are going south is all.  Hearing how BAR turned this album around in this last third has been INSPIRING y’all.

Charles!  Don’t rile me up dude.  Things have been going so well man.  You’ve put this album on the same as any of us listening have too, right?  So what are YOU doing when “Shells” comes on?  You’re reaching for the volume too, aren’t you?  You’ve gotta be – otherwise how would you ever HEAR IT?  I can assure you there is not a single person in the world that enjoys having to continually turn things up and down as they listen to a record…just fix it man, it’s worth it.  And like, before you say it’s “fixed” – really fix it instead my friend.  Especially when the material deserves it and things have been going so damn well…I don’t wanna get to a track like “Shells” and find something so easily fixable on track #37, nor do I want to keep wasting both of our time in pointing this shit out.  “Shells” is another verifiably solid track outside of that small-but-oh-so-very-large issue…and it deserves its rightful bump in volume.

“Dancing With No Shoes On” would probably be up there with the record’s biggest surprises…I ended up liking this track a lot more than I initially thought I might.  I mean, it’s cute…it’s silly…but it’s also a lot of fun, as it’s intended to be.  You all know I take this music shit way too seriously in comparison to everyone else that’s ever pretended to write about it…sometimes it’s nice to run into a track or two that forces me to lighten the fuck up a little…and I’m sure Charles appreciates that by now too.  Don’t get it twisted – I’m not saying that I still don’t prefer to be serious or that a song like “Dancing With No Shoes On” would ever compare to a track like “Diamond” to me…but…it’s genuinely got the right combination of sweetness, sincerity, and fun that I can fully get behind.  There are a few songs on this record that’ll likely get you singing along after you’ve taken a couple trips through its lineup…but if there was only one, it’d be this one.  The main hook is so damn charming it’ll come straight outta left field.  You might think you like this track right away, but believe me when I tell ya it pales in comparison to how much you’ll go on to LOVE it.  Some moments work like that…but that’s why we should always listen several times to a record and not just judge by a single spin…let tracks like this have the opportunity to work their magic on ya, and trust me, you’ll be pleasantly surprised by how much it’ll truly brighten your day.

“Let’s Heal Today” is alright.  Admittedly, it’s not the ending I was looking for, but it ain’t a bad tune.  I think the hooks carry a massive ton of the weight for this last cut, but hey, that’s part of the song, and all you ever really need is to find a reason to return to it, right?  The more I spun this one, the more I felt like I got into it…and I’m cool with that.  What’s good about “Let’s Heal Today” is great…and I suppose that’s all I really wanted to find.  It’s been one MASSIVE adventure listening to this album from start to finish over this past week, and I feel like Black Astronaut Records took such a significant step forward with its music as we went through this final portion of its lineup.  I’m never going to be an advocate for making records of this absolutely ridiculous length, because it’s always going to expose a lack of the objectivity required in the art of making an album every damn time…but at the same time, when you end up with such exceptional redemption at the end of such a long experience, it makes the entire journey seem very much worthwhile to take.  Sometimes we need one half of something to appreciate the other, and I get that…but next time, feel free to start with the strengths we find here at the end BAR.

Find out more about Black Astronaut Records from this multi-link here:  https://linktr.ee/CharlesLuck

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