On a similar note as the Terranova, I just caught GZA performing Liquid Swords in its entirety last night at The North Park Observatory. The sound was unbelievably heavy, probably the most ear-punishing show I've been to since the Dieselboy tent at Coachella in 2001 (I need to tell you this story sometime), shards of sound rendered as white noise over booming bass charges and skull snapping drums. Killah Priest was even there to rock the mic, acting as Genius' sparring partner for most of the record's guest spots. As a huge fan of Sunz Of Man and Heavy Mental, I was blown away to catch him in the flesh as well (still wish that he'd had a chance to drop Basic Instruction Before Leaving Earth though!).
I'd like to go in for more detail shortly, but I'm still reeling from the experience truth be told! Must expand on this in the future...
Was it last year that Studio !K7 held that poll in which people were asked to choose their top five DJ-Kicks mixes?1 This one was without a doubt my #1 pick,2 and it remains my second favorite mix CD of all time (hint: the first is from a different series on the same label).
For those who might not know, DJ-Kicks is a DJ mix series curated by Studio !K7 that gives marquee producers the opportunity to represent another side of their personality outside the studio and in the mix. Starting with an entry from C.J. Bolland in 1995 and continuing up to the present day with last week's Nina Kraviz excursion, it must be the longest running mix series ever.
A unique feature of DJ-Kicks is the fact that (nearly) every mix features an exclusive track worked up by the presenting DJ for inclusion in their mix (and concurrently released as a 12" single). Early on in the series, this track was constructed entirely from samples taken from the mix itself (a short-lived tradition, truth be told, lasting only for the three Detroit-themed mixes that rounded out the series' first phase of deep techno entries), but as the series continued the track would generally be an original work that seemed to spring from the spirit of the mix it was created for.
The Terranova entry emerged from the heart of the series' second phase, an excellent run of trip hop-flavored mixes, nestled between the likes of Kruder & Dorfmeister and Smith & Mighty. At the time, trip hop was a music I lived and breathed (a close second only to techno in my personal sonic pantheon), immersed as I was in records by Massive Attack, Bomb The Bass and Tricky. Then, one day in early 1998, this mix cropped up on display at the old Tower Records on El Cajon Blvd. I snapped it up immediately, purchased more or less blind on the basis of the Studio !K7 brand and a handful of names in the tracklist that I recognized.
I remember Woebot once describing the way a listener will often move from node to node when exploring music, further avenues opened with every path explored. Back in the day, mixes were like pressing the fast-forward button on that process: if you knew that you liked a handful of artists/tracks featured on a mix, then chances are you would discover at least as many more that you'd end up digging too.
This particular mix is a double fantasy of sorts: not only is every track phenomenal, but all avenues presented here intersect at steep tangents before veering off in nearly every direction. It opens with a seven song stretch of both styles of hop (from hip to the trip), veering left into a sequence of skewed techno and house, before finally returning home to the breaks to close out the set.
The spectre of post punk abstraction hangs heavy over everything here, gesturing back toward an era when Mark Stewart hooked up with Tackhead and the Death Comet Crew were in full swing: abstract sonic technicians putting the jagged edges of the city to wax. Tricky — trip hop's greatest auteur — had a similar affinity with post punk (from the well documented Mark Stewart connection on down).
This is the world of David Toop's Rap Attack, hard electro beats and concrete. Terranova inhabit this realm — they populate this mix with it, floor to ceiling — actually augmenting the base records with additional treatments and textures, stretching the sonic spectrum into every corner of the soundscape.
Standing in stark contrast to the pleasant lifestyle music that downtempo often devolved into when it would get lost in a sort of vaguely cool, chill out impulse, the dub chamber murk and grimy textures in evidence throughout this record operate on an alternate principle: once again, putting the jagged edges of the city to wax. This, ladies and gentlemen, is how you do trip hop.
The mix opens with one of the great Intro tracks of all time, a rumble of pure atmosphere as the sound of the city streets comes flooding in, a gentle conga rhythm tumbling out across the soundscape. Terranova, Terranova... doesn't that mean new land, right? Wow, that's beautiful. Dropping into Howie B.'s Five Days, a droning slab of mutant tech jazz from the Freezone 3 compilation. It chugs along like some clockwork reconstruction of bebop, the beat marked by muted drums and a horn tattoo jutting out from each measure. Distant tones sound off from beyond the droning soundscape, grinding synths rise like magma within the mix.
As if waking from a dream, it all collapses into reverb as a skeletal hip hop beat begins to take shape. Priest's Disorientation certainly lives up to its title, sounding as if it were constructed from a jumble of unstable elements: its wavering bassline and skittering beat come on like some ramshackle vision of Timbaland and SA-RA meeting for tea in Central Park. Apani B. Fly, Beans and Priest rhyme abstract to the max before everything collapses once again into a pool of pure echo.
A pounding slab of trip hop from Depth Charge, one of the grand architects of the form (and probably the most obvious influence on Terranova's own m.o.), starts to throb into view like an open wound. Sex, Sluts & Heaven Bordello Mix is the track, from the Legend Of The Golden Snake Version 2 10"3, bleeding wave upon wave of pressure into a cauldron of raw intensity.
The machine beats of DJ Spooky's Galactic Funk release the tension with an almost compulsive ramshackle funkiness. Spooky always seemed to catch a lot of flack for his endless theorizing and sometimes rambling approach to beat construction, but when the man was on, he was really on. Everyone knows the Sun Goddess sample, but it's the mind-blowing twisted Clavinet jam from The Politicians — a mere moment on in time on the original record, sampled and stretched to infinity here — that kicks this track into the fourth dimension. That's the good good, right there. Deep space sonics creep in and out of the funk from every which angle, before they ultimately overwhelm the beat and drag you into the deep black of space, distant sounds from the East creeping upon you.
It's East Flatbush Project's Tried By 12, that omnipresent underground hip hop record of the day, rocking an ill koto loop over the same Al Green break that fueled Timbaland's sampler around the same time. I'd rather be tried by twelve than carried by six. This record's instrumental was everywhere at the time (I even remember hearing it at a high school party the following summer). Sparse and clean, it drops in and out before you notice that the sun-glazed pulse of Peanut Butter Wolf's Run The Line has slipped upon you.
Rasco spits nasty rhymes over the smoothest of beats, sounding like he'll knock your block off with or without the slightest provocation. Swap the cut out for the first of the breakbeat tracks from the Stereo MC's' Ultimatum project, The New Birth sampling Devil's Claw. A sonic tundra built around the opening break from Patiently, this track serves as a bridge into the uptempo stretch of this mix, the stately strings from BFC's Please Stand By rising from the glacier's surface. The first of the early Carl Craig tracks here — both of which ride improbable breakbeats — this one shrouded in waves of mystical Prophet 600 synthesizer, timbre hovering somewhere between strings and organ.
BFC's widescreen techno drifts off into the horizon as the break drops out, voices intoning astrological signs into the great beyond. Patrick Pulsinger's Citylights Pt. IICity Of Starsigns, a scattershot astral jazz shuffle, shambles into view as if powered by some mutant machine's makeshift propulsion. Like Ian Simmonds' Man With No Thumbs, it staggers on an irregular fusion rhythm (quintessential tech jazz straining against the machines), before ultimately collapsing into the void.
Ladies & Gentlemen, one of 69's 4 Jazz Funk Classics4 (and the second of the Craig tracks here), picks up the thread with great churning strands of sequenced bass and a fast-forward Curtis Mayfield loop from the Superfly soundtrack. Terranova give you all eleven minutes of the track here, a generous move as it's one of the most sublime techno songs ever put to tape (on what was, at the time, an extremely hard to find record).
Structured as a multi-part modular groove whose main section drops out into a stone cold breakbeat breakdown — forlorn tones cry out ever gently — before those rolling bass sequences return stronger than ever, unfurling in great arcs toward the sky. Terranova close it out in striking fashion, with what must be a custom bit of nearly g-funk keyboard filigree twirling on and on into the sunset.
Backroom Productions steps in to give The Definition Of A Track. At the very least, this is definitive New York house, surely: Groovin' Without Doubt. The whole thing rides atop this massive bassline that seems to meander its way up and down the beat matrix, freewheeling and utterly unresolved. This groove segues into a passage in which the synth line from Silicon Soul's Who Needs Sleep Tonight is warped and threaded through The Octagon Man's Modern Funk Beats; both tunes seem made for each other once you hear them in this context. It lasts but a moment before the distant growling bass of Avenue A's ace remix of Terranova's epochal Tokyo Tower pulses into view.
This version has nothing whatsoever to do with the sublime original (that heavenly jam with one Manuel Göttsching, a tune which I've already mentioned here, and must return to again sometime for further discussion). It's the great lost big beat tune, tucked away on this mix as an exclusive (you can hear it unmixed on the double-vinyl companion to this CD). Industrial breaks klang, run at a half-speed, then shift gears into a beat of block-rocking proportions and back again, bridging the gap back into downbeat territory as I L.O.V.E. You drops the tempo down to a crawl with bass you feel in your chest.
DJ DSL's warped take on lovers rock finds him twisting a bit of Yellowman's Lost Mi Love to abstraction, all effects on overdrive. With a deformed roar, the dope downbeat of Ultimatum's second contribution Stop It! Stop It! Stop It! stalks its way across the soundscape, perhaps marred slightly by some creepy dude that's trying to push his luck with a lady. What's the deal? Still, it's but a moment before Terranova's masterful remix of the Jungle Brothers' Jungle Brother oozes into every corner of the soundscape on a massive Reese bassline and slow motion breakbeats.
If there's been anything that's elaborated on the sound that the Brothers themselves laid down on J. Beez Wit The Remedy, it's this remix, which leaves you wishing Terranova had been allowed to produce the entirety of Raw Deluxe. These mutant beats live up to that title and then some, in what must be one of the most uplifting slabs of hip hop ever put to wax. Those rude voodoo flutes swarm over everything!
The whole soundscape just hangs there, suspended, before being sucked to a pinpoint and morphing to the drop of buzzing bass from The Junkyard Band's The Word. Taking a stab at Reagan-era economic policy over a monster groove, this record just rolls out the speakers in an avalanche of percussion, bass locked in a furious dance with the MCs. This record, one of Def Jam's incursions into the D.C. go-go scene, boasts a compulsively three-dimensional soundscape, one that is continued in the Atmospheric Version of Spoonie Gee's Spoonie Rap, slipping into the mix transition practically unnoticed.
The bedrock rhythm, knocked out by a live band, sounds like a yet-even-more-fluid Remain In Light-era Talking Heads, while the party atmosphere, scratches, warped tones and effects come courtesy of its remix on Harlem Place, sounding like nothing so much as the tracking shot from Mean Streets where Harvey Keitel stumbles through the party and down the hall before collapsing on a cot in the back room, only here it all devolves into a deluge of sirens announcing the nightmare that is Terranova's DJ-Kicks/Contact — the track.
Contact is a warped, druggy take on 70's soundtrack music as seen through the cracked fun house mirror of hindsight: paranoia, conspiracy and malaise caught on celluloid, camera cutting a rakish angle through a deserted alley. I used to imagine some bleak Scorsese-esque movie (before I'd seen any, of course) or cop thriller playing out to the music. It certainly matches the visuals in films like The French Connection (parts I and II), Night Moves and The Parallax View, harboring a raw, churning intensity that puts an awful lot of imaginary soundtrack music to shame. If you come across the 12" single, don't hesitate, as it also offers up an alternate version on the flipside5 called Contact Lezlie, a further dive into the dirty shadows.
It's worth reflecting that the prevailing mood of this mix is probably meant to evoke Berlin or even New York, vast metropoles defined by their towering architecture, but for some reason I've always associated it with San Juan and the outlying Carolina district in Puerto Rico. Listening for the first time brought back memories of cloudy days that would result in the inevitable torrential downpour, tropical colors overcast in grey.
Predictably, the last time I was on the island, I played it out nearly every day — further cementing the association.
Aside from its towering greatness, I often return to this mix because there's an elemental sound here, thick with all-encompassing atmosphere, that I have yet to hear anywhere else in so potent a form. Drawing on routes flaring out from primal musics — hip hop, techno and dub — and feeding them through a prism of post-punk abstraction, they seem to map out a vision of ancient future music that remains vital to this day.
Through the murk and the grime, or because of it perhaps, resolve endures in the gutter: green grows through cracks in the pavement, ribbons of light slip through a crumbling edifice at dawn. City lights smear across a car window in the night, Cosmo Vitelli trying to realize a vision. Dread becomes determination, and Terranova puts all of it to wax.
This poll would ultimately decide which five DJ-Kicks mixes would be offered up half-price in their online store. However, since certain entries were out of stock, they weren't eligible for the poll — thus rendering the results tainted!
My top five would look something like this: 1. Terranova, 2. Smith & Mighty, 3. Stacey Pullen, 4. Kruder & Dorfmeister, 5. Claude Young. At least one of those was not available though, forcing me to pick Rockers Hi-Fi and (if memory serves) Andrea Parker.
As a loose bit of trivia here, you can see this record (along with The Heliocentric Worlds Of Sun Ra, Vol. 1) lying in the background of the barebones room that Coco is sitting in on the B-Sides & Remix Sessions liner notes.
Well that was a bit of an excursion, so I figured why not let the list breathe awhile. I've got a couple features in the works that should start filtering in over the next couple of weeks, but seeing as its hectic times in the heights it seemed like as good a time as any to just check in.
Not much to report at the moment, but between putting together this upcoming Parallax material, working with The Pitch Ninja on a massive rebuild of the Radio AG infrastructure and ducking into the studio whenever possible (not to mention the obligatory real world incursions), 2015 is shaping up to be an exciting year... so give me a few days and I'll lay some more of the good good upon you.
This all germinated from an exchange between Sari (my wife), Andrew (my brother) and myself in which we each compiled our top 100 records of all time and then had a little party to review the lists while listening to bits of the records in them. It was a great excuse to talk music and I daresay that we all had a blast trawling through each other's favorites. It was during the process of putting together my own that my love for writing about music began to rekindle and I vowed to myself to bring back this site. I suppose then that it's only appropriate that I use it to kick things off again here at Parallax Moves.
This list represents my absolute favorite one hundred records of all-time, including albums, EPs and singles. Truth be told, a couple borderline compilations sneak in too! The idea was to select the records that essentially form my musical bedrock, the very core of my taste in music, and in a sense, the lens through which I tend to hear everything else.
It can be so tempting to only include influential, important records, to lean too heavily on the accepted canon of (insert genre here) classics rather than those records one actually loves most. The flipside of that coin is to veer too deeply into the obscure, or all those neat little records one discovers along the way. I found that the trick was to ruthlessly select (from my initial pile) only the records that: 1. Had a crucial impact on me (be it immediate or gradually, over time), 2. Are front-to-back amazing, and 3. I still listen to all the time.
This narrowed the field considerably, but there were still about a dozen too many records. Eliminating those was probably the most difficult part of the process, but its amazing just how much the list started to write itself at that point. To be honest, it was a bit of rush seeing it all come together. The result is a deeply personal selection, but I think that's the only way to go. In the end, I can promise you that every record here is a stone cold killer...
The Parallax 100 has recently been augmented by the next 100 records, which rounds out the set to an even 200. To start from #200, click here.
French synth wizardry from Richard Pinhas on Heldon's first odyssey, the driving pulse of which marks it out as a remarkably physical permutation of space music proper. Tracks like Back To Heldon and Northernland Lady seem to soundtrack actual landscapes you could touch and feel, wander and get lost in. Gilles Deleuze even makes a cameo on Ouais, Marchais, Mieux Qu'en 68 Ex: Le Voyageur, the one track to feature the band in full.
Man Parrish produced loads of great records throughout the eighties, but this wildly mutated remix of Hip Hop, Be Bop Don't Stop is a multi-jointed electro monster. Its rubberband bassline and depth charging 808s are remarkably loose within the context of electro, a genre typically defined by it's (intentional) rigidity.
Psychedelic, spaced out funk from this giant of Anatolian music. Occupying that nexus between acid rock and straight up prog (think Paul Kantner's Blows Against The Empire), it bests all other contenders by merit of its singular sound and vision. Those massive, supremely deranged synths come as an added bonus.
The greatest record to come out of the perennial clash between house and hip hop, a sound that has remarkably crashed back into the mainstream over the last five-odd years. The vibe here brings to mind certain records on the Strictly Rhythm imprint, also things like Hateful Head Helen, but the whole of this EP is thoroughly up to date and leans brashly toward the future.
The Rocking Chair Album. By my estimation the wildest electric blues LP, even outstripping his own supremely fuzzed out work on Chess' head-oriented subsidiary Cadet Concept. Wolf here sounds hungry as he attacks each tune with the ferocious charm he was renowned for, wrestling their melodies into a dense, churning turmoil of rock hard rhythm and blues.
One of the many great records laid down in Nassau by the brilliant Compass Point All Stars, this one benefits from Ms. Jones' compelling presence front and center. Splitting the difference between disco, post punk and dub, this is pristine, chrome-surfaced boogie on ten-inch rubber wheels. Just given the lavish Deluxe Edition treatment as well, with an unreleased cover version of Gary Numan's Me! I Disconnect From You tossed into the bargain. Grace's music is essential.
Digital dancehall. Generally recognized as a genre best served by the 7" single, this sterling LP is an exception to that rule. Tiger himself is responsible for just about every element on the record, from the toasting on down to the beats, resulting in a super-tight — and endlessly playable — ten track selection on which his larger-than-life personality shines immensely.
Japanese pop outfit remixed by the early heavyweights of British abstract techno: The Black Dog, Aphex Twin, Ultramarine and Global Communication. The ladies' heavenly vocals weave through these warped re-workings of their original compositions, informed by the curious slant that each producer brings to bear on the material. Truly otherworldly in every possible sense, the results simply sound like nothing else around.
Ethiopian Jazz. Discovered this via the excellent Éthiopiques series on Buda Musique and just had to track down the original LP. Mulatu's band so fluid here, the murky soundscape so dense with rich detail, that the record itself seems to conjure up a ghostly mirage of some smoky dancehall in Addis Ababa, thick with atmosphere and hovering three feet off the ground.
Wicked downbeat hip hop on the cusp between day-glo jazz rap and the dark blunted zeitgeist just around the corner (see Black Moon, Cypress Hill and the Wu-Tang Clan — the RZA and 4th Disciple of which actually produced this record), and managing to deliver the best of both worlds. N-Tyce's flow is smooth as can be and Method Man on the hook a particularly inspired touch.
Sampladelic, hard-edged post punk. The Maffia backing is incendiary and Mark Stewart explosive, veering between rage and sadness in equal measure. Also notable for spawning Stranger Than Love, the dub of which was perpetrated by none other than a very young Smith & Mighty. Indeed, pre-echoes of nineties Bristol seem to reverberate throughout the entirety of this fierce, uncompromising record.
A peak-period Joe Gibbs production that leaps out of the speakers with a rude zig-zagging synth and rock hard backing by The Mighty Two. Althea & Donna still manage to steal the show with their raw, infectious delivery on this absolutely massive (#1 in the U.K.!) pop reggae number. I've often thought that this tune must have had a profound shaping influence on The Slits, in both sound and spirit.
Strung out fourth world voodoo funk. Captures that feeling in late August when summer's lost its luster and seems like it's never going to end; sun-glazed buildings and steam rising off the streets. A definitive L.A. record, if I may be so bold. The band's interplay here so dexterous (City, Country, City) and group chants so obsessive (Beetles In The Bog) that nearly every tune feels like a mantra. This is my Marquee Moon.
Seminal N.Y. House and Todd Terry's finest moment of patchwork brilliance. Owing to his background in freestyle music, he was the first house producer to truly grasp the possibilities of hip hop and consequently seemed to approach all of his early traxx with a wildstyle mindset. This was already over a decade old (an eternity in the nineties) by the time I first got to hear it, but it blew my mind nonetheless. If there's one record that I'd like to think my life sounds like, this is it.
Globetrotting synth pop from one of the pioneers of the form. Looking past the gloriously icy climate of his peers (this the era of Gary Numan, Fad Gadget and The Human League), Leer establishes a warm and astonishingly nimble sound here. Splitting the difference between Kraftwerk and Tonto's Expanding Head Band, while adding a bit of eighties pan-global jet set atmosphere for good measure (think Club Paradise and Jewel Of The Nile), this plays like a Balearic record out of some parallel universe. In ours, it wouldn't even occur to people to make something like this until about fifteen years later (see Jimi Tenor, Patrick Pulsinger, Uwe Schmidt et al.). Utterly indispensable for any electronic pop lover.
Bracingly intense, white-knuckled biker metal. Despite their reputation as speed-metal pioneers (their very name a slang term for speed freaks), on this, their very first record, the hangover of hard rock's James Brown-as-played-by-cavemen beats endures, informing the entirety of its blistering mid-section: one of my favorite rock 'n roll trips of all time, sounding like a two lane stretch of highway cutting deep into the Mojave desert.
UR in their undeniable prime, back when Jeff Mills and Rob Noise were still kicking it in the group with Mad Mike Banks and the crew came off like Detroit's very own Public Enemy. I love nearly everything they've put out, from space jazz to computer-age electro to no-nonsense techno — all of it was extraordinary — but they never hit harder than when they were intensifying Belgian hardcore. On the Riot EP, UR's conceptual brilliance collides with their Hard Music From A Hard City aesthetic, resulting in their definitive statement.
In which the German dancefloor chanteuse collaborates with The Grid for a double-EP of ambient blues. In the process, she briefly inhabits — maybe even invents — the role of ecstasy age post-canyon troubadour (amplified here by the presence of BJ Cole on pedal steel), fragile and coming down from the shattered heights of the rave dream. This fertile landscape would eventually provide sanctuary to artists like Beth Orton, Dido and Dot Allison, while stretching outward to color the sensibilities of projects like Broadcast and The Beta Band. The results here are as true to her vision of dark electronic soul as she would ever get and practically define the word majestic.
New wave ska-pop, played with clockwork precision by The Beat. Tropical, breezy numbers like Hands Off... She's Mine and Rough Rider rule the day, although there's a definite undercurrent of dread beneath all of this day-glo pop, rising to the surface in Twist & Crawl and even Mirror In The Bathroom's unresolved paranoia. The U.S. version of this record is the one you want, as it includes two crucial extra cuts: Ranking Full Stop and a cover version of The Miracles' Tears Of A Clown, both of which add an extra dimension (and loads of charm) to the record.
Machine Soul twisted to the nth degree. SA-RA were often at their best when they didn't even seem to be trying, and this two-part EP (that only ever surfaced in Japan) might be the best example. Instrumentals like Jumbo and Enter Sex Slop beam two decades worth of hip hop-infused r'n'b into deep space, while Love Stomp and Wonderful (the alien descendant of Stevie Wonder's 70's records) ply a sort of warped astral jazz. And the two ballads (sung from a space capsule), Intoxicated and We Can Do Anything, stand among the finest songs they've penned. It's a shame that Butterscotch (aka Frequencies), possibly their single greatest moment (and one that would have felt right at home in this company), remains unreleased.
Early works by the jazz giant, recorded during his very first sessions as band leader. This well before his stellar run on Riverside and Columbia, which resulted in a flurry of great albums like Brilliant Corners and Solo Monk. Captured here is the initial supernova that eventually went on to generate those later works, shining as they do like stars in the firmament. A wild and intensely cerebral vision of jazz that finds careening bebop taken to logical abstraction.
Manuel Göttsching, krautrock guitarist extraordinaire, creates one of the great synth lines and then proceeds to construct an hour-long jam around the ebb and flow of his machines. The result is a marathon of spaced out proto-techno that gradually seemed to weave its way through the very DNA of electronic music in the ensuing decades. I first heard him on Terranova's Tokyo Tower way back in good old 1997, and he's remained one of my favorite guitarists ever since. His guitar sound here, as always, is exquisite.
Definitive statement from one of garage's true auteurs. This is supremely lush and soulful. A saga spread across four radically different versions, each managing to simultaneously contrast and complement the other, with the hypnotic electro pulse of CD Remix #9 and Fusion Dubb's cascading instrumental bliss running perpendicular to the wild pitch madness of Let Da Rhythm Move U, while the opening Journey Man Thump itself is extraordinarily haunting.
A luminescent nocturnal paradise, and the precise point of intersection between post punk and new pop. Alan Rankine and Billy MacKenzie drape sheet after sheet of sound onto a staggering pileup of impenetrable texture that they somehow manage to mutate into a breathtaking sequence of fully formed, brilliant tunes. Billy MacKenzie's soaring, operatic vocals are about the only ones you could imagine successfully cutting through these densely populated soundscapes.
A pre-Future Sound Of LondonDougans and Cobain get down to business with the title track, a rolling breakbeat monster, but the centerpiece is undoubtedly Q, an absolutely gorgeous peak-era rave anthem. As great as all of their later FSOL output was (Accelerator and ISDN among my favorites), their early records have a certain ravishing intensity, a rough-hewn charge, and this one is their masterpiece.
Afrobeat icon's mightiest record, from that blistering offensive he ran during the seventies, a period when the man was simply a force of nature on a serious roll. The title track was inspired by a police raid on the Kalakuta Republic (the story of which is the stuff of legend), but it's the insouciant brilliance of b-side Water Get No Enemy that quietly sneaks up to steal the show and push this record out above the stiff competition. As the man once said, Music is the weapon of the future.
The quintessential disco LP, and possibly the greatest, catches The Chic Organization in the middle of their late 70's winning streak: a period when they could do no wrong. It's lush, peak-era disco like Happy Man and I Want Your Love (not to mention the immortal Le Freak) that seem to be the obvious bounty here, yet the leisurely Savoir Faire (sounding like a lost instrumental from the Superfly soundtrack) and gorgeous balladry of At Last I Am Free — almost undisclosed moments of pure elegance — match all those songs for beauty, with everything blending together to make this record such an undeniably strong one.
Pure, elemental space jazz, in which gravity simply ceases to be a factor. This is the gateway record between Mwandishi's longform electric grooves and the full-on jazz funk of Head Hunters. The presence of one Dr. Patrick Gleason, working the ARPs, pushes this recording into the realm of pure tech jazz. A delirious odyssey into the deep black void of space and an obvious ancestor to later like-minded projects such as Galaxy 2 Galaxy, Innerzone Orchestra and Fretless AZM.
Four elegiac folk suites that burn with a white hot intensity. Everything here suffused with heartache and dread, yet staunchly refusing to ever fully give into the darkness. Harper's mournful vocals and spidery guitar weave their way through the orchestra's towering Gothic architecture, these great vaulting spires from which one can but observe the rolling, desolate tundra laid out below.
Categorically fierce ragga jungle from the golden age of rinsin' amens. Masterminds James and Mark X took the proper name for ancient Egypt to christen both their label and crew, all of whom are present here (plus Remarc, in a blistering cameo appearance). Tearing breakbeats are the order of the day, with subsonic bass charges and a militant atmosphere pervading the whole of this furious, uncompromising LP.
Dreamy post-grime r'n'b, moments of which make me think alternately of Detroit and The Prodigy. This a three-way collaboration between the Fade To Mind and Night Slugs crews (both dealers in dark electronic instrumentals) and Kelela, who lends her ethereal vocals to these already otherworldly backing tracks. The whole affair feels deeply surreal, as if this were a music heard through the lingering mists of a dream. Technically a mixtape, as an album-length statement it excels.
New Jack Swing. Teddy Riley's greatest moment, the Teddy 2 mix far superior to the album version. With the inclusion of that piano twinkling on the breeze, easing the tension of an interminable sax line from The Darkest Light, the whole thing is pushed to perfection as the groove's mesmerizing sway begins to lift into low orbit. I remember hearing this on the radio for the first time, as an 11 year old, and thinking that it sounded like a mirage in the desert (pyramids and palms dancing on the horizon). It wasn't until I finally tracked the record down, years later, that I realized what the song was actually about!
Sublime deep house from Chicago. Simply perfect, everything in its right place. Do You Know Who You Are and School Hall are among the most achingly beautiful songs ever written, while Ride and In A Vision map infinity: true hall of mirrors music. I'd been into house music for ages before finally managing to discover this thanks to a hot tip from Woebot, whose exceptional writing about music was a revelation, and for that I will forever be grateful.
Elton and Bernie Taupin, at this point still firmly in singer-songwriter mode, deliver their country western concept album. Almost musical-esque in execution, each song seems to follow one character while the next will drift on to focus on another (I've always recognized a kindred spirit in Come Down In Time). A front to back masterpiece with some of their most glorious songs; that it's almost obscure these days is a shame.
A dense, hallucinatory vision of fourth world jazz. Don Cherry's crystal-clear tone cuts through this mercurial brew of boundless depth, a mesh of struck bells, electric piano, tambura, bass and percussion. Pure Ocean Of Sound music. Frank Lowe's presence here a revelation, his pellucid tenor licks shimmering like the very surface of the water.
Superb roots reggae LP on Coxsone Dodd's Studio One imprint. The Wailing Souls are one of the mightiest vocal groups of all time, their harmonies among the great elemental sounds in music, managing to effortlessly capture the feeling of pure joy and then whip around to endless longing in but a moment.
Eighties jazz funk one-off. It's 1981: Keith O'Connell and Mike Collins, two British session men, get down in the studio with a Prophet 5 synth, Fender Rhodes, CR-78 rhythm box and electric bass, churning out this motorik bit of smooth jazz onto a demo tape and sounding completely out of time (think Hall & Oates and Carl Craig stuck in an elevator, making elevator music, and you won't be far off). The duo spent years trying to get a label to release it, until Passion Records (the soon-to-be parent label of Jumpin' & Pumpin') finally pressed it to wax directly from the original demo tape and gave them the epic name Sun Palace. The record wound up as a Loft Classic, and the rest is history.
Remarkably flawless longform work of pristine machine soul, produced by The Neptunes just as they were surfing their creative peak and released a matter of months after the first N*E*R*D album. Like the original electronic incarnation of that record, it was tragically buried at the time (never even receiving a U.S. release in this case). Still, a bunch of us bought the imports and played them obsessively. Of all the vocalists that The Neptunes worked with, Kelis always seemed to best articulate the Star Trak vision — that intriguing mix of stoned ennui and star-child optimism — and nowhere better than on this record's cosmic denouement.
Moody, half-lit Detroit techno. This album links together two EPs from the preceding year: The Living Key and, you guessed it, Images From Above, tacking on the absorbingly lush Burujha to round out the set. Not a famous record, but an essential one. The sound that the Burden Brothers achieved during this era is utterly captivating: arcing fractals of percussion entwine mathematically precise drum patterns while shards of synthetic texture pierce vast burnished soundscapes, splashes of melodic color drifting wraithlike out of the darkness. Every element so modest, so low key, yet the combination is ruthlessly magnetic.
An absolute beast of a record, in which monumental waves of pressure build and build over endless, rolling breakbeats. Narra Mine is a lavishly melancholic stretch of widescreen ardkore, while the flipside's nightmare strains of urban paranoia rise like steam from twilight city streets. Guns of Brixton, indeed. Sharon Williams wails like a banshee and Killerman Archer's maniacal, rapid-fire toasting amplifies the tension every moment he's on the mic. Pure dread.
Sixties garage rock from New York, made gently with liquid guitars. Where the Velvets' rockers used to pound, they now glide smoothly, with gorgeous folk numbers being the order of the day. The Murder Mystery, their final concession to the avant garde, is an engrossing dive into the subconscious.
Breezy French pop, and one of the greatest pure pop records ever. Sounding like ribbons of sunlight shimmering through stained glass, this is daydream music to fall in love to on a summer afternoon. The reluctant icon is accompanied here by the Charles Blackwell Orchestra, whose inventive flourishes provide a swooning, sumptuous palette of sound for Hardy to wistfully inhabit with inimitable style and grace.
Lush, haunting orchestral environments crafted by bossanova's greatest composer. A seventies record through and through, this is an incredibly heavy listening experience. Songs stretch out over vast uncharted terrain, every corner of the soundscape cloaked in rich detail. There are entire worlds transcribed within the grooves of this record.
French disco, prefiguring the likes of Daft Punk and Cassius by some fifteen years. Martin Circus were a rock band that drifted into disco's orbit for a couple albums, one of which spawned the original fourteen-minute version of this tune. Here, it gets reworked by the legendary François Kevorkian into a dazzling maximalist affair, crammed with nearly every sound you could imagine and capturing disco's essence within its shining seven minutes. The b-side, I've Got A Treat, is an infectiously sleazy bit of motorik Euro disco.
Half-lit bedroom disco from the nascent superstar. Maybe not as spectacularly widescreen as his staggering run of eighties records, there's still something very special about the sound here that draws you in. In Love and Soft And Wet have a deft, almost dainty, rhythmic touch to them, while ballads like Crazy You and So Blue sound improbably low key amidst his considerable slow jam repertoire. The undoubted climax is I'm Yours, an epic prog/funk workout that closes out the record in a thrilling crash of thunder, pointing gamely toward the future.
Bun B and Pimp C loom large over the history of Southern rap, having been in the game since virtually day one, and Ridin' Dirty is their ornately detailed masterpiece. The whole record glides in graceful slow motion, Pimp C and N.O. Joe's velvet-cushioned production forming a plush foundation for UGK's elliptical rhymes to dance over. An affinity with one DJ Screw can be felt throughout the blurred, spectral grooves of this LP, and nowhere more than the ghostly twilight vision of 3 In The Mornin'.
Late-period Coltrane. These sessions, from 1965 (although the record itself was only posthumously released in 1971), are among the last to feature his classic quartet with McCoy Tyner, Jimmy Garrison and Elvin Jones. True space jazz in every sense, with Coltrane blasting through the stratosphere, slipping into zero gravity and back again as Elvin Jones pounds out the propulsion for this interplanetary starship's travels.
Psychedelic dub reggae 7", produced by Lee "Scratch" Perry at the Black Ark and at the peak of his powers. This sun-baked, hallucinatory underwater excursion seems to rise from the immense bass pressure of the titular river's bed, where everything churns and tumbles in a great slow-motion whirlpool, sucking you ever deeper into the hypnotic abyss.
Legendary rock band at their most arcane and mystical, veering from the hard blues of their first two records into a sort of unheimlich folk balladry. The proto-metal is still there — Immigrant Song, Celebration Day and Out On The Tiles — but now filtered through a medieval lens only occasionally hinted at before. That's The Way and Tangerine are two of their most bewitching acoustic numbers, while the majestic sway of Friends remains my absolute favorite moment in their oeuvre.
This mesmerizing Indian classical recording is quite simply magnificent. Shivkumar Sharma a true visionary and master of the form. His playing on the santoor never fails to be thoroughly captivating: hearing him work his magic is like watching someone coax time to a standstill. The added touch of those flickering, gently swaying rhythms make this my absolute favorite record of his.
Bowie in Berlin, taking on aspects of minimalism and Krautrock while transforming his plastic soul sound into something even more robotic in the process. Side one is crammed with strange, paranoid pop songs and shimmering instrumentals, while side two stretches out into an ambient landscape of Europe endlessness. This era of Bowie's (detailed in Bowie In Berlin: A New Career In A New Town, an excellent read) is ceaselessly fascinating to me, and remains a conduit to so much amazing music, amidst which this record more than holds its own as a masterpiece.
Far-out salsa, shot through with an unyielding sense of cosmic jazz exploration. Eddie Palmieri, often referred to as the sun of Latin music, has a great many first-rate records to choose from, but this one is my favorite (with Vamonos Pa'l Monte running a close second). Pulling together some of his wildest studio experiments (Cobarde's crazed ten minute salsa pulse and the almost modern classical Random Thoughts) with marathon live workouts recorded at the University of Puerto Rico (Chocolate Ice Cream and The Mod Scene), this record essays some of the man's outermost sonic precincts. Those improbable zero-gravity breaks on Condiciones Que Existen's low-slung barrio funk are a particularly impressive touch.
Gorgeous vocal jazz shearing into proto-soul territory. Having informed so much great music throughout the years, it still remains entirely unmatched on its own terms. The very sound of this record is enchanting, infused as it is with pure depth and splendor. Billie Holiday, here still clear-voiced and resplendent (before the ravages of time and hard living took their toll), remains the greatest vocal presence jazz has ever seen. A record to lose yourself in.
Majestic early techno relics from Detroit's Carl Craig, back when he was just a fresh-faced kid trying to make his mark on the culture. Each and every track would be a highlight in any other context, while in present company they all flow into one extended hypnotic sequence. Moody dancefloor burners like Crackdown and From Beyond flow effortlessly into the glorious breakbeat release of Please Stand By and out toward the elegiac ambient house of How The West Was Won, while the peerless Neurotic Behavior still sounds like a record from another age... wholly timeless and too magnificent for words.
No Wave duo get atmospheric with Ric Ocasek in the producer's chair, stretching the sounds of the debut's most sumptuous passages out across the entirety of their second full-length. Diamonds, Fur Coat, Champagne sets the stage with a casually ethereal groove, while the duo map their sound's spaciest precincts in the eerie freeform calm of Las Vegas Man and Harlem.
Long-running legends riding the crest of their mid-seventies 3 + 3 era, arguably the band's peak. Prefigures Bowie and Eno's Berlin-era methodology, in which the uptempo numbers fill out side one while the second is given over to pure atmosphere: in this case melting into a sidelong mix of ambient soul, the ravishing synths of which are exceptionally lush and sun-glazed.
Speaking of which, Eno's Berlin-era album is absolutely essential listening, of a piece with his earlier classic Another Green World (a crucial record for me, just barely outshone by this one). Here, Eno examines the lush vegetation of that world from an entirely different perspective: that of the laboratory (the domain of science), and the elegant precision exercised therein is thoroughly modern. Even as strange almost-pop songs gradually give way to pure ambience, the former seem to inform the latter (and vice versa), melting together in a state of perfect harmony.
By my estimation Arthur Russell's finest moment, fusing the introspective nature of his World Of Echo material with the strange propulsion of his left field disco records like Let's Go Swimming and Wax The Van. This is a vision of the dancefloor that stretches far beyond the walls of the city, out across the great plains and into the deep blue horizon, spreading joyously outward as far as the eye can see.
Two old timers who've seen it all finally get a chance to meet up in the studio, laying down crisp re-workings of a bunch of classic Ellington-penned numbers. This is quite possibly the purest glimpse into the very essence of jazz ever put to tape. Even as these two legends swing together like it ain't no thang, they sound for all the world like they're jamming in orbit on the space station.
Weird new wave. Literally overflowing with ideas and traveling in every direction at once. Spiky rockers like Citizen cut their way out of the murky depths even as moody instrumentals like Film Theme revel in them, while mid-tempo club burners like Premonition crop up to inhabit the space between. Veldt, a maddening slice of pure atmospheric paranoia, even breaks out into a pleasantly menacing skank. For me, an unquestionably crucial record.
The godfather's dense double-album, rife with an overwhelming sense of seventies dread, yet at the same time home to some of his most gorgeous ballads. The fourteen-minute closing stretch of Papa Don't Take No Mess, one of his greatest extended workouts, is an obvious standout, while the Latin-tinged reworking of Please, Please, Please a hidden gem that hints at the remarkable breadth of this LP. I can't think of another record remotely like it.
Skewed hip hop from this visionary Brooklyn crew. If their first LP gave birth to the Native Tongues era then this one effectively laid it to rest. Decomposed beats, subsonic bass pulses and random machine bleeps punctuate these Gaussian blurred samplescapes within which Eugene McDaniels and Public Enemy rub shoulders with The Stooges. The results are a kaleidoscopic hallucination of hip hop: bizarre, druggy and in the end, their crowning achievement.
Nineties r'n'b. A glistening, four-dimensional soundscape that seems to morph and gyrate like liquid clockwork. Here, the swingbeat girl group hook up with Timbaland and Missy "Misdemeanor" Elliott (at an early peak, when everything they touched turned gold) to produce this casually futuristic one off — and a highlight for all parties involved — realigning SWV for the chrome age.
Sub-conscious deep house, where the border between electronic and live instrumentation decomposes to the point that its hard to tell where the programming stops and the band begins. I'm Doing Fine embodies this seamless symbiosis, while the juke joint boogie of traxx like Shades Of Jae and Back At Bakers On Livernois form a perfect counterpoint to the spectral jazz found in Holiday and I Need You So Much. Riley's Song, no more than a bassline groaning in slow motion beneath layers of ghostly atmosphere, nearly manages to steal the show, while the Mahogani 9000/Black Mahogani suite that closes the album (and memorably quotes Eddie and Priest from Superfly) could go on forever and I wouldn't mind.
The original soul man's second full-length is an indispensable glimpse into his signature vision of rhythm & blues. Exquisite backing vocals from the ever-reliable Raelettes add a swaying finesse to this already remarkable material, sweeping from the spectral crawl of It's All Right to the carefree shuffle of Swanee River Rock, through the rave up threat of Leave My Woman Alone and on to the back door blues of Blackjack. The all-encompassing breadth of vision outlined in this sequence of fourteen flawless tunes is truly staggering.
Dego and Marc Mac, operating out of their studio in Dollis Hill (located next door to The Future Sound Of London's), charted rave's trajectory from the intensity of its hardcore origins through the depths of the darkside, ultimately arriving at this distant outpost of interplanetary jungle. Yet even as they connect with the lush space jazz of Galaxy 2 Galaxy and Herbie Hancock, they still manage to retain the rhythmic danger from even the most twisted of their earlier records. If anything, that fury gets amplified in Wrinkles In Time and Sounds From The Black Hole: astonishing displays of breakbeat science as you're ever likely to find.
Avant garde crooner's finest moment. An existential rumination on the certainty of death and dues, and a flawless work of orchestral grandeur. The Seventh Seal and The Old Man's Back Again are so majestic that they practically beggar belief on first listen, while the fragile moments (Boy Child, Duchess) are among the most exquisite songs he's ever written.
Awesome dub reggae LP from this pioneering architect of the form. The drums splash, the hi-hats skip and the bass cuts massive caverns beneath a soundscape in which everything exists as texture. This is a dusty, planet-shaking sound: simultaneously futuristic and ancient. Invasion, kicking off with those rude synth bleeps, could soundtrack the boarding of Zion in William Gibson's Neuromancer. In a word, massive.
The fabled outsider checks in with his first LP of abstract blues, burning with raw garage punk fury and a set of unforgettable tunes. A remarkably early intervention for this sort of rootsy swagger (The Stones still mining psychedelia in '67), at times so dynamically gnarled that it seems to reach forward and predict the next ten years of rock's progression.
Bristol trip hop from the originators of the form. Nearly all of their records are splendid, but this little EP, recorded as a companion to their brilliant DJ-Kicks mix on Studio !K7, distills everything great about the crew into one exceedingly lush slice of perfection. Like some hazy afternoon vista bathed in mist, this sun-glazed melancholia feels like a daydream that lasts deep into the night. The remix on the flip is a bit of storming U.K. hip hop, featuring an uncredited MC Kelz. I've always loved the way that each version samples a bit of vocal from the other. This is one of those records that never fails to bring the memories flooding back, and along with the accompanying mix was the soundtrack to the better part of my final year in high school.
Motorik Krautrock speeding down an endless stretch of highway, this also possesses some of their gentlest moments. Seeland, in particular, sounds exactly like the sunrise looks when you're up early enough to watch the world wake. The flipside of the coin boasts Hero and After Eight, two exhilarating proto-punk onslaughts that achieve a sort of rock 'n roll perfection.
Spaced out smooth soul. The confessional nature of the material — focusing on the disintegration of Gaye's marriage to Anna Gordy — marks it out as unique, especially within the context of late 70's boogie-tinged soul. I've often felt that parts of this record (especially A Funky Space Reincarnation and Is That Enough) share an affinity with certain records by The Orb, prefiguring that same extra-dimensional sense of gently shimmering psychedelia.
Early hip hop's mad visionary stretches out in this loping sidelong groove, coming on like a hip hop update of Sly Stone's Africa Talks To You/The Asphalt Jungle. Jean-Michel Basquiat's production is crisp and spacious as his diagram on the sleeve, and no other MC had more claim to be dropping science than Rammellzee.
Strange, cutting edge art-pop constructed with heavy use of the Fairlight sampler by this visionary British songstress. Kate is incredibly moving throughout, her voice a controlled fury at the center of these fiercely brilliant songs, wherein she deftly coalesces shards of pure sound into form much like a nebula gradually becomes a star. Choosing highlights is virtually impossible, for as surely as each song differs wildly from the other, they're simultaneously all of a piece, the jigsaw edges of each locking with the others into a seamless fabric of inner space.
Landmark Brazilian double album, brimming with pure majesty and splendor. Grounded in Tropicália and samba, there are also deep currents of acid-psyche and even space rock running through its core. The Clube Da Esquina group achieve such an absorbing widescreen sound here, launching off into hitherto unexplored and expansive realms, that its difficult not to get lost in the very sound of the record. Trust me, you'll want to set aside an afternoon for this one...
Stomping Detroit techno from Kevin Saunderson, a figure who more than any other has had a profound influence on my own musical life. Around this time, there were loads of great records coming out of Detroit, which was enjoying one of its periodic renaissances. For me this was the apex. Velocity Funk is a pounding hardcore banger that seemed to be everywhere at the time (see also Stacey Pullen's remix), but it's World Of Deep on the flip — with that deeply haunting bassline and sheer, rolling waves of psychedelic sound — that really captured my imagination.
Nigerian juju from King Sunny Adé on his own Sunny Alade imprint, with both sides of the record encompassed by these great, effortlessly flowing suites. The steel guitar sound heard here stands among my favorite pure sounds ever, gliding through a polyrhythmic web of backing guitars and percussion as they churn beneath those gently chiming bells. His show at The Belly Up a few years back was a real treat, and remains one of the great concert experiences of my life.
Eighties post-disco stretched out and dubbed to abstraction by Larry Levan. This whole mini-album flows together into one long kaleidoscopic mix, the bedrock rhythms of the peerless Compass Point All Stars (Sly Dunbar, Robbie Shakespeare, Darryl Thompson and Wally Badarou) gently tumbling out into space. Gwen always had such a warm presence that she invested in her music and this is no exception.
Gritty, apocalyptic funk from the man who mentored a young James Brown and anchored the legendary J.B.'s. The horn fanfare on Back From The Dead is one of the great openings of all time to one of the mightiest funk songs ever laid down, and The Way To Get Down on the flip might even be better.
Marvelous roots reggae LP wherein each and every song is immortal, every note perfectly played and Byles' voice outstanding. Lavishly produced by Lee "Scratch" Perry after his falling out with The Wailers (for anyone wanting to investigate reggae music as thoroughly as it deserves, Lloyd Bradley's indispensable Bass Culture tome is essential reading), you can especially hear his fingerprints all over Coming Home. Everything here shot through with a gentle melodic sway so intoxicating that it's sometimes difficult not to simply let the record play out all day. A front to back masterpiece.
Awesome proto-jungle. From his early tenure in 808 State and the Voodoo Ray/Automanikk era to his status as a drum 'n bass innovator, Manchester's Gerald Simpson looms large over British dance music. This album is the culmination of early records on his own Juice Box imprint, with which he essentially forged the idea of jungle out of an interface between his techno past and hardcore present. It's the sound of a restlessly inventive dreamer kicking through the ceiling and into the clouds. To this day, it remains full of possibilities.
Space age jazz from this tireless innovator who managed to maintain his Arkestra through the four decades after big band's golden age until his death. The first side features Ra experimenting with the newly issued Hohner Clavinet, while the second is given over to the sidelong wild free jazz excursion Atlantis, sounding like a field recording of that mythical empire's cataclysmic descent into the sea.
Adam Ant was the first artist I ever got into in a big way, and my enthusiasm never waned: a definite case where I love nearly everything he's done. This is the man at his most raw and unvarnished, plying a sort of angular new wave post punk... with a hefty dose of rock 'n roll thrown in for good measure. His early band, an entirely different proposition than the one that would make it big a year later, is one of the great turn-on-a-dime powerhouse units in rock. The U.S. version includes both sides of the phenomenal Zerox/Whip In My Valise, tracks that blew me away when I first heard them as a 14 year old. I can't tell you how happy I was that his recent show at 4th & B leaned so heavily on this material.
Embryonic post-rock, from a time when it was still a genre yet to exist. These erstwhile new romantics stretch out far beyond the dancefloor into a state of permanent abyss. It's the omnipresent, swelling Hammond B3 organ that elevates this just above Laughing Stock (perhaps the more obvious choice) for me, the impassioned vocals of Mark Hollis doubly poignant in this context. Possessing a gently smoldering intensity, their music is disarmingly spiritual and direct.
Jamie Principle's improbably early house missive, arriving out of the ether fully-formed on his own Persona imprint. Dreamlike and haunting in all three versions, this is a wholly alien music even within the context of its own scene. It's a tragedy that such an obviously massive talent got such a raw deal, often not even getting credit on the sleeves of his own records. If there's one house artist that I wish had the chance to record an album in the eighties, its Jamie Principle.
Fusion — in this case the elements fused being earth and fire — an untold substance then molded into these towering, monumental grooves. He Loved Him Madly is a 32-minute dedication to the late Duke Ellington, ambient jazz picking up where In A Silent Way left off, while Calypso Frelimo and Maiysha establish some spooky fourth world voodoo.
Gothic glam rock, with Brian Eno still in the fold, generating his inimitable atmospherics and pushing the whole affair down some thoroughly surreal avenues. Bryan Ferry still sounds alien on each of these haunting numbers, while the band inhabits an island all their own. The Bogus Man and In Every Dream Home A Heartache are particularly obsessive and dreamlike, while Editions Of You never fails to burn the house down.
Hendrix the futurist in experimental mode as The Experience launch into deep space, touching on everything from hard rock (Voodoo Child Slight Return) to space music 1983... A Merman I Should Turn To Be and everything in between (including Gypsy Eyes and Crosstown Traffic, both improbably forward-thinking, wild breakbeat stormers) on this blazing, nomadic double-LP.
The Beatles at their most vulnerable and downcast, captured here on the cusp of their transition from infectious power pop to beatnik-inflected folk rock into psychedelia and beyond. The seeds of the groups endlessly fertile mid-period are here. Teeming with youthful passion, this record captures the intensity with which one seems to experience everything as a teenager.
Definitive New Orleans funk. The first LP from this group of loose-limbed legends and one of the great bands of all time. Everything here so disciplined and clean that its hard to believe it was recorded in 1969 (the year of Woodstock, endless jamming, etc. etc. etc.). This is a sparse instrumental funk that rocked like hip hop long before it was ever even sampled, existing in a class all its own.
Molten rock 'n roll. Iggy Pop is as ferocious here as he would ever be, while the band try their hardest to drown him out in this densely tangled sonic jungle. Of course you don't just drown out Iggy Pop, but you can still hear him clearing all those sonic vines out of his way in a panic (Let me in!). The sound this nasty bunch of thugs summon here is elemental.
A singular collection of proto-jungle torch songs produced by Shut Up And Dance. Sounding out of time in part thanks to their visionary, stripped down production, these skittering avant pop numbers are also shot through with a deep sense of the uncanny — which is entirely down to Nicolette. A truly unique songwriter and vocalist, skewed in the best possible sense, her records and guest spots are all defined by their idiosyncratic brilliance. Now Is Early, her debut, is positively steeped in it. An unheralded masterpiece.
Exquisitely poised Germans further mechanize their sound and casually invent electro in the process. Home to some of the warmest synths you will ever hear. For me, this beats The Man-Machine by only the slightest margin, those next-level beats the deciding factor. Possibly the most perfect record ever made with machines.
Visionary soul man's second studio LP, a work of majestic orchestral soul festooned with his sublime guitar work. Astonishingly innovative, full of breathtaking sonic vistas that stretch as far as the eye can see, crawling with the dense stylings of his orchestra and anchored by a backbeat that spells doom. Mayfield is there to guide you through it all, honest and touching as ever.
Folk-rockers expand their sound into hitherto unexplored territory, informed by their deep admiration of both John Coltrane and Ravi Shankar, and wind up inventing acid rock in the process. Here, their straight folk numbers are perfected in the shimmering Wild Mountain Thyme and John Riley, while Eight Miles High (Gene Clark's parting gift to the band) sees them soar to unprecedented heights (further explored in I See You and What's Happening?!?!). Even the tracks that didn't make the cut (Psychodrama City, in particular) are phenomenal.
Epochal trip hop debut from Tricky, wherein he rewrites the rule book, cuts it to pieces and then tapes it back together in an order of his choosing. By way of example, Aftermath's casually brilliant, loping groove (co-produced with Mark Stewart) stitches together bits of rhythm from Marvin Gaye and LL Cool J, samples dialogue from Blade Runner and quotes from both David Sylvian and The Rascals. Tricky's murmur anchors the pervading atmosphere of dread as Martina's ghostly wail haunts every corner of the soundscape. Oh yeah... and Hell Is Around The Corner is my favorite song ever.
Legendary German band at their most aqueous, their telepathic interplay lifting off into the upper atmosphere. Damo Suzuki, with one foot out the door, sounds too hip to be happy as he casually lays down his most soothing set of vocals on a Can record. Moonshake is an irresistibly slinky groove and the band's greatest pop moment, while Bel Air, the sidelong jam that encompasses the entirety of the second side, is so lush and expansive that it seems capable of supporting its own ecosystem.
Sly Stone's dusted masterpiece, sounding like his Woodstock-era recordings left out and faded by the sun. Crawling rhythms from ancient beatboxes spiral off into infinity, every edge of the soundscape blunted and out of focus, as timeworn tapes spool out in blurred slow-motion. The tempos drag, the prevailing mood is downbeat and the sound itself is divine.
Derrick May surfing a wave of pure innovation. The greatest techno record ever made bar none. Simultaneously cerebral and driving, it appeals to the mind and body in equal measure. That it's muted reception at the hands of the critics was partly responsible for the man's untimely retirement is a shame. The Beginning itself might be the undeniable centerpiece, but from the dazzling technoid disco of Drama to the geometric precision of Emanon and Salsa Life's tuff versioning of Strings, every track is sublime.
Number One. My favorite record of all time, no question. Always drawn to Contact, the record's big single, I was blown away when I finally tracked down a copy of the full album — a sonic utopia where pop music meets the rave. This is where Mick Jones' fascination with sampladelia is fully absorbed into his immortal knack for penning a tune, resulting in a true embarrassment of riches. Someday I'll write a book about this record.
Time comes that I miss writing about music, recording those thoughts as they materialize. Music is my sanctuary, and the ideas that surround it fascinate me as much as the sound itself. From production and texture to the embedded thought and theory to the surrounding social and historic context, these elements are all woven through its very fabric. To my mind, the written word is as valuable a technique as any with which to explore all these concurrent aspects, running in parallel. Perhaps, like the man once said, writing about music is like dancing about architecture... but then that's a ballet I wouldn't mind watching.
There's a lot of solid music writing out there at the moment, maybe more than ever, but none that I can find seems to approach music from quite the same place that I've come from, the way I've experienced it. So why not take a stab at it myself? I'm no expert — and certainly no critic. The last thing I want to do is tell anyone what they should or shouldn't be listening to. At the end of the day I'm just a brother from the Heights, sharing some thoughts about music that I treasure from the perspective I've inhabited these past years. In the process, hopefully I can put down some writing that I would have liked to stumble across in the digital ether.
With a little luck, maybe it's something you'd like to read as well.