Picking up where we left off with the last chapter (Imperial Slates) and in light of the recent Parkway Bowl Disco Mix, it's as good a time as any to touch on a key element in the Terminal Vibration blueprint that doesn't fit anywhere else in the schema. Consider this a cool breeze of an interlude between last episode's heavy dub shapes and next week's hip hop brakes. At the interzone between post-disco, new wave and boogie, there lies a sound that runs like a thread through the 80s (and beyond). This sound is encapsulated up by no one quite as much as (you guessed it) the Compass Point All Stars.
The crucial ingredient that sets this sound apart from what everything that came before is the thorough absorption of dub reggae's sonic toolkit into dance music's fabric. One can hear the reverberations echo through the ensuing years, most obviously in the spangly textures within the music of house figures like Bobby Konders (and by extension much of Nu Groove's output), Larry Heard and Tony Addis' Warriors Dance setup. The thread then gets picked up by the likes of The Future Sound Of London (the earlier material in particular, see Accelerator, The Pulse EPs and the Earthbeat compilation), The Orb (Perpetual Dawn, Blue Room, Toxygene, et. al.) and even progressive figures like Leftfield and Andrew Weatherall.1
Tangentially, large swathes of trip hop - Massive Attack, Smith & Mighty, Bomb The Bass and loads more - seem to flow naturally from the more downbeat corners of Grace Jones' (I've Seen That Face Before (Libertango), for instance) and Wally Badarou's (literally, in the case of Mambo) discography. And like trip hop, this is a territory that I only mean to touch on briefly in the context of the Terminal Vibration series, as I plan to spend a much more time in this region in the not-too-distant future, with a feature of its own. Like I said, this is just an interlude of sorts.
This sound - which I'm still rooting around for a good, concise name for - was a key part of the story of what went down sonically at the Paradise Garage. Larry Levan's production on Gwen Guthrie's Padlock mini-album epitomizes the sound, in which deep grooving bass, spangly synthetic textures, dubbed-out percussion and disembodies vocals all coalesce in a swirling headphone symphony. This is a four-dimensional, tactile approach to sound design that pulses through the era like a homing beacon, bringing all manner of disparate figures into the fold as the decade rolls on like the pied piper.
As I was saying before, the key crew in all of this was the Compass Point All Stars, who cooked up something quite special down in Nassau on a series of records for artists like Grace Jones, Gwen Guthrie and the Tom Tom Club. Island disco, Parallax Pier, coastal dub... whatever you call it, it's very much a sound all its own. It's interesting to note - and I've mentioned this before - the way Caribbean transplants Grace Jones, Eddy Grant and Billy Ocean all seem to have put in early work hammering this sound out in isolation over the course of the prior decade, their unique geographic perspective informing the music they were making within the context of what was the by-and-large straight up disco community.
Then there's the whole new-wave-gone-to-the-tropics phenomenon that probably started with the Talking Heads' I Zimbra and Remain In Light (who were coming at it from a West African-informed trajectory), and The English Beat's shimmering Caribbean inflections. I'm talking about Burning Sensations' Belly Of The Whale, Haircut One Hundred's Pelican West and XTC'sIt's Nearly Africa, not to mention David Byrne's production for The B-52's Mesopotamia mini-album (the influence of which seemed to stick around through their third album, Whammy!, even informing certain corners of their Cosmic Thing comeback in 1989).
The whole thing wraps around to the extent that the Talking Heads seem to be influenced by the groups that they influenced themselves (along with the Tom Tom Club's records), going full-on tropical with Speaking In Tongues, which was actually recorded at Compass Point. It's a sound not unlike what Kid Creole And The Coconuts had been up too, a sound that was co-opted and given a dark twist by Jerry Dammers on The Special AKA's In The Studio. Interesting that many of the ska bands ended up shearing into this territory, with English Beat songs like Ackee 123 seeming to split the difference between calypso and township jive.
One doesn't need to search far to find the real-deal flipside to these island incursions in the honest-to-goodness Jamaican disco like Crashers' Flight To Jamaica (Cool Runings) and Third World's Now That We Found Love (which despite hailing from 1978 sounds like something from, oh about 1993), while music coming out of Africa like Juju Music by King Sunny Adé & His African Beats and Tony Allen's Afrobeat 2000 squared the circle between new wave post-disco and their Yoruba/afrobeat roots. Once again, the circular logic is in evidence throughout, with the original influence being touched in turn by the music they'd originally influenced. And on and on and on.
And let's not forget Thomas Leer's globetrotting, sun-warped new pop, records like 4 Movements and Contradictions where he perfectly captures that Mediterranean drift between Tangier, Cairo and Ibiza (and often makes me flash on The Jewel Of The Nile!). There's also Suicide's second album, the glistening, mirage-like synths of which - coupled with Ric Ocasek's ace production - which always struck me as an almost unexpected detour into such sun-kissed terrain.
In many ways, I've often thought that records like Dream Baby Dream and Suicide: Alan Vega · Martin Rev run parallel to certain Arthur Russell records like Let's Go Swimming, In The Light Of The Miracle, Lola's Wax The Van and Dinosaur L's In The Corn Belt. Indeed, large swathes of the Sleeping Bag catalog sit quite comfortably in this vein, as does much of the early Easy Street output. Even European dance music like My Mine's Hypnotic Tango's and Yello's exotica-tinged sides seem to fit into this puzzle with ease. To reiterate, the currents of this music seem to run through the very fabric of the era's dancefloors... but that's another story for another day, and I've already gone on far too long tonight.
1. One of the great musical epiphanies of mine a few years back was realizing that Leftfield were merely picking up where Bobby Konders and No Smoke left off.
With Spring beginning to take flight, it was high time for the crew to get involved in some horticultural escapades at the Parallax Gardens. Consequently, here is the third edition of Garden Grooves (aka the music we played). Spanning a casual week of afternoon work, here's the selection as it played out:
Toyan - How The West Was Won
(Greensleeves: 1981)
Kicking off the whole affair was this bass-heavy deejay record, Toyan's proto-dancehall tour de force. What sleeves these records have! Ranking Toyan does his thing over crisp, dubtastic riddims laid by the Roots Radics and mixed by Scientist. A Henry "Junjo" Lawes production.
Grace Jones - Living My Life
(Island: 1982)
My second favorite Grace Jones LP by a country mile. Unlike my #1 pick (Nightclubbing) it's comprised almost completely of Grace-penned originals (the one exception is Melvin Van Peebles' The Apple Stretching). Boasting killer tune after killer tune - My Jamaican Guy, Nipple To The Bottle) and the descending neuromantic boogie of Unlimited Capacity For Love (choice) - Living My Life rounds out Miss Jones' Island trilogy with aplomb.
Jah Wobble And The Invaders Of The Heart - Invaders Of The Heart
(Lago: 1983)
Discovered this record only recently over the course of formulating the whole Terminal Vibration. This rounds out another trilogy alongside Full Circle and the Snake Charmer mini-LP, featuring Wobble in collaborative mode (this time with The Invaders Of The Heart, who he'd hit full stride with in the 90s). Hauntingly exotic post punk/post-disco moves inna My Life In The Bush Of Ghosts stylee.
IndianOcean - School Bell/Treehouse
(Sleeping Bag: 1986)
Arthur Russell's abstract disco freakout, knocked out with rolling percussion and seemingly improvised vocals. You hear these Arthur Russell records and they really opens up the whole idea of 80s music, straining at the confines of the predictable collective memory of the era to inhabit similar climes to Hindustani music, cosmic jazz and krautrock. Much like King Sunny Adé's Ma Jaiye Oni, my favorite part is when the keyboards take the reins about 2/3 of the way through.
Tom Tom Club - The Man With The 4-Way Hips
(Island: 1983)
Sumptuously three-dimensional new wave disco from the Tom Toms' second album Close To The Bone, the 12" gives the groove room to breath with those sublimely detailed synths and tactile percussion. The flipside's dub version is a real treat, and like Wally Badarou's Chief Inspector plays like a proto-house instrumental (once again, those synths!). Clearly, there was something in the water down at Compass Point.
Maximum Joy - Station M.X.J.Y.
(Y: 1982)
Shiny post punk funk on the Y imprint and featuring prior members of the Pop Group and the Glaxo Babies. I always want to give this, along with The Slits' Cut and Come Away With ESG to every 15 year old I know. Coming on like a left-footed, untamed English Beat circa Special Beat Service, its brilliant skanking rhythms square the circle between new pop and punk funk better than anyone else. Shame that it isn't more easily available...
...and with the closing bars of All Wrapped Up!, we put away the tools and kicked back for the evening. The following day found the clouds rolling in, and the overcast skies had a decided impact on the playlist as it unfolded...
Liquid Liquid - Optimo
(99: 1983)
New York crew get down and dirty with storied 4-track EP, wringing magic from the whole affair only to get ripped off by Grandmaster ź Melle Mel's White Lines (Don't Don't Do It). As much as I love White Lines, the original loping groove in Cavern is where its at. Plus, you've got Optimo's Central Park conga jam and the rolling clockwork downbeat groove of the post rock-predictive Out. A true gem of a record. And non-stop props to Señor Lavelle for putting out the Liquid Liquid comp on Mo Wax back in the mid-nineties.
Ian Dury & The Blockheads - Do It Yourself
(Stiff: 1979)
Sophomore full-length outing from old Ian and co., this is often classed as a disappointment but have you heard it lately? Sounds to me like a worthwhile follow up to New Boots And Panties!! and the slew of ace 7"s The Blockheads spat out over the course of the late seventies, with a heavy emphasis on post-disco rhythms, a couple quasi-reggae tunes and even shades of Lodger. Something like Sink My Boats is utterly original, definitively seventies - like watching six hours of The Rockford Files and then falling asleep to a fever dream where Peter Wyngarde wanders into The Last Of Sheila - and somehow manages to sound unlike anything else around.
Various Artists - Babylon: The Original Soundtrack
(Island: 1980)
Rock hard reggae soundtrack from the 1980 film starring Aswad's Brinsley Ford. Scored by the great Dennis Bovell, it also features Aswad's Warrior Charge (a Parallax staple). Great cloudy day reggae (see also Horace Andy's Dance Hall Style) this was the perfect way to wrap up the second day, with darkness settling in on the Eastern horizon.
Forrrce - Keep On Dancin'
(West End: 1982)
Forrrce's slap-bass odyssey kicked off the third day, the proto-raps unfolding over dubdisco production as we cleared our way into the herb garden and the various banana groves scattered about the premises. The awesome Keep On Dubbin' (With No Commercial Interruptions) takes matters even deeper into leftfield with François Kevorkian dub-inflected hall of mirrors approach in full swing. At this point, the sun was hanging heavy in the sky and the 4/4 pulse was in full effect.
Lino Squares - The Role Of Linoleum
(Humboldt County: 1997)
Moody minimalism from Andrew Weatherall and Keith Tenniswood on temporary holiday from their Two Lone Swordsmen project, at this point gaining full steam. Neuphrique is like a dress rehearsal for No Red Stopping and is very much in the 2LS deep house vein. A quintessential '97 record, you could take this, Moodymann's Silentintroduction and Primal Scream's Echo Dek and have a decent thumbnail sketch of where I was at the time. Blue Pole Dancer always reminds me of 44's Groove Station, even if it came out a couple years earlier.
William Onyeabor - Anything You Sow
(Wilfilms: 1985)
Sparkling guttertronics from Nigerian synth wizard William Onyeabor (his final record in fact). This is very much in the chipper bubblegum Kraftwerk vein of Speak & Spell (or latterly Hot Chip's latest record), but shot through with a distinct highlife flavor. I picked this up seven years ago (at Amoeba in San Francisco) on my honeymoon.
His records were extremely hard to come by at the time, and I absolutely adored Onyeabor's Better Change Your Mind (as featured on the Nigeria '70 compilation) and the Body And Soul 12" with the Scientist remix (which I did have). I couldn't believe my luck at finding this ace reissue and upon returning home and dropping it on the turntable instantly fell in love with the sounds contain therein. Fast-forward a few years and Luaka Bop releases the lavish Onyeabor box set (containing his entire discography), and the world rejoiced.
Hot Chip - Why Make Sense?
(Domino: 2015)
As if to drive the point home, here's that latest Hot Chip LP. I quite like this sound they've arrived at, perched midway between Cowley/Moroder synth-disco pulse and twinkling bubblegum electropop. There's even room for the odd surprise, like White Wine And Fried Chicken's slow-motion country ballad. Good stuff.
Patrick Cowley - Menergy: The Album
(Fusion: 1981)
The conventional wisdom on Patrick Cowley seems to have always been that his album ventures like Megatron Man and Mind warp were disappointing and that his productions (Sylvester's Your Make Me Feel (Mighty Real)) and remixes (Cowley's psychedelic Mega Mix of Donna Summer's I Feel Love) were where it's at.
Well, sure it's hard to top those highs, but I quite enjoy these full-length electro-disco excursions (think Cerrone and Moroder). What with the recent reissues of his cosmic synth music (School Daze and Muscle Up) and abstract post punk (Catholic), he seems almost like a West Cost, mechanoid Arthur Russell.
Andrew Weatherall - Qualia
(Höga Nord: 2017)
Last year's Weatherall solo shot plys a sort of instrumental electro-inflected krautrock. This very much reminds me of Death In Vegas' Satan's Circus, in that it plows a similar furrow with live drumming and spiral sequences that conjure up a sound that strikes me as ever familiar and yet I'm unable to place it. Mr. Weatherall's been on a roll this decade, with four solo LPs, The Asphodells' cosmic disco extravaganza and The Woodleigh Research Facility record, all of which I've enjoyed immensely.
Holger Czukay - On The Way To The Peak Of Normal
(Welt-Rekord: 1981)
With the sun setting and parties split off to procure dinner from The Tako Factory, Czukay's hauting solo endeavor seemed a natural choice. Ode To Perfume is quite simply a masterpiece, eighteen minutes of low-slung imaginary soundtrack music that rides a loping rhythm as guitars tears into the mix sounding like some distant cousin of Can's Deadlock. Czukay even works in his beloved French horn.
Can - Saw Delight
(Harvest: 1977)
Back in the mix with late-period Can - we're pulling Winter weeds, turning the Northside lawn into a putting green - whose liquid rhythms pour over the morning dew-covered grass and out into the palms. For me, this record is in the upper echelon with Ege Bamyasi and Future Days, it finds the band spooling out that Moonshake sound across an entire record. If I've said it before, I've said it a hundred times: if this were by some new band called Jar or Receptacle, and not coming in after Monster Movie and Tago Mago, we'd all mention it in the same breath as the Talking Heads' Remain In Light and the Meat Puppets' Up On The Sun. Exquisite.
J.J. Cale - 5
(Shelter: 1979)
Mr. Cale's music is one of the great understated treasures to spring from the 1970s. This the fifth of his LPs from the decade, and you'll want all of them. His rhythm box is still fading in and out of the mix - perfectly integrated with the live instrumentation, like in a Moodymann record - with some tasteful synth licks creeping in here for good measure. Like the four records to come before, the production is otherworldly, exquisite. Alongside Randy Newman and Harry Nilsson, one of the great songwriters of the era.
Prince Far I - Under Heavy Manners
(Joe Gibbs: 1977)
Prince Far I's classic platter found us back on the Southeast Terrace to work some landscaping magic. This is one of the deejay records (alongside things like Dr. Alimantado's Best Dressed Chicken In Town and Dillinger's CB 200), with Prince Far I's stentorian delivery front and center over peak-period Joe Gibbs backing. A stone cold classic, this record.
Incidentally, I got turned onto Prince Far I via the instrumental Cry Tuff Dub Encounter Chapter 1 dub outing (mixed by Adrian Sherwood), owing to Long Life's featuring in a Rockers Hi-Fi mix.
This compilation of (put crudely) Caribbean funk and disco is an unmissable romp, put out by compilation heavyweights Strut. Highlights include Amral's Trinidad Cavaliers Steel Orchestra's instrumental version of Gwen Guthrie's 90% Of Me Is You and Cedric Im Brooks' Blackness Of Darkness. There's even a cover of Barrabas' Woman!
Some tracks veer quite close to afrobeat territory, nevertheless I suspect that this contains the germ of the Compass Point/Parallax Pier sound. It's all quite evocative to me of time spent on the island back in the day, especially the way influences will run to and fro between the islands and the mainland. It's all very cosmopolitan in a casual way. Upon reflection, I suspect that some of these sounds were still hanging around when I first visited Puerto Rico, such is their familiarity.
Sweet Talks - Hollywood Highlife Party
(Philips: 1978)
The Sweet Talks were a Ghanaian highlife band that sprung up in the mid-seventies and developed something of a profile, touring the world and ultimately winding up in L.A. and recording this little album, full of sparkling guitars and driving 4/4 rhythms. It's nearly impossible to overlook this music's compatibility with contemporary disco. I wonder if - like Manu Dibango's Soul Makossa - it made it's way onto any of the era's disco dancefloors?
The Beginning Of The End - Funky Nassau
(Alston: 1971)
Crack band from the Bahamas cut killer funk LP, on par with James Brown and Cymande. This very nearly made the Golden 200. Funky Nassau is one of those great 7" singles, and you get the whole thing right here at the record's opening. Interesting to think that this band were doing their thing in Nassau about a decade before the Compass Point All Stars coalesced into an institution.
Osibisa - Getting Hot
(Chic: 1987)
Discovered this only recently thanks to the Singles As Bs & 12 Inches box set put out by Repertoire (check out the excellent Roger Dean sleeve). I have the Black Ant and a handful of their LPs, so this anthology filled out the gaps quite nicely. I had no idea about the band's 80s output, and this record clearly stood out as something special and I tracked a copy down accordingly.
Featuring BIG production, like ABC's How To Be A Zillionaire! (in fact, that very well could have been the next record played - if this hadn't been the last), it could slot right into a contemporary soundtrack during some montage scene. It's all about the Bush-Fire-Mix. I was momentarily certain that the getting hot, getting hot chorus showed up in Ice Cube's No Vaseline, but it was just a (sample) mirage.
Appropriately, this provided the grand finale as we wrapped up work on the Parallax Gardens, the assorted terraces and groves now properly prepared for summer just around the bend.
And so we cross the threshold into the 90s, where the aftershocks of dubbed out post punk were continuing to live large. This was the context through which I linked up with the music in the first place, working my way back from the nascent sounds of trip hop's bricolage and the heavy atmospheric techno seeping in from all corners of the globe. In what must be a rather atypical entry into the music, I'd initially become aware of various post punk figures by way of their dalliance with nineties dance and accordingly began exploring their own music in earnest.
Right off the bat, Mark Stewart was the strange attractor of the Bristol scene, rubbing shoulders with the trip hop trinity of The Wild Bunch/Massive Attack crew, giving Tricky the impetus to strike out solo (with the epochal Aftermath, which Stewart co-produced) and Smith & Mighty, who turned in their first remix for Stewart's Stranger Than Love. That's quite clearly a profound influence on the Bristol blues and accordingly sent me both back in time, to Stewart's 1987 self-titled LP, and latterly to his 90s records Metatron and Control Data which were of a piece with contemporary outfits like Meat Beat Manifesto and Renegade Soundwave.
Meat Beat Manifesto split the difference between post-industrial noise and post-Bomb Squad hard-edged hip hop, shot through with a healthy dose of dub's bottom end, the combination of which found Jack Dangers' crew essentially creating the template for the big beat of The Chemical Brothers. They're actually poised right at the edge of this chapter and the next (which will trace the contours of hip hop beats as the decade turns), so they will be covered further next time out, but it's important to note the bass-heavy vibes of Radio Babylon within the context of dub and related capers taking center stage today.
Similarly, Renegade Soundwave slotted in quite naturally to the post punk drift, where they rode that third rail between dub, hip hop and a skeletal, stripped-down take on cut-and-paste indie dance. After taking Britain's dancefloors by storm with rude 12"s like The Phantom and Ozone Breakdown, largely defining the interzone between electro's rhythm matrix and big beat's rolling breaks. RSW's debut album, Soundclash, rocked the dancehall with heavy beats and dub's bottom end backing Gary Asquith's wiseguy microphone antics, while In Dub largely eschewed vocals altogether in favor of atmosphere. A couple years later, Leftfield remixed the crew's eponymous Renegade Soundwave 12" into a 4/4 slab of stomping tronik house magic.
Leftfield themselves offered another conduit back into post punk with John Lydon's vocal spot on Open Up, which sent me back to Metal Box and sideways to Lydon's contemporary solo bid Psycho's Path (which happened to feature remixes from Leftfield and The Chemical Brothers). Leftfield's two 90s LPs boasted their own moments of dubbed out magic: Leftism boasted a cinematic, widescreen sound that touched down with shimmering techno, pounding house missives and occasionally ducked into trip hop, while Rhythm And Stealth stripped it all back to hard-edged electroid grooves and smoked-out isolationism. The latter especially works remarkably well alongside the likes of Bandulu (on one hand) and 23 Skidoo (on the other).
23 Skidoo took an interesting turn themselves in the 90s, opening up their Ronin imprint and putting out UK rap records by Roots Manuva, Deckwrecka and Rodney P. even as they amassed a huge back catalogue of unreleased material (which was eventually collected on the deluxe edition of the Just Like Everybody compilation). The group's self-titled LP released at the turn of the century was a mini-paradise of rolling breakbeats and moody downbeat that seemed to square the circle between their brand of atmospheric post punk and trip hop.
And yet if there was one group that seemed to hallucinate trip hop years before it seeped out of Bristol, it was Colourbox, whose Baby I Love You So took Jacob Miller's lovers rock staple and twisted it into a steely-edged, Escape From New York-sampling dread torch song that came on like something from Tricky 's Pre-Millenium Tension. However, the flipside was another matter altogether, with Morricone's spaghetti western vibes writ large on Looks Like We're Shy One Horse/Shoot Out's discomix showcase which glided on a motorik 4/4 pulse before collapsing into a downbeat-the-dub-ruler conclusion.
Incidentally, I discovered a lot of this music through The Future Sound Of London's Radio 1 Essential Mix 2 (from 6/3/95), which seemed to source ISDN's weird, twisted trip hop in the dread post punk of 400 Blows, Fats Comet, 23 Skidoo, Cabaret Voltaire and A Certain Ratio. That mix really opened up a whole world of music beyond what I'd previously been exposed to, even betraying the first rumblings of the duo's fascination with sixties psychedelia. Their Dead Cities swan-song - along with its surrounding singles - was also very much of a piece with this post punk terrain as well, continuing where the likes of 23 Skidoo and Cabaret Voltaire left off.
On a similar note, Andrew Weatherall offered up another crucial incursion a couple years later with his Nine O'Clock Drop compilation, which happened to overlap with FSOL's Essential Mix in spirit, with the added bonus of the aforementioned Colourbox b-side. That compilation managed to beat the post punk gold rush to the punch by a few years, enshrining a whole brace of great late-period avant funk shearing into electro in one essential package (for the uninitiated, at least). Weatherall's own music always had a bit of post punk flavor just beneath the surface, especially on The Sabres Of Paradise's Haunted Dancehall and much of Two Lone Swordsmen's output. With the Swordsmen ultimately morphing into a full-fledged post punk band with 2004's From The Double Gone Chapel, well, it certainly stacks up.
Another group that made a similar transition into full-fledged songforms was Bandulu, who started out dealing in tough, cinematic techno missives before gradually stripping layer after layer away to reveal a skeletal, metallic, dubbed out blueprint of street-level techno before ultimately winding up with their masterstroke Redemption (which featured honest-to-goodness reggae cuts like Detention and Jahquarius). There was also that whole side of the group's output that delved into downbeat electro-dub like Deep Sea Angler, Agent Jah and Chapter 6, very much of a piece with contemporary digidub. Chapter 6 in particular finds the group shearing insouciantly into proto-dubstep territory.
Many miles away Basic Channel synthesized an elegant, spacious systems music that was something like the kosmische flipside to Bandulu's tuff minimal techno. Basic Channel's run of 12"s seemed to seep into dance music's consciousness quite gradually as the nineties progressed, before ultimately reshaping whole swathes of the scene in its image by the time the decade was over. Like The Velvet Underground, they almost seemed to make more sense in the following decades than they ever did in their own time. The duo even delved into straight-up dub with their Rhythm & Sound records, which - similar to Bandulu's contemporary evolution - found the duo dealing in spacious, stripped-to-the-bones reggae that came on like Kraftwerk gone dub.
Now, if there's one thread to connect all of this firmly back into the 80s then it is surely digidub, that faithful post-dancehall music that was trip hop's shadowy fellow traveller throughout the decade. Smith & Mighty even put out Henry & Louis' Rudiments on their own More Rockers imprint, while their Steppers Delight EP (from 1992) seemed heavily influenced by digidub in its twisted proto-jungle shapes. The Dubhead and Dub Out West series of compilations chronicled first rate digidub springing from this nexus, with Smith & Mighty even turning in some digidub sides under the Blue & Red banner (which ultimately culminated in the Time Will Tell collaboration with Henry & Louis).
Coming in from the arena of real-deal reggae, the Mad Professor's Ariwa setup was a steady hand on the scene, running from the eighties firmly into the nineties, releasing atmospheric records like Aisha's High Priestess, Mad Professor Captures Pato Banton and the almost ambient-reggae of Bim Sherman's Miracle. Famously, the Mad Professor even reworked Massive Attack's Protection LP into the No Protection set, which was claimed to have surpassed the original in some quarters.
Similarily, Adrian Sherwood reworked Primal Scream's Vanishing Point into the excellent Echo Dek after cutting a parallel path through the same period. Sherwood's On-U Sound outfit put out records - significantly harder-edged - like the aforementioned Mark Stewart material, along with Tackhead's own output and leftfield dub experiments like African Head Charge and Creation Rebel. Like Ariwa, On-U Sound seems to offer a seemingly bottomless well of first rate dub (of which, if I'm honest, I remain woefully under-educated on!).
And then there's Jah Wobble, whose looming presence throughout the nineties found him appearing on scores of key recordings as the decade progressed. The man was everywhere! Dropping the throbbing bassline for The Orb's Blue Room and Primal Scream's Higher Than The Sun (A Dub Symphony In Two Parts), collaborating with Brian Eno on the Spinner LP and taking part in various trip hop excursions with the likes of Bomb The Bass, Ramshackle and Shara Nelson, you couldn't turn around without hearing his full-bodied basslines pulsing from the speakers. Throughout the decade, his own records with The Invaders Of The Heart were excellent excursions into post-fourth world soundscapes, often featuring techno figures like Andrew Weatherall behind the boards (as on the awesome Bomba).
Similarly, Bill Laswell's Material project returned after a five year hiatus with 1989's Seven Souls, a record whose own fourth world shapes seemed to ring in the decade with spoken word narration provided by William Burroughs. The record was effectively reworked ten years later on The Road To The Western Lands, which featured trip hop figures like Tim Simenon, Talvin Singh and DJ Soul Slinger. Hallucination Engine refined this formula and featured the awesome Mantra, which was reworked by The Orb and later kicked off their Auntie Aubrey's Excursions Beyond The Call Of Duty collection of remixes for other artists.
This compilation was yet another key gateway into post punk back in the day, featuring reworks of songs by Killing Joke and Wire alongside the Material entry. Also noteworthy is the presence of frequent Orb collaborator Thomas Fehlmann and Basic Channel's Moritz Von Oswald in the German post punk group Palais Schaumburg. One thing that makes The Orb fascinating is how they happen to spring from this post punk diaspora only to make a splash in the Second Summer Of Love with records like Little Fluffy Clouds and A Huge Ever Growing Pulsating Brain That Rules From The Centre Of The Ultraworld (see also The KLF). You can just feel the implied presence of post punk in the surfaces of their music and in the pulsing dub engine within.
Check out this fascinating interview1 with The Orb's Dr. Alex Paterson where he gives something of a musical history of a life lived within music.
Consequently, Bill Laswell ended the decade with the awesome Dub Chamber 3 and Material's Intonarumori, a deeply warped hip hop record in the spirit of The Ghettovetts and Death Comet Crew, which leads snugly into the next week's episode. To be continued...
...and on and on and on. And so we've reached the halfway point in the Terminal Vibration saga, concluding the core eighties segment of the trip. The second half will trace these many pathways into the nineties and beyond, through electronic music, hip hop and finally through the machine soul of Timbaland, The Neptunes and SA-RA right up to the present day. It all leads back to the question I (off-handedly) laid out two years ago: Where does machine funk intersect with post punk? The story of which can start nowhere but the eighties.
Usually when discussing the eighties, one will descend immediately on what might be termed new romantic music: dawn-of-MTV groups in eyeliner, synths front and center, the second British invasion. I remember this all being a punchline all through the grungey nineties - even as I still carried a torch for the music, tee hee (I've no shame!) - it was supposedly anathema to the era. Nevermind that beneath the surface image of the decade lodged in the public imagination there was a whole other eighties, the eighties of My Life In The Bush Of Ghosts, Metal Box, Critical Beatdown and Ammnesia, traces of whose DNA ran through the very fabric of nineties music. No! All of that was old music.
Of course now we all know how this ends, with the 21st century, the post punk revival and suddenly the eighties were cool again. And yet I think the caricature that was erected as a result missed large swathes of what the era was all about. Only natural, I suppose. Still, the case could be made that what you had in the eighties with records like My Life In The Bush Of Ghosts, Learning To Cope With Cowardice and Dance Hall Style - incidentally some of my favorite records ever - was essentially a dry run for the whole nineties m.o. In short, they play like a hallucination of the future.
I'm talking about the relationship between Tricky and Mark Stewart, Timbaland and Mtume, Goldie and David Sylvian, The Chemical Brothers and The Bomb Squad, Carl Craig and Kraftwerk, The Neptunes and Prince, Andrew Weatherall and The Clash, Terranova and Manuel Göttsching, Daft Punk and Lil' Louis, Bandulu and Creation Rebel, Drexciya and Hashim, Underworld and... Underworld: it was all hovering there, just below the surface, quietly defining the decade.
Terranova's DJ-Kicks and The Prodigy's Dirtchamber Sessions make this point brilliantly. Alternative rock? Everything laid out by December 31st, 1989. Hip Hop? Logical progression from Straight Outta Compton, Strictly Business and Straight Out The Jungle. Techno and house? Well defined eighties roots. Jungle? Well, you might have me there...
None of this is to take away from the nineties own innovations, which were of course considerable, but to bring them into relief within the context of the surrounding era(s). Much of the music from the eighties that fascinates us in this whole Terminal Vibration saga plays like attempts to work out music from the next decade before the groundwork had even been laid (oftentimes laying the groundwork by default in the process).
This experimentation took place in the wide-open terrain left in the wake of disco's dominance, more often than not at the interface between post punk and machine funk, which in roundabout fashion answers my initial question: Where does machine funk intersect with post punk? They intersected on the post-disco dancefloor, that wide-open space where anything was possible, where they linked up and rode the wave right up to the present day. Truth be told, we're all still riding it now.
Starting next week, we'll take a look at how it all happened.
As the hours keep turning and the moon hangs deep in the sky, we move toward the back of the crate toward the voodoo records. Here's where we get into the heaviest, most atmospheric music that could loosely be termed punk funk without shimmying into krautrock territory. Word of warning: things are gonna get weird. Escape routes take you everywhere from West Africa to the Caribbean, from Brazil to Indonesia and from Bristol to The Bronx. Far and wide. Today's chapter essentially boils down to three post punk dynasties: The Pop Group/Slits continuum, Material/Bill Laswell and the mighty Public Image Ltd. (and related solo endeavors). All of which - critically - take you well into the nineties and beyond, tributaries cutting a jagged path across the landscape to feed into pockets of industrial, hip hop and technoid innovation leading right up to the present day. But first, let's start at the beginning...
Public Image Ltd.'s Metal Box is in essence the the Rosetta Stone of the whole endeavor, a decoder ring of sorts. When you come to terms with the record, suddenly everything else makes sense. Albatross sets the tone with a twenty ton bassline snaking its way through ten minutes of grinding, cavernous funk, followed swiftly by the spidery guitar of the filmic Memories and the return of Death Disco - the group's 12" tour de force - which gets transmuted here into Swan Lake (the guitar at one point mirrors Tchaikovsky's ballet of the same title). In all three Lydon wails like a banshee, Levene splinters his guitar into jagged arcing feedback and Wobble walks his bass across the track like a brontosaurus. The story goes that the trio had been been mainlining on krautrock and Jamaican dub, and it's all in full effect here: the bass towers menacingly at center stage while the guitars often recall Michael Karoli's spidery fretwork on Tago Mago.
Like Funkadelic's The Electric Spanking Of War Babies, Metal Box appears to deconstruct itself before your eyes over the course of its hour-long running time. Tunes like Careering and The Suit are the jaded, staggering flipside to Swan Lake, while Graveyard eschews vocals altogether, staggering zombie-like through the Gothic crypt. Socialist - another instrumental - comes on like the dub version of a straight up punk song circa 1977. Similarily, Chant is another x-ray punk endeavor - maddening in its atonal repetition and refusal to release - while No Birds is the closest thing here to PIL's First Issue and Public Image. The closing1Radio 4 is a drifting synth instrumental anchored only by Wobble's bassline, who also dominates the heavy dub stomp of Poptones.
Out of the three principal malcontents in PIL, Jah Wobble spent the most sustained time in this fertile territory at the intersection of funk and dub. His solo debut Betrayal even used some backing tapes from the PIL sessions (which accordingly got him kicked out of the band) and turned in a worthy successor to Metal Box, with synths and atmospherics taking on an even wider role in the sound this time out (not to mention looser, more nimble rhythms). Blink and you'd swear the vocals in Betrayal - the track - came courtesy of Shaun Ryder! It's a promising beginning to what turned out to be a long and fruitful discography at the nexus of funk and dub.
Two of Wobble's subsequent records were collaborations with Can bassist Holger Czukay that perpetrated further capers in this arena, with Full Circle (also featuring Can's Jaki Liebezeit on drums) boasting the post punk dancefloor classic How Much Are They? (which eerily seems to predict the atmosphere of The Good, The Bad & The Queen record) and Snake Charmer (featuring atmospheric guitar by The Edge of U2 fame!), the latter of which takes matters strikingly close to contemporary electro boogie. And I mean running in parallel, two steps away, too close for comfort. Glenn Close, even. Hold On To Your Dreams, in particular, which features High Fashion's Marcella Allen on vocals, could slot rather comfortably into a set alongside contemporary Ashford & Simpson, Gwen Guthrie and the S.O.S. Band. Conversely, the title track's atmosphere bears an uncanny resemblance to My Life In The Bush Of Ghosts, which is no small praise indeed.
These fourth world vibes turned out to be the lifeblood of the man's output for the next decade plus, where he drew influence from Jamaica, North Africa and even the Celtic music of his own British isles for a series of albums with his new band Jah Wobble's Invaders Of The Heart. This phase of his career will be covered further in the next chapter of Terminal Vibration (where we trace all these threads through the latter half of the decade into the nineties), but Wobble actually got around to issuing the Invaders Of The Heart self-titled debut 12" as early as 1983 (the year of Snakecharmer, in fact). It's an utterly beguiling record - spread across three separate mixes - with Wobble's trademark wall of bass riding a motorik post-disco groove across the Sahara, as trumpet arabesques and sampled wailing vocals weave across its surface. I always loved the way that synth bass comes in at times to echo Wobble's pulsing b-line ever so often. It's all very much in keeping with the Byrne/Eno experiment, especially, but also things like Thomas Leer's 4 Movements and Tony Allen's N.E.P.A. LP. Future music, in other words. With the icon Wobble clearly having a hand on the pulse.
Meanwhile, across the Atlantic, another bass player was embarking on his own excursion that would carve a similar trail across the post punk landscape. I speak now of Bill Laswell. Laswell was a journeyman bassist who'd cut his teeth in various funk bands around Detroit and Ann Arbor, Michigan before moving to New York before hooking up with Michael Beinhorn and Fred Maher to form the initial incarnation of Material. The trio got their unlikely start as the backing band for Daevid Allen's twilight-era New York Gong before cutting a trio of EPs for Red Records.2 The band debuted in 1979 with Temporary Music 1, a dense, lo-fi slab of prog-inflected post punk that ran the gamut from On Sadism's mid-tempo punk funk to the Canterbury-esque prog moves of Process/Motion. Temporary Music 2 followed a couple years later with cleaner production and a more spacious mix, boasting the motorik dancefloor moves of Secret Life and Dark Things' foggy post-Bitches Brew atmosphere. American Songs rounded out the trilogy the very same year, with tracks Ciquri - the next in their line of mid-tempo funk tracks - and Discourse, which illustrate the band's comfort with the form (which I suspect - once again - is down to the band's jazz roots). Still, the rockier Slow Murder is almost-new wave in the same way Public Image was. One suspects that they're feeling the spectre of Remain In Light-era Talking Heads throughout.
The band followed these EPs with two albums in quick succession: Memory Serves (1981) and One Down (1982). Memory Serves picks up the thread of rough-and-tumble post punk from the EPs, even bringing back some of the proggy/fusion-tinged flavors of Temporary Music 1. Rollicking punk funk tunes like Memory Serves and Conform To The Rhythm are accompanied by appropriately doomy vocals from Michael Beinhorn (in the former, he almost sounds like an off-the-rails Oingo Boingo-era Danny Elfman), while the abrasive Square Dance manages to surpass the atonality of even Temporary Music 1. Conversely, One Down makes an unanticipated swerve into nearly straight up electroboogie territory. Featuring vocals from the likes of Nona Hendryx (who also worked with the expanded Talking Heads during the same time period), Bernard Fowler (of the N.Y.C. Peech Boys and later Tackhead) and a pre-fame Whitney Houston (on the stately ballad Memories, also featuring Archie Shepp in an uncharacteristically gentle mood), this is very much of-the-moment, state-of-the-art boogie a la Hold On To You Dreams. With Roger Troutman-esque talkboxes dominating the Beinhorn-voiced tracks, the transition is complete. The band even turns in an excellent cover of Sly Stone's Let Me Have It All! Everything here fits squarely alongside the likes of Mtume, Kleeer and the Compass Point records.
Sandwiched between both albums is the Bustin' Out, which found the band moonlighting on ZE Records and makes sense of the band's sudden shift in direction between the two LPs as they thoroughly absorb the label's mutant disco aesthetic3 for some tasty rubberband funk action. At this point, activity from Material essentially halted until the end of the decade while Laswell devoted serious time to his Orange Music studio, working on various projects for Celluloid Records like mid-eighties albums from The Last Poets and Fela Kuti (which sadly don't rival their legendary 70s output), along with the storied five rap records (to be continued).
Like Jah Wobble, Laswell's increasingly global vision continued to expand throughout the the decade, and by the nineties he was mixing up hip hop, funk, dub and African rhythms into a heady stew that were very much apace with post-EnoOcean Of Sound vanguard. Interesting to note Laswell's presence on My Life In The Bush Of Ghosts way back in 1981, playing bass on America Is Waiting. Also interesting to note that Brian Eno returned the favor the following year, contributing to One Down's Holding On. Once again, all these seemingly disparate figures rubbing shoulders around this time (roughly 1979-1983), figures like Brian Eno, Fela Kuti, David Byrne, The Last Poets, Afrika Bambaataa and Laswell himself, speak to not only the catholic elasticity of Celluloid's broad-minded setup but also the intoxicating spirit of cross-pollination that hangs over this era like a magenta haze.
As if to prove the point, the Tackhead/Fats Comet organization were beginning to gather steam just as Material went on indefinite hiatus and PIL splintered into a thousand pieces. Interesting that core members of the crew started out in the backing band for Sugar Hill Records, laying the backbone for the early rap classics that surfaced on the label during its heyday before striking out on their own as a 21st century avant funk crew upon meeting On-U Sound-man Adrian Sherwood. One can certainly hear traces of records like New York New York, Scorpio and Message II (Survival) in the DNA of the crew's twisted cyberpunk grooves. Fats Comet's Don't Forget That Beat is a slap-bass fueled, funk-tinged electro workout akin to Hashim's Primrose Path - released the following year - albeit with a groove that rolls at a breakneck pace punctuated by machine gun beatboxes and freewheeling Art Of Noise-esque orchestra stabs. Conversely, Stormy Weather rocks a dynamite go-go beat while an almost-prog/fusion guitar shreds through the groove (and your eardrums), pointing the way forward to the group's next phase as Tackhead.
Tackhead found the crew on Adrian Sherwood's On-U Sound and the BPMs were accordingly dialed down to an herbalist's pace, matching the post punk stomp of the Mark Stewart records they played on as The Maffia. Hard-edged downbeat slates like High Ideals And Crazy Dreams and Liberty City (both from Stewart's Jerusalem EP) glimpse a nightmarish vision of dub that prefigured what much of the best trip hop would become.4 It all came to a head on Stewart's third, self-titled LP. Leading with the metallic Survival - where the Maffia gets to revisit their very own Rapper's Delight bassline! - a master class in pulverizing machine riddims and the inimitable wail of Mr. Stewart, it makes the flashes of cyberpunk dread hanging around this crew explicit. In fact, much of the record is built around samples and quotes from other songs - a Trouble Funk breakbeart here, some Billy Idol guitar there, and a Moroder bassline capping it all off - which puts it at the bleeding edge of sound collage right along with hip hop's burgeoning sampladelia. It's nearly as patchwork an affair as something like Tricky's Maxinquaye (which Stewart had a crucial influence on, even producing Aftermath while mentoring young Adrian Thaws). Trip hop dress rehearsals like Forbidden Colour offer up a downbeat cover version of David Sylvian and Ryuichi Sakamoto's Forbidden Colours, while Hell Is Empty sounds like the most twisted Close The Door-era Terranova track imaginable. Stranger Than Love even put Smith & Mighty on wax for the first time when they contributed the dub version to its 12" single, making the link between post punk and trip hop Bristol explicit. In retrospect, it's rather fitting that a figure like Stewart would stand at the intersection of both eras, both scenes.
Mark Stewart started out in a little crew that grew up frequenting funk nights together as youngsters - where they'd get down to the sounds of BT Express and The Fatback Band - and reggae at venues like the Bamboo Club.6 It only makes sense that such heady origins would be felt considerably in the band's subsequent recordings as The Pop Group. Their hard funk roots can be heard in deeply warped fashion on The Pop Group's debut LP Y (which actually pre-empted Metal Box by a few months) and the She Is Beyond Good And Evil, which pulses almost subconsciously on a walking bassline while the remainder of the track - especially Stewart's throat-shredding wail - seems to dissolve all around it. Produced by Dennis "Blackbeard" Bovell, it sets into motion a particular sensibility that would become the basis for the Y Records7 sound: sparse instrumentation played loose in an aggressively atmospheric soundscape, captured brilliantly with Bovell spacious, three-dimensional, clear as a bell production. Bovell's skill behind the mixing desk pays immediate dividends when the band hangs a left turn into some of their more outre passages (like a vivid snapshot of chaos, where you can nevertheless clearly discern every element in the image). Indeed, there's a considerable free jazz presence in the group's wilder, more abstract passages, which puts them to the left of even PIL. Put simply, one cannot overestimate the centrality of The Pop Group. Along with PIL's music, this is ground zero for post punk's twisted take on funk, a sound that takes you into the nineties and beyond via funk metal and myriad other sounds. In fact, Y's opening track - Thief Of Fire - even sounds like an apocalyptic precursor to The Red Hot Chili Peppers!
The Pop Group followed Y with the We Are All Prostitutes, where Mark Stewart's lyrics grow yet more didactic and political even as the band's groove settles deeper in the pocket. The group's final record, For How Much Longer Do We Tolerate Mass Murder?, was - at the album level - actually more straightforwardly funky than anything that had come before, settling into a watertight post punk boogie that nevertheless retained a healthy dose of chaos in the mix (much of it provided by the ever dependable Stewart, who - much like Iggy Pop during The Stooges era - simply won't be reigned in). It was along these lines that the band ultimately split, with the rest of the group shearing off to form bands like Rip Rig & Panic, Pigbag, Glaxo Babies, Shriekback and Maximum Joy, while Stewart - as discussed earlier - hooked up with Adrian Sherwood's On-U Sound setup for that blistering series of records in the mid-eighties.
On the flipside to The Pop Group coin is a band equally central to the post punk story. In many ways, The Slits were something of a sister group to The Pop Group, as both bands dropped similarly unruly, junglistic debut albums within months of each other in 1979 (both of which were produced by Dennis Bovell). Both groups shared a sense of shedding the constraints of civilization and starting from scratch - Back To Nature as Fad Gadget once opined - and in many ways their debut albums came on like field recordings of some as yet undiscovered tribe, in the way that My Life In The Bush Of Ghosts and Can's Ethological Forgery Series seemed to conjure up similar images. And just as The Pop Group washed up on Y Records upon departure from Radar, The Slits put out a record on Y after leaving CBS. Appropriately enough, it was the split 7" single In The Beginning There Was Rhythm/Where There's A Will There's A Way: a head to head duel with The Pop Group.
The Slits' debut album Cut was an instant classic, with (once again) perfect production from Dennis Bovell. There was a heavy dub/reggae presence to the record - perhaps moreso than anything else discussed today - with atmospheric reverb wrapped around the band's skeletal, turn on a dime playing. The rhythm of tunes like So Tough and Instant Hit seem to be happening on multiple plains, every note played like a phrase imbued with myriad layers of meaning. The extraordinary thing about The Slits is that even at their most shambolic, they manage to maintain a strong pop sensibility. I'd wager that you could give this album to any fourteen year old and chances are they'd fall in love with it. This strength was explored further on the band's excellent cover version of Motown standard I Heard It Through The Grapevine (on the b-side of the Typical Girls), which remains my absolute favorite version of the tune (just beating out the Gladys Knight & The Pips original). Built on an unlikely bed of vocal humming, it rides the trademark group's skeletal rhythms with a chanted lyric from Ari Up in one of the great not-Disco Not Disco-but-could-have-been moments in post punk.
Return Of The Giant Slits, the group's second and final album found Dennis Bovell behind the boards once again, this time cranking up the atmosphere to distinctly oppressive levels. Now there was a heavier worldbeat presence in evidence throughout, which found the group looking to Africa for inspiration around the same time the likes of Peter Gabriel and Brian Eno were making their own forays into the same territory. The opening song Earthbeat rides furious tribal drumming while the ladies' voices hover disembodied above the whole affair. The remainder of the album shares more of a similarity to the debut, albeit viewed through a murky prism with heavier emphasis on sounds and textures beyond the relatively straightforward bass/guitar/drum setup of the debut. Interesting to note the presence of Neneh Cherry in the group at this point, that strange attractor of British beat music throughout much of the decade, who would go on to have a profound influence on British club music and the sound that would come to be called trip hop.
Once The Pop Group and The Slits had both disbanded, the Y Records aesthetic really begins to be forged in earnest, establishing a loosely played post punk boogie8 seemingly sourced in The Pop Group's tendency to operate at that thin jagged line between order and chaos. In truth, that's the only place to be, where the tension between the two is at its absolute tautest. Depending on which of the label's groups we're talking about, the emphasis falls on one side or the other. To illustrate the point, let's dive into a three-band post-Pop Group sub-section...
Maximum Joy hold court at the less chaotic end of the spectrum, rivalling even The Slits' pop brilliance with their solitary album Station M.X.J.Y.. The crew operated very much at the axis of boogie - in the tradition of ex-punks getting down at the disco - but they managed to do it more convincingly than just about anyone else in the scene. Typically led by the sing song vocals of Janine Rainforth, the tunes would skate nimbly along loose rhythms with an abundance of bright flourishes slipping into the mix. It's a sound that's also evidenced in 12" singles like Stretch and In The Air, records that were practically new pop even as they maintained the rude, shambolic spirit so crucial to post punk's edge. One would expect nothing less from a Y Records outfit.
Interestingly, Bristol mover and shaker Nellee Hooper started out in this crew before blazing a path through the island's hip hop scene to help define the burgeoning UKurban sound that would culminate in trip hop. At this point it makes sense to highlight the considerable lattice of connection going on here today, with the presence of Mark Stewart (as already mentioned) tied into not only Tricky but also Smith & Mighty and The Wild Bunch that would spawn Massive Attack. You can clearly trace a straight line between late seventies Bristol and the nineties Bristol surveyed in Smith & Mighty's Bass Is Maternal, Tricky's Maxinquae and Portishead's Dummy. Of course, I'm getting ahead of myself again; suffice it to say Station M.X.J.Y. just might be the greatest pop record on the Y imprint.
Rip, Rig & Panic, by contrast, dwell at the most chaotic end of the spectrum, conjuring a defiantly post-Miles' On The Corner racket as they worked their way through three albums in as many years (starting in 1981). The band named themselves after a Roland Kirk album from 1965, so you'd be right in expecting the heavy hand of free jazz to hang over the proceedings. Rather fittingly, Neneh Cherry was a key member of this crew upon the disintegration of The Slits. Fittingly because her step-father was the great Don Cherry, whose fourth world-preempting recordings from the Brown Rice era are very much of a piece with what her band were up to here. In fact, if you imagined a more abrasive, atonal version of Don's Hear & Now, then you wouldn't be too far off. Fascinating the way the free wing of jazz often seems to overlap with post punk sonically. Of course, the group did have the occasional almost-pop moment - tunes like Bob Hope Takes Risks and Constant Drudgery Is Harmful To Soul, Spirit & Health that seem to arrive at a post-disco boogie seemingly by accident - but their hearts quite clearly lie in the abstract. This is a tangled, untamed music that strains at the label post punk, threatening to double back and break into the seventies for proper account alongside the likes of Miles Davis, Sun Ra and Pharoah Sanders.
Lying somewhere between the chaos of Rip Rig & Panic and Maximum Joy's glossy sheen is the beloved Pigbag, a band that managed to blend the searing post-Miles brass of the latter with the dancefloor dexterity of the former. The band's debut single, Papa's Got A Brand New Pigbag, even climbed to #3 in the UK! Rocking a frenetic post-disco rhythm replete with furious percussion and a looming bassline, the band seem to offer up a nightmare version of Madness' ska with tight-as-a-drum horn charts ruling the tune even as spectral brass creeps in and out of the mix. Throughout the band's three year tenure - overlapping perfectly with that of Rip Rig & Panic - Pigbag managed to consistently run down some spooky voodoo on wax. Dr. Heckle And Mr. Jive - from the debut album of the same name - launched drowning arcs of eerie brass across a nagging bassline and rolling percussion, while the uptempo Getting Up placed the band's horn charts front and center over furious percussion and chicken-scratch guitar while holding down a pulsing 4/4 rhythm. Like Maximum Joy, the band can play it remarkably straight and go for the dancefloor jugular, yet at a moment's notice they can veer off into leftfield with dense, oppressive atmospherics that rival that of Rip Rig & Panic.
The final crew in the mix today is 23 Skidoo, which I've appropriately only revealed just now. While not a Y Records band, they were fellow travellers exploring a densely atmospheric fourth world vision. The band came crashing into the public consciousness with The Gospel Comes To New Guinea, a ten-minute slab of churning, murky post punk funk. Group chants and strange woodwinds fade in and out of the fog as the band seem to pound out their beat at the other end of the cave. This is 23 Skidoo clearly taking the field recording ethos of My Life In The Bush Of Ghosts to its logical conclusion. The band's debut LP Seven Songs found them alternating between the droning atmospherics of New Testament and the relatively straight up funk of Vegas El Bandito, but it was the closing Quiet Pillage9 that pointed the way forward to the band's next obsession: Indonesian gamelan music.10
The Culling Is Coming was the band's second LP, and the debut's occasional funk had given way to pure, shadowy atmosphere. The opening G-2 Contemplation launched straight into the first of the band's explorations into gamelan music, a sound they interpret as deeply in thrall to the strange. At times reminiscent of the more nebulous portions of the Third Ear Band's Music For Macbeth, it could just as easily score the eeriest moments of Fellini's Satyricon. Tone poems like Shrine and Mahakala are like being lost in the fog of a deserted temple, while the closing Healing (For The Strong) reveals that the temple wasn't deserted after all! In essence, the record prefigures what would come to be called dark ambient years later, about as far from the dancefloor as could be.
Which makes the about face of Coup all the more astonishing. Turning up on a non-LP 12" later that year, it was the band's greatest pop moment. After two bars of the band's crispest drum beat yet, Sketch Martin drops that bassline into the mix before horn charts sweep in to carry the melody. I say that bassline because it was later resurrected by The Chemical Brothers fifteen years later for their epochal big beat classic, Block Rockin' Beats, which came crashing into the charts in 1997. Meanwhile, the flipside's Version (In The Palace) feeds Coup through the cold machinery of dub.
The band's final album - Urban Gamelan - featured a new version of Coup titled F.U.G.I. and a couple more moments of low slung funk, but it was mostly devoted to the band's atonal gamelan symphonies. Like I said, the exit routes from today's music shoots you out all over the globe, and that pan-global vision was one of its greatest strengths. In the decades to come, 23 Skidoo's music was actually rather well curated. At the turn of the century, their album were reissued on the heels of the band's self-titled reunion album just as the post punk revival was starting to gather steam. On second thought, reunion might be a bit of a misnomer. As the Just Like Everybody compilation proved, the band had been far from dormant. Rounding up two discs worth of unreleased nineties material, it showcased some of what the band had generated while loitering in dance music's shadowy back alley... the same back alley where all manner of post punk figures were lurking throughout the decade.
You see, the band played on...
1. Note that the original triple 12" record was designed to be played in any order, so the tracklist I'm using is the one delineated by the Second Edition reissue (after all, that's how I encountered this record in the first place, stateside brother that I am).
2. These three EPs are handily compiled on the relatively easy to find Secret Life anthology.
3. In fact, the band managed to contribute a song to all three volumes of the Disco Not Disco series, which essentially enshrined the mutant disco sound. If I'm memory serves, they were the only artist to do so.
4. Put simply, twisted hip hop staggering down the back alley in a desperate state, its mind warped on unkind substances and unhealthy emotion. But that's another story for another series, which I'll delve into further at a later date.
So you've absorbed those death disco tapes already, and I'm back with an armful of records. Let's head over to Raven's place up there on the corner and give a few of these a spin. I've got some of the heaviest fourth world voodoo punk funk here - about half the records in the crate - brought to you by the three major dynasties of post punk coming out of London, New York and Bristol, but today we're gonna start with the heady interzone between last episode's new wave boogie and the voodoo slates to come: I'm talking about the Spartan minimalistic funk turned out by crews hailing from places like Manchester, Leeds and (especially) New York.
Interestingly, nearly all of these groups would wind up shearing into a sort of new wave boogie as the decade progressed, while others wound up providing crucial building blocks for hip hop, downbeat and even house. Yet there's one band who emerged just a little bit later, a band whose sound sprang from these same tangled corridors but then managed to spread out across the radio waves and set the charts ablaze, conquering the world in the process. I'm talking now about a band that everybody knows... a little band from L.A.
I'm talking about The Red Hot Chili Peppers.
The Red Hot Chili Peppers were everywhere in the nineties, maintaining a strong presence right up to the present day, even making their way into the Rock And Roll Hall Of Fame in 2012. However, before breaking out as megastars in 1991 with Blood Sugar Sex Magik, they managed to put out four solid records between the years 1984 and 1989 that elaborated on the punk funk template and imbued it with a healthy dose of California sun. These records all have a chunky, spacious sound, sporting booming drums, chiming guitars and Flea's trademark slap-bass all mixed down with a crisp, vibrant production very much of a piece with everything discussed here today.1
Surprisingly, I've found that many fans of the band's later material seem to turn their nose up at the early stuff, the Hillel Slovak2 era. What gives?! Tunes like the pile-driving Jungleman (from the George Clinton-produced Freaky Styley), True Men Don't Kill Coyotes, Taste The Pain and Hollywood (Africa) (their take on The Meters' immortal New Orleans funk jam Africa) are unmissable romps across the Venice Beach pier, filled with youthful exuberance and rude spirit. Behind The Sun even takes things into Parallax Pier territory, with chiming guitars and a sing-song chorus that brings to mind the Tom Tom Club's sessions at Compass Point!
At this point, the Chili Peppers would often turn to covers of rock and soul staples like Jimi Hendrix's Fire, Sly & The Family Stone's If You Want Me To Stay, Bob Dylan's Subterranean Homesick Blues and Stevie Wonder's Higher Ground (which I'd argue tops the original - blasphemous, I know... but so true!). The fascinating thing about the Hendrix and Dylan covers in particular is the way they highlight early examples of - for all intents and purposes - rapping, as if the band were reaching back and paying homage to the roots of Anthony Kiedis' trademark rapid-fire delivery. It's also interesting to note the band's unexpected avant garde pedigree (for all the hipster haters out there): original drummer Cliff Martinez3 had previously drummed for a latter day incarnation of Captain Beefheart's Magic Band, while Gang Of Four's punk funk godfather Andy Gill was drafted to produce their self-titled debut.
Gang Of Four, hailing from Leeds, were the prototypical minimalist post punk band. Indeed, one could almost have them down as a punk funk counterpart to Wire. They pared all elements deemed unnecessary from their music, leaving a sparse, wiry sound that moved like clockwork mechanisms travelling across a grid at strict right angles. Emerging on Bob Last's Fast Product imprint - incidentally where The Human League started out as well - the band released their debut EP, Damaged Goods. The title track, Armalite Rifle and Love Like Anthrax brilliantly fleshed out the different corners of the band's stark modernist sound and they were accordingly signed by major label EMI for their debut LP. Entertainment is one of those quintessential post punk records,4 housing fierce, taut missives like Not Great Men, Ether and At Home He's A Tourist that have gone down as indelible post punk classics. The band famously aimed for a dry, spartan sound - free of rock's wild abandon and detached from its roots in the blues - and it's a sound they achieve to the fullest here.
However, one of my favorite moments from the band is their 1979 non-LP b-side It's Her Factory, where they make room for a bit of reverb - bathing the lead melodica in an eerie glow - giving the whole thing a sense of relatively spacious atmosphere. Solid Gold, the group's sophomore record, accordingly seemed to follow suit, allowing a little air into the production across the space of the album. The songs themselves may not have been quite as incendiary as those on the diamond-hard debut, but tunes like He'd Send In The Army and A Hole In The Wallet are emblematic of the record's focus on tricky, twisted rhythms and an increasing focus on atmosphere and dynamics. Meanwhile, the desolate Paralysed dragged the tempos down to a staggering crawl.
It's certainly an interesting step toward the band's later period, where they morphed into a strange punk/boogie proposition that seems to be endlessly maligned by the cognoscenti but I nevertheless find oddly fascinating. 1982's Songs Of The Free is a deeply unusual LP that veers between Heaven 17-esque new pop like I Love A Man In Uniform and the atmospheric downbeat reverie of closer Of The Instant. We Live As We Dream, Alone, which comes on like a booming dub version of one of the band's earlier punk funk excursions, just might be the best thing here. The record quite simply makes a virtue of simply sounding like nothing else around. When you factor in the remaining tracks and the album's evocative sleeve... well, it's a cool little record.
Unfortunately, the band's next album, Hard, was anything but. As such, it's even more maligned by just about everyone. And yet. And yet... there is a fair bit of solid new wave boogie to be found here, for those inclined. The opening Is It Love - which was the album's big single, even getting a 12" Extended Dance Mix - is a lush new pop number that may be a million miles away from Damaged Goods but is nonetheless an excellent slice of silky smooth dance pop. Elsewhere, the atmospheric Woman Town wouldn't sound out of place on the second side of Songs Of The Free.5 Not that I'm making a case for the album as some sort of lost classic, you understand! But it certainly has its moments. Hard turned out to be the final album of the band's original run, capping off a discography that, when taken as a whole, offers us an intriguing glimpse at the way a bunch of punks might ultimately wander from the pit into the disco, turning up some unique sounds along the way.
Another group who made a similar transition were A Certain Ratio. Yes, A Certain Ratio! They seem to perennially suffer the fate of being damned with faint praise - often getting lost in the Factory shuffle - but they get my vote over Gang Of Four any day.6 These guys are the perennial underdogs in the post punk sweepstakes. They may have never got around to making that stone cold front-to-back classic record, but their discography offers up a wealth of the greatest punk funk you could ask for. The Early anthology put out by Soul Jazz made this point brilliantly. Take a song like Flight. This is one of the top five or so tunes in this continuum. Utterly unique, Woebot nailed it when he noted the song's gigantic ethereal sound like a yet more liquid Can. Word.
Infamously, the band were recording their debut album in Newark, New Jersey when the working mixdown was inadvertently wiped by the engineer while the band were out celebrating the final day of recording! On returning to Manchester, the band were miserably forced to work up their debut album by polishing demo takes with producer Martin Hannett. Already feeling quite defeated, they were then slated to back Grace Jones on a song called Again before the project fizzled out unceremoniously.7 The breaks just wouldn't come! Despite the band's seemingly endless plague of bad luck, they managed to turn out a whole raft of first rate material like Do The Du, Shack Up and The Fox, all of which were prototypical post punk of the highest caliber.
From there, the band continued to change with the times and edged ever closer into new pop/jazzdance territory. Sextet and the Knife Slits Water - with the Kether Hot Knives (Mix In Special) version on the flip - is the grooviest, tightest post punk record you could ask for and the avant cousin to the whole bedroom funk concept I'm forever hinting at (there's a feature in there somewhere, believe me). The sound leans ever-so-slightly into early Level 42 territory (nothing wrong with that), but maintaining traces of the spooky unhinged voodoo of their earliest recordings in those chanted vocals and the spaces between the spaces. Chanted vocals in this style are the prime signifier of mid-period punk funk, evoking mysterious corridors within the groove that one might get pulled into at any moment.
I'd Like To See You Again veers further yet toward a certain sleekness, even if a tune like Saturn is of a piece with the band's earlier material (in spirit at least). Elsewhere, Hot Knights is a vocal adaptation of the Kether Hot Knives version of Knife Slits Water. Still, the heart of the record lies in tunes like Touch and Axis which are veryJamaica, Queens jazz/funk/boogie, and before you know it (1984) you've got a record like Life's A Scream, killer dance pop on the order of INXS or - once again - Level 42 that takes you into the glitz of the era's overground nightclubs. Moonwalking in neon. With those triggered oof, oof vocals - straight out of the electro playbook - A Certain Ratio have wandered into the disco even more convincingly than Gang Of Four managed around the same time.
However, if there were one band that could boogie with the best of them, it was surely Ian Dury & The Blockheads. Hit Me With Your Rhythm Stick has that cruising city streets at night groovy thang going... in fact, the backing track could practically fit right in there on Off The Wall (with the chorus sounding not unlike Jermaine Jackson's Erucu)! Only Ian's conversational Midlands lead vocals - think Mike Skinner in The Streets - and Davey Payne's wild sax solo give this away as something other, conjuring up images of The Blockheads grooving immaculate on some cramped, smoke-bathed stage in a ramshackle seaside pub out in Essex.
Debut album New Boots And Panties!! is an absolute treasure, with the nimble bedroom funk of Wake Up And Make Love With Me setting things off on a drifting mirage of rhythm before following up with more skewed boogie in the shape of If I Was With A Woman and I'm Partial To Your Abracadabra (there are even a few undisclosed moments of straight up punk tacked onto the end to boot!). The key to The Blockheads' seemingly natural grasp of funk dynamics - this in 1977, a full year before even Adolescent Sex - must surely be their jazz chops. Indeed, I have a Steely Dan documentary on the making of Aja that features Ian Dury as a frequent commentator, and one could almost read the band's sound as an outgrowth of the band's dancefloor sides like Peg and The Fez. Perhaps not totally accurate, but an interesting thought nonetheless.
Of course Ian Dury ended up writing himself into the Compass Point story a few years later with Lord Upminster, which was recorded in Nassau with Sly & Robbie and features the excellent Paradise Garage staple Spasticus (Autisticus). Like Hit Me With Your Rhythm Stick, it hinges on the axis of silky smooth verse juxtaposed against abrasive chorus, revelling in Dury's clever wordplay. While I could dive further into the Compass Point All Stars at this point, along with figures like Grace Jones and Lizzy Mercier Descloux, in truth they will all warrant their own chapter in the Terminal Vibration saga (forthcoming in a month or so) and ultimately a full feature in their own right (as Summer arrives, most likely). So with whispers of the Paradise Garage still hanging in the air, let's take a left turn into the streets of New York.
The Big Apple was rather appropriately a hotbed of punk funk activity, starting with No Wave bands like DNA, Teenage Jesus And The Jerks and especially James Chance & The Contortions crawling out of the sewer at the tail end of the decade. James Chance came on like a skronky, more punk Blockheads (or Richard Hell & The Voidoids gone funk) with records like Buy and Off White (released as James White & The Blacks). The production was sparse and the rhythms stripped to their bare bones, like James Brown circa The Payback shot through with atonal, abrasive punk spirit.
However, it's the slightly later N.Y. material that concerns us today, permeated as it is with atmosphere. A particularily good example of this transition would be Black Box Disco (from the Vortex OST), featuring Lydia Lunch of Teenage Jesus And The Jerks, which is the most sure-footed nimble punk funk imaginable, cooked up by the Vortex house band as film dialogue - of what sounds like a torture scene - floats over the top. It's terrifically magical track that works on most dancefloors in a way that the earlier No New York bands would not.8 The remainder of the soundtrack is quite atmospheric, with almost no beats at all (the one exception being The Chase, which is the cousin of mid-period A Certain Ratio).
While we're getting into punk funk at its most dexterous, mention must be made of Joseph Bowie's Defunkt. As mentioned before, this crew were the prime influence on The Red Hot Chili Peppers and you can certainly hear it, especially in Joseph Bowie's vocals... the only thing lacking is that Slovak/Frusciante guitar crunch. Tunes like Illusion (from 1982's Thermonuclear Sweat) and Strangling Me With Your Love (from the 1980 self-titled debut) were far more stripped to the bone than nearly any straight-up funk band of the era, often recalling the classic one-the-one funk of James Brown circa Hell, while moments like Make Them Dance moved wild shapes at a brisk tempo that reach almost afrobeat levels of pitched insanity. In The Good Times (yet another riff on Chic's Good Times bassline) even highlights a certain affinity between Defunkt's no-nonsense approach and the homespun funk that the Sugar Hill and Paul Winley backing bands were working up on the early rap records around the same time.
However, if there was a New York label that was the standard bearer of Downtown dancefloor-heavy punk funk, then it was Ed Bahlman's 99 Records. With the label's striking visual aesthetic, featuring vivid, colorful, of-the-moment artwork, it seemed to capture the spirit of the times at the nexus between the post punk avant garde and the post-disco dancefloors of the era (and as such places it at the forefront of today's discussion). The material released on the label was heavy on atmosphere while maintaining a distinct pop edge, and tellingly more than a few tunes made their way onto Larry Levan's turntables at the Paradise Garage.9
Liquid Liquid were one of two bands whose releases were central to the label's discography and are probably the most widely known. Plying a heavily percussive - almost tribal - sound, their music was spacious and atmospheric, with ghostly chants fading in and out of the mist as the band churned out a loose-limbed brand of dancefloor funk. The Optimo EP, with its swirling red and yellow op-art imagery, turned out to be the group's preeminent record. The title track pummels you with a frenzy of percussion interlocking with a clockwork bass groove as scat vocals dance across its surface, while Cavern rides a loping bass groove that would ultimately get nicked by Grandmaster & Melle Mel for the epochal White Lines (Don't Don't Do It) (not to mention a more oblique interpretation in Big Audio Dynamite's The Bottom Line).
The thumb-piano stylings of Scraper recall the band's earlier self-titled EP, where tunes like Groupmegroup and New Walk churned at a more laidback tempo. The band's music - encompassed on but four EPs released in the early 80s on 99 Records - is quite simply essential listening. Famously, James Lavelle issued the first real compilation of the group's material on his Mo Wax imprint, rounding up the band's first three EPs into one essential package with an attractive mosaic sleeve that referenced the evocative 99 artwork of the original 12" records. Released in 1997, it's another example of dance music's dalliance with post punk - well before the retro gold rush of the early 21st century - that grew organically out of the scene's groove fascination in whatever form it came (there was certainly the clear cut abstract hip hop connection). And as I've said before, this is the context through which a certain 90s kid encountered most of this music in the first place.
The other big 99 band were ESG, a group centered around the Scroggins sisters who were merely teenagers when they started out. Famously, their mother had bought them all instruments so that they'd play music rather than get into trouble. I read somewhere that at the time the girls were described as The Supremes meet Public Image Ltd. I can't find the quote now, and I don't know who said it, but it isn't too far off. Their self-titled debut EP is housed in another stunning example of 99 sleeve art and plays out as the quintessential essence of the label's sound, which is in this case somewhat more bare bones than Liquid Liquid's, but somehow no less atmospheric. Moody rides a killer bassline over which the girls chant Very moody, while UFO is like the shower scene from Psycho taken out for a dance.
Interestingly, both songs were crucial building blocks in multiple genres of modern music. UFO, which was sampled by Big Daddy Kane and The Notorious B.I.G. - even showing up much later on J Dilla's Donuts - became something of a staple hip hop signifier (wasn't there a Gang Starr song that sampled it too?), while Moody formed the basis of Murk's Miami house chestnut Reach For Me (released under the name Funky Green Dogs From Outer Space). The girls even titled a later EP Sample Credits Don't Pay Our Bills!, which was released around the time of their unjustly neglected 1991 comeback record. Fortunately, they managed to soak up some love during the post punk revival with two new LPs issued in 2002 and 2006,10Step Off and Keep On Moving respectively, which were solid records in their own right.
My favorite ESG record, however, is 1983's Come Away With ESG. It's an album-length statement, which means you get to experience the girls' sound in 3D stretched over a cozy 30 minutes. Kicking off with the bluesy tumble of Come Away staggering down some shadowy back alley, the record turns up plenty of uptempo punk funk like Dance, You Make No Sense and The Beat, in which loping bass grooves interlock with rather tactile drums as terse lyrics are chanted over the top. The rushing Chistelle even brings in an eerie guitar line - which appears to get reversed every so often, Detroit techno style - as wind/synth effects creep in and out of the mix, while About You rocks a midtempo groove with the thinnest proto-g-funk synth line imaginable. Of course, there's also the matter of Moody (Spaced Out), a dancefloor version of the original (from their debut EP) which sports a tougher groove and massive synth effects simmering throughout like the soundscapes of Yar's Revenge.
Finally, there's one last New York band I'd like to touch on, and that's the Bush Tetras. While they only put out one 7" on 99 Records (their other two records came out on Fetish), they fit the label's aesthetic perfectly. Tunes like Too Many Creeps and Snakes Crawl consist of composite drum/bass/guitar parts that all interlock into ultra-tight grooves captured with vivid clarity. Cynthia Sley's vocals often recall Kate Pierson and Cindy Wilson's spoken parts on the early B-52's records. The brisk turn in Cowboys In Africa (from the Rituals EP) comes on like The Cramps gone funky, while the dubbed out Rituals closes the record on a downbeat note with ragged rockabilly shapes that would fit right into the Repo Man soundtrack. The Things That Go Boom In The Night (the group's final record) tightens up the groove again but this time with a slightly heavier guitar attack - more distortion! - while the b-side Das Ah Riot runs a mad phased guitar part through the track in such a way that seems to tie all three of the group's records together.
Jumping back across the Atlantic for a moment, it's worth noting the Bush Tetras theoretical cousins - and Gang Of Four's sister band - the Delta 5. They debuted in 1979 with the Mind Your Own Business/Now That You're Gone, a conceptual interrogation of relationship dynamics over clockwork straight jacket funk rhythms. The band turned out a series of 7" singles that further developed their taut punk funk sound, even introducing a horn section on Colour, which ultimately culminated in the See The Whirl LP (which I haven't heard). The Singles & Sessions 1979-81 compilation, which I do have, rounds up all the group's singles and augments them with some BBC sessions for good measure.
If the Delta 5 and Gang Of Four represented punk funk at its most jittery in the UK, then the Minutemen cranked things up to a whole other amphetamine-fueled level out in L.A. The group's records are absolutely steeped in sun-baked L.A. atmosphere, in the same way that War's The World Is A Ghetto evoked heatwaves rising from the city's asphalt. In many ways they represented for the gritty underbelly of the city while the Red Hot Chili Peppers were strutting down the boardwalk... some might say that both bands represented two sides of the same coin.
Early EPs like Paranoid Time and Joy were excellent shots of pioneering hardcore, yet there was already a distinctly post punk funk flavor in tracks like More Joy and Joe McCarthy's Ghost that came on like a West Coast, more lived-in Gang Of Four. It's a muscular funk, to be sure, with turn on a dime frenetic rhythms anchored by D. Boon's combative, barked vocals.
The band were one of the mainstays of L.A. institution SST (the home of Black Flag), where they put out a whole brace of records ranging from 12" EPs like Buzz Or Howl Under The Influence Of Heat and Project Mersh to 7" shots like the "Tour Spiel" EP and albums like What Makes A Man Start Fires? and 3-Way Tie (For Last). Double Nickels On The Dime - famously released within months of that other SST post-hardcore milestone double-album Zen Arcade (by Hüsker Dü) - was a tour de force that ran the full gamut of the band's stylistic reach, with hardcore, funk, rock 'n roll, acoustic numbers and even border music all rubbing shoulders over the course of the record's sprawling, monolithic expanse. Without a doubt, it's one of the top ten or so records to truly capture that hazy L.A. atmosphere, and a crucial late-period capstone on the decade's punk funk story just before in mutated into something else entirely.
As such, it brings us full circle to this chapter's beginning, back to L.A., The Red Hot Chili Peppers and where it all ends up in the 90s... with everything tied nicely into a bow. And so I'll leave you with the following playlist, until next time when we descend into the depths of voodoo funk with Material, The Pop Group, The Slits and Public Image Ltd.
1. In fact, the band were initially inspired to form by New York band Defunkt, who we will return to shortly...
2. A cornerstone of the band's early sound, Slovak was the Chili Peppers' original guitarist until 1988, when he died of a heroin overdose. He was replaced by the beloved John Frusciante on the Mother's Milk album.
3.Cliff Martinez was later replaced by Will Ferrell lookalike Chad Smith on the band's fourth album, Mother's Milk.
4. Indeed, during the post punk revival gold rush, it seemed like every band and their dog was claiming influence from the record!
5. Unsurprisingly, these two tracks were Hard's contributions to their best of round up, A Brief History Of The 20th Century.
6. I remember being quite impressed when Woebot included them in his Top 100, which was actually my introduction to his writing in the first place (thanks to a timely link from Simon Reynolds). I distinctly remember being ensconced in the heady atmosphere of the 1808 in the dead of Winter and reading down the list with delight: first Ryuichi Sakamoto, A.R. Kane and then A Certain Ratio and Mark Stewart + Maffia and thinking this is the best list ever!
7.Mick Middles, From Joy Division To New Order (Virgin Books, 1996), 128-129.
8. In fact, I once mixed Black Box Disco into a Moodymann track and it came off like the most natural thing in the world.
9. Check out the charts at the end of Last Night A DJ Saved My Life by Bill Brewster, where one finds tunes like Liquid Liquid's Cavern and ESG's Moody tucked comfortably in the lists for not only Larry Levan's Paradise Garage, but also Frankie Knuckles' Warehouse, Ron Hardy's Music Box and The Roxy. It's a testament to not only these records' utility on the dancefloor, or even the open-minded turntable policy of the clubs themselves, but the fluidity of the era's music across the dancefloors of the day. It all sounded good together in the mix and thus shared the same space in time. And what a time it was!
10. There was also a great compilation of the band's original material (A South Bronx Story) released at the dawn of the 21st century.
LISTEN NOW
TV4 Rockers Revenge
A Certain RatioFlight (Factory)
ESGMoody (Spaced Out) (99)
VortexBlack Box Disco (Neutral)
Ian Dury And The BlockheadsHit Me With Your Rhythm Stick (Stiff)
It just occurred to me that it might be worthwhile to include a playlist with each episode in the ongoing Terminal Vibration saga for your listening pleasure. I've been putting the finishing touches on Chapter IV, but in the meantime I've updated the previous two chapters to include a playlist of relevant muzique:
The idea with each playlist is to capture the essence of the chapter in sonic form: an audio companion to the text, if you will. Each one links to a Youtube playlist (there were just too many songs not available on Spotify this time out), so check 'em out while the videos are still available!
Hey man, I'm back from the bodega. Nothing like a snack, deep fried, to give you a second wind. Here you go my friend. So you like new wave, right? Sure you do... after all, everybody likes new wave. For the moment, let us focus on the dubbed-out dancefloor sides perpetrated by The Clash in that period just after London Calling, which puts us at 1980 A.D. I'm talking about the triple(!)-LP trawl of Sandinista! and its orbital 12" singles, records like The Magnificent Seven and This Is Radio Clash, the latter of which features four versions spread across its twelve inch surface, each one sequentially more twisted and dubbed to pieces than the last. Outside Broadcast (the third version), is one of the great hidden gems in the band's back catalogue, conjuring up images of a careening taxi cab ride through fog-cloaked city streets deserted in the twilight.
The Magnificent Seven - which must be heard in its spacious, sprawling album version to experience its true sparkling third-eye-tactile black magic - finds, as mentioned in their last episode, this band of outlaws messing around with the Good Times bassline and twisting it to their own swashbuckling purposes. In other words, it's disco not disco at its absolute finest. Interesting to hear it as Joe Strummer's take on contemporary rap (note The Clash's turn as backing band for graffiti artist Futura 2000 on The Escapades Of Futura 2000, one of the infamous Celluloid rap records), like Blondie's Rapture but even more so. Think killer disco rap like Grandmaster Flash & The Furious Five's Superappin', Kurtis Blow's The Breaks and Monster Jam by Spoonie Gee meets The Sequence (not to mention The Sugarhill Gang's Rapper's Delight if you want to get literal).
Noteworthy in the Parallax sense is also the fact that the intros to both The Magnificent Dance (the x-ray dub version of The Magnificent Seven) and Mensforth Hill form the basis of Reese's You're Mine (the b-side to Rock To The Beat), which suggests that Mr. Saunderson was working with both the album and 12" when vibing out in the studio to create that killer cut. At moments like this, I'm reminded of Norman Cook/Fatboy Slim's review of Big Audio Dynamite's Sunday Best, in which he offhandedly placed The Clash at the genesis of indie dance. Which sounds about right to me, with New Order and Big Audio Dynamite arriving as fully formed ambassadors of the genre before it would go on to become a way of life.
Ah yes, that's right: Big Audio Dynamite! B.A.D. is, of course, a whole other can of worms. Now it's damn near painfully obvious to point out how that crew's merciless caning of the sampler and rewired approach to the dancefloor anticipated whole swathes of music in the nineties and beyond, but records like the proto-house madness of Hollywood Boulevard and Megatop Phoenix (which has nestled comfortably into Sgt. Pepper-status around these parts) serve to drive the point home and then some. Their debut full-length This Is Big Audio Dynamite boasts not only obvious radio bounty like The Bottom Line, E=MC² and the sublime cool of Medicine Show (recently featured in Woebot's excellent 101-2001 - and for the record I agree wholeheartedly with the man's glowing assessment of the tune), but also a wealth of strange dancefloor material on its under-explored b-side (particularily Sudden Impact's phenomenal short-circuiting electroid groove and the proto-ragga dancehall of A Party).
Sudden Impact is particularily interesting in this context, with its strange spaghetti-western-by-way-of-Lee "Scratch" Perry guitar figure riding wicked rails of straight up electro, the track seeming to exist right at the very nexus of a number of contemporary sonic currents. For one, you've got electro boogie along the lines of Aleem's Get Loose, D-Train's You're The One For Me and C.O.D.'s cover of Gil Scott-Heron and Brian Jackson's In The Bottle, all of which predict Sudden Impact's own nimble touch in their wiry, skeletal rhythmic structure.
But why stop there? It doesn't' take much effort to draw a short line from Sudden Impact! to honest-to-goodness minimalistic electro missives like Hashim's We're Rocking The Planet, the Imperial Brothers' We Come To Rock and World Class Wreckin' Cru's Surgery, all of which had been tearing up dancefloors for the better part of a year. Of course there's also the flipside of the coin: straight up electrofunk shearing into electro territory, records like Cameo's She's Strange (along with its proto-rap 12" club mix), Whodini's Escape and about a thousand other rap records.
Japan (the band) had their own incursions in this arena, where even amongst their most well-known new pop-era hits like the crepuscular fragile beauty of Ghosts and the supremely funky Visions Of China2 you'd find records like Gentlemen Take Polaroids and The Art Of Parties riding a malfunktioning electroid framework of their own. Yet it's just before the group's widely-hailed peak that you'll find my favorite music they made, from that period when David Sylvian and co. were still slumming it as twilight era glam rockers operating in a weird interzone between new wave and funk that just shades this side of the (totally imaginary) post punk divide, with not only their blinding Adolescent Sex debut album (which featured in the Parallax 200 just the other day), but also the Quiet Life LP (and it's precursor, the Life In Tokyo 12" warning shot - produced by Giorgio Moroder for those keeping track).
Adolescent Sex in particular is the sleaziest rock 'n funk grind this side of The Stones' Fingerprint File, with real red light district velvet curtain bizzness in tracks like Performance (named after the Nick Roeg film, I wonder?) and the slinky cinematic slow burn of Suburban Love. This is funk the way The Isley Brothers played it. By which I mean turn on a dime rhythmic panache, smeared synth stylings - as if every texture were washed out in sun-glazed daylight somehow in the dead of night - and searing guitar lines rising from the murky depths. There's shades too of Steely Dan at their Royal Scam grimiest - bringing to mind The Fez and The Royal Scam itself in particular - on tunes like Wish You Were Black and the marathon nine-minute album-closing Television. This sort of half-lit bedroom funk is a personal favorite sound of mine (see Prince's debut For You for another example), and should if there's any sense in the world at all spawn a feature of its own sometime in the future.
If there's a neon-tinged eighties analog to the sound I'm getting at here, then it must be Mtume circa Juicy Fruit. The album's centerpiece is the title track, no doubt, but there's a wealth of sterling rubberband funk in evidence throughout. The high top blacktop moonwalk of Green Light is emblematic of the whole affair in its casual loose-limbed bounce, with the more explicitly electronic grooves of Hips and Hip Dip Skippedabeat shearing into prime electrofunk territory. The production throughout is just perfect, with none of the overly-harmonized, booming drums that you'd often wind up with during in the era.3 It's the flipside of all the canonical new wave records here and a stone cold classic.
And while we're on the flipside, Funkadelic's The Electric Spanking Of War Babies is another unmissable slice of new wave electrofunk - from a crew that's arguably the progenitor of the form - and the flipside to PIL's Metal Box (the founder of this feast). The deconstructed start-stop groove of Funk Gets Stronger - featuring Sly Stone in full effect - is practically straight up new wave and never fails to make me flash on Adam And The Ants' Dirk Wears White Sox4 (particularily the distinctive guitar tone).
The whole record plays like a roadmap of eighties funk possibilities and beyond, and is absolutely essential listening. It will likely sound patchy at first, but give it time: what you're hearing is the familiar One Nation Under A Groove/Flashlight magic formula being warped and mutated beyond the point of recognition. Its strangeness is its calling card. The band even turn out the Lodger-esque freaky cod-reggae of Shockwaves, which starts out like a joke track (with fake accent to boot) before dropping out into the divine ravishment of the chorus. Definite shades of Bowie and très post punk!
On a related note, I make no apologies whatsoever for the heavy representation of Parallax 200 records here, since the sonic neighborhood on the table today couldn't help but throw up some of my favorite records almost by default. Wrapping up that list definitely put this sound firmly in mind. In truth, it likely inspired the whole trip! No doubt many of the remaining records will make the 300 when the time comes...
Now where was I... Ah yes, Japan. Coming a year after Adolescent Sex, Quiet Life and the Life In Tokyo 12" both seem to predict Duran Duran's self-titled debut in their sleek, chrome-eyed surfaces. Speaking of which, don't sleep on Duran Duran's 1981 debut, a record that is well worth checking out in its own right. The ace new wave disco of Planet Earth stands out as a particular highlight, but really the whole record is golden. Don't listen to the hipster haters - Nick Rhodes is way cooler than any of them anyway. Listened to back to back to back, these three records (Life In Tokyo, Quiet Life and Duran Duran) play like a tour of Europe by high-speed rail.
And while we're still on the continent, it's fitting to round out this strange punk funk-by-way-of-new wave triumvirate with Simple Minds, whose early records belie their Scottish origins and seem to point toward the most shadowy recesses of the Eastern Bloc. From the grimy claustrophobic corridors of Real To Real Cacophony to the sleek steel surfaces of Empires And Dance and even the Steve Hillage-produced widescreen canvases of Sons And Fascination/Sister Feelings Call, this is all prime real estate in the sprawling terrain of post punk/machine funk that just begs to be explored further. I've spent quite a bit of time here myself.
You've got the dead-eyed disco of Premonition, yawning gleefully with cavernous jaws and drip-dropping percussion, the slow-motion punk funk dirge of This Fear Of Gods and Today I Died Again's exquisitely swirling dread on one hand and the kling klang clanking funk of Sweat In Bullet (pointing the way to New Gold Dream) and the clockwork, backwards-crab-walking rhythm box black hole League Of Nations on the other. Taken as a whole, the four record run5 is a stellar excursion into post-Bowie In Berlin sonics.
So check them all out, the Simple Minds records and everything else here too. They won't do you wrong. I hear that the vendor across the street - yes, that gaunt gentleman in the robe - has them all on cassette, so don't sleep. Trust me... you need these records in your life. While you do so, I'll be in the basement down the way grabbing some records from my homeboy Cornelius for the next chapter...
2. The exquisite low-slung groove Visions Of China even forms the basis for Tricky's Overcome, pointing toward trip hop's place in all this... but more on that later.
3. Actually, Prince's phenomenal Lady Cab Driver - from the glitzy 1999 double-LP - mines a very similar terrain. It's also got some crossover potential with The Clash's Outside Broadcast, come to think of it...
4. None can test. I'm on record as preferring the U.S. Version for its inclusion of the Zerox/Whip In My Valise, but only grudgingly so: I hate to give up the killer punk funk mekanik rush of not only Cartrouble (Part 1) (which is doubly salient in the current context) but also Day I Met God and Catholic Day. Life's full of tough choices...
5.Real To Real Cacophony, Empires And Dance , Sons And Fascination and Sister Feelings Call are actually preceded by Life In A Day, a solid new wave record in its own right that's well worth checking out too (especially for fans of early Ultravox and XTC. The ingredients just needed to marinate a little longer before morphing into the fractured splendor of Real To Real and beyond.
LISTEN NOW
TV3 Death Disco Playlist
The ClashThe Magnificent Seven (Album Version) (CBS, 1980)
Kurtis BlowThe Breaks (Mercury, 1980)
Simple MindsPremonition (Arista, 1979)
Grandmaster Flash & The Furious FiveSuperappin' (Enjoy, 1979)
JapanSuburban Love (Ariola Hansa, 1978)
ChicGood Times (Atlantic, 1979)
JapanLife In Tokyo (Disco Version) (Ariola Hansa, 1979)
Duran DuranPlanet Earth (EMI, 1981)
Simple MindsI Travel (Arista, 1980)
Adam And The AntsCartrouble (Part 1) (Do It, 1979)
Two years ago I asked the question Where does machine funk intersect with post punk? It's a question I'd meant to jump into deeper at the time, but then the moment seemed to pass. I'd been toying with the notion of revisiting it recently, weaving a narrative around these two strands of music that seemed to run in tandem for much of the eighties (and beyond, truth be told). Just the other day, my brother Matt was over and we were listening to a selection of music that in large part sprang from this continuum and he commented on the striking sonic overlap between post punk, disco and funk, that the three genres almost formed the sides of a triangle that - and I'm jumping in here - had a profound shaping influence on modern music.
The tune that instigated the comment was Jermaine Jackson's Erucu, playing out on the heels of a bunch of late-period post punk along the lines of A Certain Ratio and 23 Skidoo, but something like Barry Waite & Ltd.'s Sting or James Brown's I Can't Stand It "76" would make the case just as strongly. That is, the stripped-down tautness of funk, aspects of disco's four to the floor minimalism and the funky edge of post punk's year zero reinvention of the rhythmic wheel (sourced in large part in the very no-nonsense funk of the seventies in question here) share a certain sonic kinship that (teasing in reggae here as well) seems to have laid out the next decade(s) in advance.
Wheeling this back to my original comment about post punk vis a vis machine funk, what you had in the eighties was this great convergence between the two worlds, almost as if two dimensions overlapped for this blessed spell of time and characters were able to move freely between the two worlds in a great exchange of ideas. I'm talking about Bernie Worrell joining the Talking Heads on tour, Blondie's Chris Stein providing those moody dubplates for Wildstyle, New Order hooking up with Arthur Baker and John Robie in New York for Confusion, and about a thousand other examples.
Speaking of Baker/Robie (the producers of Afrika Bambaataa & Soulsonic Force's Planet Rock), the picture really falls into place when you take things like electro and early hip hop into consideration. On one hand, you have the spectral missives of Hashim (whose Primrose Path sounds like the digital cousin of 400 Blows' Declaration Of Intent, both sharing in those same slap-bass future shock vibes) and Man Parrish's Special Disconet Remix of Hip Hop, Be Bop (Don't Stop) (whose rubberband bassline seems to recall The Clash's The Magnificent Seven (whose bassline seems to recall Chic's Good Times (whose bassline was seemingly imitated by everybody else as well))), while on the other you have The Cold Crush Brothers' Punk Rock Rap and Grandmaster Flash & The Furious Five's New York New York. All of which could theoretically soundtrack a rough-and-tumble cinematic take on William Gibson's Neuromancer. Of course, it doesn't stop there...
Take Prince and his affinity with not only new wave but also PIL, whose Metal Box is one of the cornerstones of post punk; if the genre does indeed have a pantheon, then it's right in there at the top. Interestingly, along with dub and funk, PIL were deeply shaped by Can's krautrock/funk, whose Ege Bamyasi and Saw Delight slide right in this continuum without much fuss at all.1
Once krautrock enters the discussion, the elephant in the room is obviously Brian Eno, who - along with David Bowie - were one of the main conduits of the music into the post punk collective consciousness (and beyond). Indeed, Bowie jumping from the plastic soul of Young Americans into the Autobahn-surfing Europe-endlessness of Station To Station and on into the Berlin trilogy - where the aerodynamic funk of those two records gets yoked to an electronic framework that is firmly in this continuum (see Breaking Glass, Blackout and D.J. for starters).
And Eno of course went on to become the crucial guiding force in not only the Talking Heads' post punk trilogy (particularily Remain In Light) but also the tremendously prescient My Life In The Bush Of Ghosts. Both of which are defining records in this post punk/machine funk district, and lie at the heart of what I will call my idea of the eighties. You can hear the overlap between the rolling rhythms of these two strikingly modern records and - on the one hand - West African monster jams like Tony Allen's N.E.P.A (Never Expect Power Always) and - on the other hand, perhaps more unexpectedly - early rap excursions like Spoonie Gee's Spoonin' Rap, with all four records sharing that same sense of thick atmosphere rising like vapors from the twilight city streets.
We will hang out in this neighborhood for awhile, so don't go anywhere, but I must leave you for a moment to score some alcapurrias from this bodega on the corner. Chill here on this bench for awhile and listen to Remain In Light and My Life In The Bush Of Ghosts back to back while watching the traffic, and I'll be back in a bit.
To be continued...
1. Indeed, I've always thought that the often-derided late-period Can records like Flow Motion, Saw Delight and Can only suffer by comparison to the band's seismic earlier material; taken on their own merits, I think they stack up quite favourably as shadowy precursors to things like Fear Of Music, Remain In Light and My Life In The Bush Of Ghosts. Just because something isn't Halleluwah doesn't mean it's worthless! So don't sleep...
LISTEN NOW
TV2 Remain In Ghosts
James BrownI Can't Stand It "76" (Polydor, 1974)
A Certain RatioShack Up (Factory, 1980)
Barry Waite & Ltd.Sting (Part 1) (Leo, 1974)
Jermaine JacksonErucu (Natural Resources, 1977)
Talking HeadsI Zimbra (Sire, 1979)
Grandmaster Caz & Chris SteinSouth Bronx Subway Rap (Animal, 1983)
Brian Eno/DavidByrneRegiment (Sire, 1981)
400 BlowsDeclaration Of Intent (Illuminated, 1984)
HashimPrimrose Path (Cutting, 1986)
New OrderConfusion (Substance Version) (Factory, 1983)
Man ParrishHip Hop, Be Bop (Don't Stop) (Special Disconet Remix) (Ram's Horn, 1983)
Grandmaster Flash & The Furious FiveNew York New York (Sugar Hill, 1983)
Tony Allen with Afrobeat 2000When One Road Close (Another One Go Open) (Wrasse, 1984)
Talking HeadsBorn Under Punches (The Heat Goes On) (Sire, 1980)
Spoonie GeeSpoonin' Rap (I Don't Drink Smoke Or Gamble Neither I'm The Cold Crushing Lover) (Sound Of New York, 1979)
Brian Eno/DavidByrneMoonlight In Glory (Sire, 1981)
David BowieThe Secret Life Of Arabia (RCA Victor, 1977)
Picking up from last time (nearly a year ago!), here's another Garden Grooves session coming at your from the Heights. This outing was squarely in the roots 'n future neighborhood, where dub, house and trip hop all shuffle in the shadows, matching the mood as we cultivated the fern gardens in the shady glen of The Southwest Terrace. Spanning a weekend of work, here's the selection as it played out:
Rodriguez - Cold Fact
(Sussex: 1970)
Jumping off into our horticultural escapades with Rodriguez's debut, an unqualified masterpiece. Peerless folk coming from Detroit, masterfully produced and arranged by Dennis Coffey and Mike Theodore, Rodriguez himself is never less than compelling. One of those records packed with potential hit singles (Hate Street Dialogue, Sugar Man, Jane S. Piddy, etc.) that the label nonetheless fumbled, not knowing how to market. Such a shame!
Grachan Moncur III - Aco Dei De Madrugada (One Morning I Waked Up Very Early)
(BYG: 1970)
Phenomenally lush chamber jazz on the BYG/Actuel imprint, rendered doubly fascinating in the context of that label's illustrious free jazz pedigree. I reckon this even tops New Africa, Moncur's free outing of the previous year on the same label. Utterly unique, this is one of my key Jazz Mosiac records. It always makes me think of walking around Balboa Park in the late afternoon, the Timkin, the Botanical Gardens, etc.
Harlem River Drive - Harlem River Drive
(Roulette: 1971)
Supreme latin funk masterminded by the late, great Eddie Palmieri and his brother Charlie. I've gone on record about Palmieri before, suffice it to say I think he's one of the great visionaries of salsa music, stretching it out in the same way Miles did jazz around the same time. You might call this dread, moody funk tile something of a sister record to The World Is A Ghetto. Carmello requested this and the next one when he rolled up for some digging time.
Derrick Harriott - Whip It
(Hawkeye: 1983)
Awesome discomix version of the Dazz Band's immortal Let It Whip, a key Blacklight Affair track that also gets regular play on Magic 92.5. The Dub Whip version on the flipside is utterly essential, drenching the track in reverb as every aspect trails off into deep space.
Bobby Konders - "All The Massive Hits" In A Rub A Dub Stylee
(Hot: 1995)
Which takes us into Señor Konders rootsical deep house vibes. This indispensable compilation (assembled by none other than Frankie Bones) was my introduction to the man's work after hearing the immortal Let There Be House in the mix. This pre-dates the (also excellent) A Lost Era In NYC 1987-1992 compilation on International Deejay Gigolo by a good seven years; I dig the focus on the early Massive Sounds sides during the latter half of this compilation, prefiguring as they do Konders' latter ragga-infused direction while remaining firmly grounded in New York house.
Carlton - The Call Is Strong
(FFRR: 1990)
The lone LP to result from Smith & Mighty's signing with FFRR, an ill-fated deal that promised to deliver a flurry of records before becoming bogged down in label politics. Paired with the Steppers Delight EP, it makes as excellent case for the duo's status as the godfathers of Bristol blues. Carlton himself is a revelation. It's a shame he didn't get to do more vocal work as the decade progressed... one could see him linking up with a UK garage crew and doing serious damage later in the decade.
Horace Andy - Living In The Flood
(Melankolic: 1999)
Roots reggae stalwart and frequent Massive Attack collaborator Horace Andy's LP on Massive's Melankolic setup. Just a great modern reggae record, with tracks like After All and Juggling offering up a shimmering take on roots music. Still, there's a definite modernist tilt to songs like the Johnny Too Bad cover and the awesome Doldrums (produced by 3D). A careening ragga track riding a beatbox rhythm, it's one of those tracks that remain impossible to date: it could have come out in 1989, 1999, 2009 or even two years from now.
Grace Jones - Nightclubbing
(Island: 1981)
Neuromancer post-disco blues. Makes an excellent case for giving supermodels record contracts. Jones cut through the decade like a bejewelled dagger, unfurling a swathe of superb records like Warm Leatherette, Slave To The Rhythm and this record, a Parallax favorite. I've gone on about this one many times before (and many times to come, no doubt), but today I'd like to single out I've Done It Again for praise, a lazy windswept chanson, gently swaying like Luquillo palms at sunset.
Sam Mangwana - Maria Tebbo
(Systeme Art Musique: 1979)
Excellent soukous from The Congo. There's not a great deal written about this record, although it does make Muzikifan's illustrious African Top 50. The title track is simply exquisite, those lilting guitars do their thing over a pulsing 4/4 beat as an ebullient Mangwana dances atop the whole thing like Fred Astaire. One of my favorite sleeves as well, evocative as it is of a particular time and place.
Thomas Leer - Contradictions
(Cherry Red: 1982)
Peak-era Thomas Leer, on the heels of his 4 Movements EP and basking in the same gulf stream vibes. Leer's bedroom sonics somehow manage to make the whole thing sound anachronistic by about fifteen years - pre-dating the likes of Jimi Tenor and Uwe Schmidt - and betraying unlikely similarities with prime Compass Point material like Wally Badarou's Chief Inspector.
Cheikh Lô - Lamp Fall
(World Circuit: 2006)
This was a huge record for me at the time. Indeed 2006 (over ten years ago!) was the last time I remember feeling overwhelmed by a surplus of great records (it's been diminishing returns since!). Cheikh Lô's third album finds him truly mastering his writing, with a rich, full bodied production (think Ali Farka Touré). World Circuit were tearing it up at this point, with the aforementioned Touré, Oumou Sangare and Orchestra Baobab releases all surfacing within months of each other. The awesome Kelle Magni (Encore) is an unacknowledged Balearic chestnut, just waiting for someone to pick up on it in the club. I remember hoping for a 12" release at the time.
No Smoke & The Mali Singers - International Smoke Signal
(Warriors Dance: 1990)
Quintessential Warriors Dance magic, this mutant house tile - like Bang The Party's Back To Prison - is utterly essential listening. Unlike the BTP record, this one never saw release on CD. Don't believe people who tell you there aren't great house albums! This is the next step down the road from Bobby Konders' Massai Women, creeping further yet into fourth world territory and all the better for it.
Bandulu - Guidance
(Infonet: 1993)
I've always been a huge Bandulu fan. This was the first thing of theirs I scooped up back in the day (oddly enough, it was the easiest to find, despite Cornerstone being a new release at the time). This is a dubbed-out, Detroit-inflected high desert head trip unlike anything else I've heard. There's plenty of widescreen epics like Earth 6 and Invaders, but a song like Gravity Pull - with its clanking percussion and droning sonics - is a surreal atmospheric missive not entirely removed from Basic Channel/Chain Reaction. I've always adored the bassline in Messenger (a distant cousin to Carl Craig's Psyche/BFC output), and speaking of Craig, the man surfaces here with the Innerzone Mix of Better Nation is, a spiky slab of street-level techno on the 21st century b-boy tip.
The Sabres Of Paradise - Haunted Dancehall
(Warp: 1994)
Similarily, I've always adored Andrew Weatherall's output, especially from this point up to just before Two Lone Swordsmen went post punk. Weatherall was a huge fan of The Clash, and damn if he didn't create a body of work that approximated what Joe Strummer and co. might have sounded like if they'd caught the vibes at Shoom and descended deeper into electronics. A superb album, hovering at the nexus between dub, breakbeat and techno, where the spirits dwell.
Smith & Mighty - Bass Is Maternal
(More Rockers: 1995)
The Revolver of the nineties. The culmination of everything the duo-turned-trio had been up to in their wilderness years, this is strictly rough cut bizzness. I liked the way Kevin Pearce invoked Sandinista! when discussing this album in A Cracked Jewel Case. It's a mess, but beautifully so. With vocal showcases like Drowning, Down In Rwanda and Higher Dub continuing the crew's tradition of first-rate vocal showcases, its the instrumentals like Yow He Koh, Maybe For Dub and Jungle Man Corner that manage to get to the heart of the matter and steal the show.
Various Artists - Dub Out West Volume 1: Roots Cultivatas
(Nubian: 1996)
Awesome digidub compilation on the Nubian setup, which I know next to nothing about. Featuring mostly (but not just) Bristol artists, this features the mind-blowing Peter D. showcase Jah Pure & Clean, which I first heard on Smith & Mighty's fiery DJ-Kicks outing back in 1998. The liner notes rather helpfully have bios on the crews involved, along with label contacts and other background information.
Bomb The Bass - Unknown Territory
(Rhythm King: 1991)
The midpoint between the breakout proto-big beat of Into The Dragon and Beat Dis-era and the breathtaking hip hop blues of Clear. You hear very little about this record but trust me, you want to check it out. Like John Saul Kane's Depth Charge output, it splits the difference between big beat and trip hop while submerging the results in murky waters. Unlike Kane, Tim Simenon works with vocalists like Loretta Heywood and carves out a peerless raw-edged sound (this the same year as Blue Lines!). The Air You Breathe, with its spine-tingling Tell me you were never one of them sample, is quite simply sublime.
Colourbox - Baby I Love You So
(4AD: 1986)
Post punk Jacob Miller cover version that predicts trip hop a whole year before Mark Stewart got around to it? Apocalyptic spaghetti western discomix showcase built around dialogue samples from Duck, You Sucker and Once Upon A Time In The West?? Cinematic fourth world dub breakdown straight out of William Gibson's Zion??? It's all here, baby.
Bushflange - Crossing Point
(Hard Hands: 1995)
Spiralling breakbeat magic on Leftfield's Hard Hands imprint. Bought on sight from the cheap bin (along with Anthony Shakir's Tracks For My Father, if memory serves) at the record store next to Club Elements back in the day, Snakes and I had no idea what was in store. Two sides of marathon wildstyle percussion freakouts, loping basslines and not much else - like Niagara getting down with an AKAI - it turns out. Moog In and Moog Out.
Leftfield - Leftism
(Hard Hands: 1995)
People can get pretty sniffy about this duo, and I've never understood it. This cinematic club music splits the difference between house and trip hop, the results shot through with both dub and techno vibes throughout. Songs like Afro-Left, Space Shanty and Black Flute sound like the lush, organic flipside to Bandulu's electronic dub equations, picking up the same thread laid out by Bobby Konders and Warriors Dance. Who could argue with gentle moments like the widescreen ambient of Melt and Original's downbeat splendor. Perhaps people disliked the Lydon guest spot, Open Up? Snobs! That track is phenomenal. At any rate, even the most hardened purist couldn't knock the wild breakbeat moves of Storm 3000.
Augustus Pablo - King Tubbys Meets Rockers Uptown
(Clocktower: 1976)
Awesome dub platter. I always think of this as the sister record to King Tubby's Dub From The Roots. Houses the epochal dub version of Jacob Miller's Baby I Love You So - in the form of the title track - which should be your first port of call if you've never heard a dub track.
Keith Hudson - Flesh Of My Skin Blood Of My Blood
(Mamba: 1975)
Bonkers dubbed-out roots reggae from the great Keith Hudson, whose sound isn't remotely like anyone else's. This LP quite simply is the sound of the jungle: lush, all-conquering vegetation creeping over everything in sight, from roads and buildings to stone heads and pyramids. There's also a sweet, lovers rock aspect to the record that seems to phase in and out of view before Hunting, Stabiliser and My Nocturne roll back in from the darkness.
And with twilight descending, that the next phase of the project was completed...
Prehistoric plant life in full effect: the verdant architecture of a tree fern, nestled in The Southwest Terrace of the Parallax Gardens.
