The Parkway Bowl Disco Mix

The front entry of the Parkway Bowl
A disco mix inspired by San Diego's bowling alleys past, present and future

Back in the day, I worked at the Clairemont Library, shelving books and helping patrons. Stimulating work, to be sure. On my lunch break, and occasionally after hours, I'd walk a couple blocks over to the Sunset Bowl to grab a bite to eat, play video games and lay out the plans for Mettrex Recordings. After all, this is where Soul Machine's Essential Funk Files were born. Good times. The general vibe in prevalence was sun-glazed and tropical, which meant of course that it was right up my alley.

An old photo
Tiki bar at the Sunset Bowl

There was a DJ booth near the bar that was all done up tiki-style, and I'd always dreamed of spinning disco at the midnight bowling sessions they held on Friday nights. Records like The Incredible Bongo Band's Apache, Freddy Fresh's Roller Rinks & Chicks, Loose Joint's Is It All Over My Face, Paperclip People's Floor and Stereo MC's Rhino. You know, basically the good good. It was a good dream, but alas the place closed down before I had a chance to hold court in the mix. Now, an apartment complex sits where the bowling alley was once comfortably nestled...

A photo of the bowling lanes
Inside the Parkway Bowl

The other bowling alley where I spent a lot of time — and did most of my actual bowling — was the Parkway Bowl, down in El Cajon. I most recently hit the lanes again with my brother Brian and cousins Isabel and Joelle a couple weeks ago to discover that the venue hosts something called Cosmic Bowling, held in a backroom with psychedelic lights and dedicated lanes for the renting. Brian commented that it was like something out of Kingpin...

An exterior photo
Entering the Sunset Bowl (back in the day)

It all brought me back to hours spent at the Sunset Bowl, dreaming up the future, and as is often the case a whole lot of records began to conjure up in my mind. One thing led to another, and I ended up doing a little mix. Within the confines of this two-hour excursion, you'll find dub disco, new wave, Philly soul, French disco, hip hop, boogie, Italo disco, punk funk, gulf stream and disco-not-disco, all anchored to a bedrock of largely straight up disco in the Chic tradition. It's all of a piece.

The scene in The Big Lebowski where Sam Elliott chats up Jeff Bridges at the bar
Dude, I like your style.

No attempt was made to be historically accurate; there's anachronisms all over the shop, because this is a 2018 disco mix — unapologetically so — filled with music that lived well past its era to fuel dancefloor mayhem through the intervening years and still sounds cutting edge some 33 years on.


So without further ado, I give you...

Listen Now

    The Parkway Bowl Disco Mix

  1. The Parallax Sound Lab New York City Intro
  2. Welcome to the show, featuring James Woods, master of ceremonies.

  3. The Mike Theodore Orchestra Moon Trek Westbound
  4. Kicking off with the orchestral soul of Moon Trek, from arranger Mike Theodore's Cosmic Wind LP. Mike Theodore actually from Detroit — not New York — but the track does seem to conjure up images of the Big Apple. He not only produced Rodriguez's enshrined Cold Fact (alongside frequent collaborator Dennis Coffey), but also a brace of sides for the Detroit Emeralds. In between, he put out two excellent LPs of instrumental disco (of which this is the first) that remain cosmic disco par excellence.

  5. The Clash The Magnificent Seven CBS
  6. Which brings back memories of driving to Patrick Henry back in the late 90s. This jam kicked off all manner of C90s during that period, soundtracking the crisp, early-morning drive to school. The album version, from the triple-LP Sandinista! is where it's at, featuring ever more lush production and further discotheque sonics in evidence throughout. The Clash were cool. I've always assumed that this and Radio Clash were their take on the early Sugar Hill hip hop sound.

    Part of what was great about disco is how it ultimately pulled anyone and (nearly) everyone into its orbit, from Marvin Gaye to The Rolling Stones, throwing up all sorts of possibilities and drawing unexpected sounds out of left field (making something like Disco Not Disco a necessary intervention, bringing together a whole raft disparate material together under its umbrella). Nowadays, it serves as shorthand for whole swathes of music. Kevin Saunderson later mined this record for Reese's awesome You're Mine, rugged Detroit techno of the highest caliber.

  7. Démis Roussos Midnight Is The Time I Need You Philips
  8. Luxuriant sun-glazed disco from Greek balladeer Démis Roussos, who of started out in art-prog band Aphrodite's Child alongside synth ambassador Vangelis before striking out on a long and winding solo career. This from '75 finds Roussos with an early entry in the disco canon, with gruff, soaring vocals holding sway over a lazy mid-tempo groove. Dig those gently psychedelic organs! Far and away the best tune on the Souvenirs album, although I have a hell of a soft spot for the motorik country-western vibes of Tell Me Now. Great sleeve too!

  9. Martin Circus Disco Circus Prelude
  10. When the chips are down, my favorite disco record. Laying the blueprint for Daft Punk, Cassius and Motorbass, this is French disco par excellence, with François Kevorkian reworking the fourteen minute album version by erstwhile-psych rock band Martin Circus into a seven minute rapid-fire edit replete with electro-boogie synths, soaring guitar solos, Moroder-esque sequences, group chants, rolling basslines, a second-line horn section and backing scat vocals that sound something like Bing Crosby duetting with Dieter Meier. I think the kitchen sink is in there somewhere.

    Props to Prelude for licensing the track in the first place, putting François K in the studio to work his magic on the masters. Even as this tune perfectly captures the essence of peak-era disco, you can nevertheless hear the implied presence of the 80s waiting in the wings.

  11. Kurtis Blow The Breaks Mercury
  12. How come these early rap tracks all of a sudden sound fresh as a daisy? Twenty years ago this would have seemed like ancient history, quaint even, but in light of everything we've discovered in light of the 21st century disco/post punk resurgence it sounds utterly of-the-moment. See also the Jason Nevins remix of Run-DMC's It's Like That, which now sounds hopelessly dated while the OG sounds as timeless as the Nuggets box set. The Breaks glides along on a nimble funk groove, with rolling percussion, juke-joint piano and Kurtis Blow's off the cuff delivery all coming together to conjure up the moody, half-lit atmosphere of Martin Scorcese's After Hours.

  13. Bruce Johnston Pipeline Columbia
  14. Erstwhile-Beach Boy-drummer-on-holiday gets in on some tasty solo dancefloor action, taking his place behind the kit to guide a string section through the cresting waves of the Pacific Ocean. A killer groove, and rawer than you might expect. Check that rude drum beat, sounding like something cooked up on an Akai! Everything goes atmospheric halfway through, when the sounds of the surf wash across the breakdown like high tide on the sea of flesh.

    Incidentally, I've often thought that The Beach Boys conjured up a convincing proto-disco sound on their Sunflower LP, what with all those sun-glazed sounds and burnished edges. Lee Perry too, which is probably why — as great as Pet Sounds is — it remains my go to Beach Boys record.

  15. Odyssey Inside Out RCA Victor
  16. In the popular imagination, disco was supposed to have died on July 12, 1979 at Comiskey Park's Disco Demolition Night. Of course, history's rarely quite that simple. Rather than some behemoth slayed in one stroke by arena rock, disco was more like the virus that mutated to turn up again nearly everywhere — from ABC and Duran Duran's new wave to the electro boogie of The Gap Band and Mtume to Madonna and Michael Jackson's chartbusting pop to the gulf stream sounds cooked up at Compass Point and played out at the Paradise Garage, the pandemic seemingly spread all over — outliving the dinosaurs and ultimately defining modern music via the sounds of house, electro, hip hop and techno.

    Of course, in the Big Apple plenty of groups kept on grooving and the dancers kept on dancing to straight up disco. In truth, some of my favorite disco records actually come from well after its supposed expiration date. Take for instance Odyssey's Inside Out, an low-slung slab of passionate modern soul riding a down and dirty gutbucket groove. Should I be embarrassed that I first knew it as a Electribe 101 song? I suspect that I should, but I don't feel it. I'd even go so far as to say that Billie Ray Martin managed to top the original, if by only a whisker.

  17. Montana Sextet Who Needs Enemies With A Friend Like You Philly Sound Works
  18. Salsoul Orchestra mastermind Vince Montana (who also spent time in Philadelphia International's MFSB) in full swing during roughly the same era with a slab of minimal, slap-bass propelled 4/4 magic in which his vibes take center stage. I once awoke from a dream with this tune still ringing in my ears, and as I gradually worked out where it came from — sometimes you can't quite recall the specifics of these things right away — it hung over the morning like a mist.

  19. Eddy Grant Walking On Sunshine ICE
  20. I've always loved the way figures like Eddy Grant, Grace Jones and Billy Ocean brought the idiosyncrasies of their island life to the gulf stream flavor to their music. Indeed, to this day they form a loose triumvirate in my mind. What is Compass Point if not the culmination of this notion, with these three toiling away in the seventies only to become bona fide stars in the decade to follow. Eddy Grant later provided the theme song to the blockbuster film Romancing The Stone, while Billy Ocean did the same for its sequel (Jewel Of The Nile). And of course Grace Jones managed to become a bond girl and trade scenes with Arnold Schwarzenegger in Conan The Destroyer!

    In light of his high profile, I'm particularly fascinated with Eddy Grant's ICE imprint, formed as he built his solo career from the ground up, he nevertheless stuck with it after hitting the big time with Electric Avenue. Of course he'd already made his mark on dance culture some time before, with this tune and Living On The Frontline being staples at the Paradise Garage (see also Time Warp by The Coach House Rhythm Section). Walking On Sunshine is a brilliantly rewired electro-disco jam dominated by top-heavy afrobeat horns and Grant's loosely-delivered falsetto. The song was later covered by Rockers Revenge, yet not by Katrina And The Waves, who's song of the same title is completely different!

  21. Billy Ocean Stay The Night GTO
  22. Early Billy Ocean in this whiplash proto-boogie tune from his sophomore set (City Limit), which is propelled by a uniquely raw-edged drum beat that really snaps the track across the tiles of the dancefloor. Like Eddy Grant, Ocean would later top the charts in the mid-eighties with yacht staple Caribbean Queen.

  23. Ian Dury Spasticus Autisticus Polydor
  24. The great Ian Dury in Nassau, on leave from The Blockheads and getting in on that Compass Point action. Very much of a piece with the surrounding records here, this was also a staple in Larry Levan's record bag over at the Paradise Garage. Dig this little interview1 with old Ian (who in his youth suffered from polio), talking about the story behind the song.

  25. Grace Jones Pull Up To The Bumper Island
  26. Yet more peak-period Compass Point (perhaps the peak, in this case) with Miss Grace Jones in the driver seat. The video2 is excellent too (Neuromancer vibes in full effect). In case you haven't noticed, I'm a huge fan of the whole Compass Point phenomenon. At the moment, I have a feature in the works, which I'm planning to post here sometime around the release of the Parallax Pier sequel in June.

  27. Delegation You And I Ariola
  28. Lush masterpiece of bedroom disco from the premiere British soul group. I've heard tell that this isn't even their greatest record, but it's the only one I own. You And I perfectly captures the tipping point between the string-laden groove of peak-era disco and the nascent machine boogie coming just around the bend. Check those aqueous, immersive synths straight out of the deep house playbook. Sublime, in a word, and a gorgeous tune.

  29. The Whispers And The Beat Goes On Solar
  30. Chartbusting disco, with a two note organ vamp that stands as one of the great tossed-off hooks of all time. Later propelling Will Smith's Miami into the charts, it also kicked off Jason Forrest's The Unrelenting Songs Of The 1979 Post Disco Crash record. Of course, none of that can touch the original. The L.A.-based Solar Records would later come to define the eighties electro boogie sound with artists like Shalamar, The Deele and Midnight Star.

  31. My Mine Hypnotic Tango Progress Record
  32. Italo disco. Like early Depeche Mode, this is bubblegum synth music with an even greater affinity for the dancefloor. That moody synth sequence was later sampled by both Bandulu and Carl Craig, for Thunderground's Amaranth and 69's Rushed, respectively, which is how I found out about this track in the first place. Sporting a peerless play of dynamics between the moody verses and joyous candy-coated refrain, Hypnotic Tango itself is a computer love masterpiece.

  33. Giorgio Moroder Palm Springs Drive Polydor
  34. From Moroder's third score, after Midnight Express and Foxes, for the film American Gigolo. This is probably my favorite of his OSTs. Everyone knows Blondie's Call Me, but this album also boasts the sleek motor-disco of Night Drive and The Apartment's moody paranoia (the latter even sounding like the lost score to The Parallax View). Palm Springs Drive — featured here — is my absolute favorite moment from the soundtrack, fusing Moroder's trademark motor-disco sound with an epic chord progression straight out of the Ennio Morricone playbook.

  35. Ashford & Simpson One More Try Warner Bros.
  36. Gloriously lush disco from the dynamic husband and wife songwriting duo of Nickolas Ashford and Valerie Simpson,. Penning some of the great soul songs of the era for other artists, including Ain't No Mountain High Enough, I'm Every Woman and You're All I Need To Get By, they also managed to put out twelve solid albums between the years 1973 and 1984. One More Try — from their third — finds the duo confidently entering the disco arena with a desperate plea for a second chance gliding over tricky dance rhythms, soaring ARP strings and some of the finest guitar soloing to ever grace a disco record.

  37. D-Train You're The One For Me Prelude
  38. The D-Train project was collaboration between James "D-Train" Williams and Hubert Eaves (previously responsible for the Esoteric Funk LP and later to play on some records with Mtume). Appropriately, this record lays down the blueprint for eighties electro boogie, with the zig-zagging synths that would come to define the decade's machine funk sound (see also Jam & Lewis), and took its rightful place as an immortal dancefloor classic. Even Liam Howlett couldn't help sampling its synth-squiggle magic for The Prodigy's Girls.

  39. Forrrce Keep On Dubbin' With No Commercial Interruptions West End
  40. The quintessential dub disco record, featuring François Kevorkian yet again reworking an original track to a higher plane altogether. West End had a phenomenal run as the 70s gave way to the 80s, putting out loads of great records hovering on the interzone between disco and dub. In fact, this is as close to the Black Ark as disco would ever get. You can practically imagine Lee "Scratch" Perry's trademark ad-libs over the top. Underground disco par excellence.

  41. GQ Disco Nights Rock Freak Arista
  42. Conversely, this is disco from high street, crashing the charts and the airwaves alike. Studio 54 music. I first heard this on Magic 92.5, way back in it's early years when it was on fire with live DJs and a killer selection of soul/disco/funk/boogie the order of the day. I remember driving home from the Clairemont Library one day, crossing the bridge from Mission Bay onto Friars Rd., when suddenly Disco Nights comes on the radio. I'd already become unknowingly aware of pieces of it — looped by Chicago's Stacy Kidd in a house cut that had come out recently — and the rush of recognition upon hearing the original for the first time hit like a ton of bricks.

    That was one of the great things about branching out from beats, hearing all those records that had fueled the music I grew up with for the first time (and still at such a young age!. The realization that there was this vast continuum stretching back to figures like Curtis Mayfield, Miles Davis and James Brown, rather than everything being these solitary islands of sound, well it was quite a trip. All of this must sound so boring to someone coming in the era of Youtube, where all that information lay at one's fingertips! Well, back in the day, it was a big deal, trust me. And I wouldn't trade it for the world.

  43. Love Committee Just As Long As I Got You Disco Re-Edit by Dimitri From Paris BBE
  44. If there's a pre-disco sound that was disco's most logical precursor, then it's surely Philly soul. Groups like The Three Degrees, The Intruders and MFSB were dealing in proto-disco way back in '73 with tunes like Dirty Old Man, I'll Always Love My Mama and TSOP, and they all wound up dovetailing naturally into the scene once it was in full force. As if that weren't enough, full-fledged disco groups like Double Exposure, The Trammps and Love Committee all hailed from Philadelphia, starting out under different names earlier in the decade as pure Philly soul. Double Exposure's Ten Percent and Love Committee's Law And Order are both great examples of good LPs in this vein.

    This is Dimitri From Paris' exclusive edit from his (excellent) Disco Forever mix. I remember picking this up in San Juan way back when. My cousin balked at the sleeve (I can't believe you're buying that!). This remix is brilliant, opening up the locked-down original to aircraft-hangar size. Transforming those baritone backing vocals into the lead, echoing lonely from within with that same sense of isolation as Bernard Sumner on the early New Order records. Chopping the horn fanfare into a looped refrain that builds and builds the tension to the breaking point before releasing in a single strummed guitar. Exquisite stuff.

  45. Kano I'm Ready Emergency
  46. Good old Kano. Kano were great. They must have the highest volume of classics out of all the Italo disco groups (shoot me down, I'm no expert on the stuff). Rather than a Moroder-derived machine pulse, I'm Ready is driven by loose-limbed live drumming (as is its b-side, Holly Dolly, famously the template for the proto-Detroit techno of A Number Of Names' Sharevari). The production on this record is just perfect, it's rubberband rhythm underpins gently trilling synths, vocoders and those delicate lead vocals.

  47. Kebekelektrik War Dance Les Disques Direction
  48. This the original version, rather than the Tom Moulton mix. I go back and forth on which one I like more, each of which have their undoubted merits. Moulton's version grooves better, but this really places the synths front-and-center. Part of me thinks I made the wrong decision... like I said, it's a coin toss! This is Moroder-esque motor-disco of the highest caliber, always making me picture some motorcade/caravan cutting through the desert under the blazing sun, synth-lines melting in the heat.

  49. Donna Summer I Feel Love Casablanca
  50. The godfather of motor-disco disco tracks, produced by Giorgio Moroder for the prototypical disco diva, Donna Summer. Remember a few years back when everyone was calling themselves a diva? That was pretty silly. Donna Summer is the real deal. When I first heard this track, I assumed it was a recent remix and not the original version from 1977! Despite the utterly brilliant chrome-plated futurism in evidence throughout, Summer still manages to outshine everything else with soaring vocals eight miles high and rising.

  51. Bettye LaVette Doin' The Best That I Can A Special New Mix by Walter Gibbons West End
  52. Going out with a bang! More West End, this time with Bettye LaVette at the wheel of a steadfast galleon constructed by none other than disco super-producer Walter Gibbons. It's impossible not to be moved by this beautifully rendered tale of getting over somebody one day at a time.

    At the track's midpoint, when that plaintive organ line erupts out of nowhere, well if you're anything like me you're in disbelief. You've never heard anything like this before! Then, the strings cut back in — horns bobbing and weaving over that groove — and the whole thing goes triumphant, proto-acid lines tearing across the soundscape like it's the most natural thing in the world, before the organ returns and a sublime piano line drives the tune to it's natural conclusion. Every element woven into a disco symphony. She's herself again now. I Will Survive, indeed. An impeccable example of the magic that can be wrought from a 12" slab of plastic, and a perfect ending to our disco odyssey. Hope you enjoyed it!

The Mike Theodore Orchestra — Cosmic Wind The Clash — Sandinista! Démis Roussos — Souvenirs Martin Circus — Disco Circus Kurtis Blow — Kurtis Blow Bruce Johnston — Pipeline
Odyssey — Happy Together Montana Sextet — Who Needs Enemies Eddy Grant — Walking On Sunshine Billy Ocean — City Limit Ian Dury — Lord Upminster Grace Jones — Nightclubbing
Delegation — Eau De Vie The Whispers — The Whispers My Mine — Hypnotic Tango Giorgio Moroder — American Gigolo OST Ashford & Simpson — Come As You Are D-Train — You're The One For Me
Forrrce — Keep On Dancin' GQ — Disco Nights Various Artists — Disco Forever Sampler II Kano — I'm Ready Kebekelektrik — Kebekelektrik Donna Summer — I Feel Love
Bettye LaVette — Doin' The Best That I Can
The Parkway Bowl Disco Mix: The Records

Credits

Mixed By: Flynn & DJ Slye.

Special Edits: Do'shonne & Slye.

Samples: Fifty Foot Hose Opus 11, The Beach Boys Let's Go Away For Awhile, James Woods in Against All Odds, Nastassja Kinski in Paris Texas.

Vibes: Gil Scott-Heron & Brian Jackson, FSOL ISDN, Sudden Impact, Moodymann, assorted El Cajon dive bars and nightclubs, Disco Godfather, David Bowie's Station To Station, Patrick Cowley, Jefferson Airplane, Atari 2600 and those endless exquisite gradient skies, ARP Solina String, Palm Desert, Jedi Knights, Dee Dee Bridgewater, Club Stratus, Summer Of Sam, The Mizell Brothers, Arthur Russell, Bobby Konders, swimming in A.G., Morgan Geist's Moves, Hohner Clavinet, Herbie Hancock, Eddie Russ, Battle For The Planet Of The Apes, Jack Kirby, Paul's Boutique, Lakeside discotheques, Lil' Louis & The World, Beck Hansen, Harlem River Drive, Night Moves, Scott Weiland, Wild Style, Terranova, The Parallax View, Innerzone Orchestra, Spoonie Gee, Radio Mettrex, Steely Dan, Fender Rhodes, the Op-ART Hall Of Fame, Calypsoul 70, Opinionated Diner, Kirk DeGiorgio, Sly Stone, Sam Mangwana, The Isley Brothers, Glenn Underground, BBE, Parliament/Funkadelic, Ubiquity, Gram Parsons, The Honey Bee Hive, G-Street, East Village, Warren Zevon's Night Time In The Switching Yard, and of course Woebot.

Footnotes

1.

Granada Reports. Ian Dury Speaks About Spasticus Autisticus inc. The Bus Drivers Prayer. Granada Reports, Ian Dury, 1981. Interview.

https://www.youtube.com/watch?v=LSo9OErEmM4

2.

Jones, Grace. Pull Up To The Bumper. Nightclubbing. Jones, Grace, Kookoo Baya and Dana Manno. Island, 1991. Music Video.

https://www.youtube.com/watch?v=Tc1IphRx1pk


...

Disco is dead.

Long live disco.

Garden Grooves 003

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 trip. 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.

Indian Ocean 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 & 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 Barry Newman, Rudy Ray Moore and Peter Wyngarde wander 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 dub disco 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 left field 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 Depeche Mode's 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 Records 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 haunting 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.

Various Artists Calypsoul 70: Caribbean Soul & Calypso Crossover 1969-1979

Strut 2008

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 lingering 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's contemporary output. 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 that notion appears unfounded (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...

Under The Palms

The Parallax 200

It's the year 2018.  It's time for the next episode.  It's time for the Parallax 200.
The next 100 records

It's been three years and three days since I first posted the original Parallax 100, and I've been wanting to delve into the next 100 for some time now. Over the course of the intervening years, I've worked up a little list that I've tweaked here and there but have somehow managed to shape into a sequence as firm as the original rough-and-tumble 100.

The rules remain the same: each of these records have had a critical, sustained impact on me beyond the rush of a great new record, are all killer front-to-back and I still listen to them all the time. Albums, EPs and singles all rub shoulders here in what is — in the spirit of the original list — a deeply personal selection from the log book of my sonic travels.

Take it as a check-it-out list from a 21st century lapsed rave-dancing chrome-plated digital soul man chilling beneath the computer blue palms of the Parallax Gardens, sipping on a glass of cognac while the soundsystem is likely pumping out any of the following sounds on any given day while the Heights does its thing all around.

Once again, each and every one of these is a stone cold killer.

And so we descend...

200. Eden Ahbez Eden's Island The Music Of An Enchanted Isle

Del-Fi 1960

Mystic exotica from the man who wrote Nat "King" Cole's Nature Boy (he once said that he "heard the tune in the mist of the California mountains"). A concept album shaped around a drifter's encounters on a mysterious island, with gently swaying rhythms cut adrift in an ocean of sound. It's tempting to think of this as one of the very first "head" elpees, arriving just in time for the new decade.

199. Gwen McCrae Gwen McCrae

Cat 1972

Smoldering Miami soul, like an even more lush and lived-in take on Willie Mitchell's Hi Records output (Al Green, Ann Peebles, et al.). Gwen McCrae's tough vocal presence, already in full force on this her debut LP, is one of the great treasures in soul music. The centerpiece here must surely be the lavishly glazed, smoldering sway of 90% Of Me Is You, which remains one of the great downbeat jams in seventies soul.

198. 2 Men A Drum Machine And A Trumpet Tired Of Getting Pushed Around: The Mayhem Rhythm Remix

I.R.S. 1987

Improbably early oddball house from the two Fine Young Cannibals that aren't Roland Gift. The original version comes on like prime Yello, while the remix finds Derrick May stripping the track down to its essential organ/whistle framework (while not forgetting that trumpet!) and injecting a nagging piano vamp into this stop-start motor city groove.

197. Dâm-Funk Toeachizown

Stones Throw 2009

West Coast g-funk spanning ten sides of vinyl like an endless stretch of California highway. There's an almost undisclosed amount of straight up techno running throughout, emerging in the moody surfaces of In Flight and Keep Lookin' 2 The Sky, but the heart of the record lies in the blissed out machine soul of Brookside Park and I Wanna Thank You For Steppin' Into My Life. The atmosphere takes me back to endless summer afternoons in the heat of the mid-nineties, daydreaming to similar moods and grooves for hours on end.

196. Ananda Shankar Ananda Shankar

Reprise 1970

Raga-rock hybrid, in which massed choirs, oscillating Moogs and Shankar's sitar stalk the streets of Calcutta. First, you notice the excellent (and utterly unique) covers of rock 'n roll standards Jumpin' Jack Flash and Light My Fire, but it's the haunting downcast moments like Snow Flower and Sagar The Ocean that give the record it's unfathomable depth and dimension.

195. Yoko Ono Walking On Thin Ice

Geffen 1981

Icy disco inna new wave style by Yoko Ono, from the last sessions John Lennon ever played on (he was holding these tapes when he was shot). The surreal mood seems to predict both Yello's most atmospheric sides and David Lynch's later cinematic adventures, but Lennon's violent rubberband guitar solo still sounds wholly alien. It's all thoroughly in the tradition of the Plastic Ono Band records, with It Happened and Hard Times Are Over both incredibly moving expressions of a woman coming to terms with devastating loss and vowing to soldier on no matter what the future holds.

194. Nat King Cole and His Trio After Midnight

Capitol 1956

Well into his late-period career as a baroque pop crooner, Nat King Cole reunites with his original trio for some cool jazz action in a dream after-hours jam session. The group work their way through standards like It's Only A Paper Moon and a killer rendition of Duke Ellington's Caravan, while revisiting Get Your Kicks On Route 66 and even cutting the opening song from Tin Men (Sweet Lorraine).

193. Docteur Nico & L'Orchestre African Fiesta L'Afrique Danse No. 8

African 1969

The birth of soukous, the Congo's beloved post-rumba musical export. In L'Orchestra African Fiesta (the group Docteur Nico formed with Tabu Ley Rochereau), his finger-picking style came to define the sound of the genre. This record the eighth entry in an flurry of LPs that emerged in the late sixties to chronicle contemporary Congolese music, three of which were devoted to Nico and remain the easiest way to get ahold of the man's music. The whole set should be reissued — in a spirit similar to the William Onyeabor box set put out by Luaka Bop a few years back — with gorgeous sleeve art intact.

192. Augustus Pablo East Of The River Nile

Yard 1971

Instrumental reggae 7" crafted by man from the East Herman Chin-Loy around the singular Melodica stylings of Augustus Pablo. Its smeared exotica stylings and off-kilter skank always make me think of The Man Who Would Be King and Michael Caine and Sean Connery's long journey through the Khyber Pass and beyond.

191. Gilberto Gil & Jorge Ben Ogum Xangô

Verve 1975

Unfettered head to head guitar duel between two luminaries of MPB, wherein loose strings are bent into soaring fractals as guitars tango like clockwork in the sunset. Transcending even their most stellar individual work, the duo flutter between the lush calm of Nega and the wild careening frenzy of Taj Mahal. The fact that the vocals seem almost improvised, an afterthought even, only adds to the charm of this loose, freewheeling double-album.

190. Mantronix Scream

Sleeping Bag 1987

Electronic hip hop epic in widescreen. MC Tee's trademark rapid-fire raps hit hard before flipping into sing-song mode for the chorus, all of it backed by impressively futuristic production from Kurtis Mantronik. You also get an extended mix thrown into the bargain, along with a dub version — which might be the man's absolute finest — in which the track's filmic descending spiral gets chopped into strange shapes before shocking you with a cyborg rap in the climax.

189. DJ Rashad Double Cup

Hyperdub 2013

Chicago juke. I first crossed paths with Rashad's music via DJ Godfather's Twilight 76 and Juke Trax labels (this within the context of Detroit ghetto tech electro) back when I was living at the 1808, and I've kept an ear tuned in ever since. I was pleasantly surprised when he hooked up with Hyperdub a couple years back for both the Rollin' EP and this record, a true masterwork. Hypnotic synths soar over a bed of furious drum programming throughout, as slow-motion raps and bottomless bass twist and turn within. The man was a virtuoso and his music still sounds like the future.

188. Grachan Moncur III New Africa

BYG 1969

Grachan Moncur's great galleon of soul-inflected free jazz, coming out of left field on the storied BYG imprint (arguably the genre's spiritual home). Moncur's trombone flourishes glide gracefully over the loose, swinging rhythms of Andrew Cyrille and Alan Silva's wide open double bass as he trades lines with the likes of Roscoe Mitchell and Archie Shepp. It's the sound of wide-open spaces and crystal clear skies, full of freedom and possibility.

187. The Rolling Stones Exile On Main St.

Rolling Stones 1972

Stranded in the south of France, The Rolling Stones lose themselves in the basement studio at Nellcôte and manage to wring magic from the whole affair. Careening from the dirty barroom rock of Rip This Joint into the raw Clavinet funk of Ventilator Blues and spending a satisfying amount of time with Gram Parsons-inspired country rock numbers, this band of dandy rogues turn out a ramshackle masterpiece that manages to capture the very essence of rock 'n roll.

186. A.R. Kane When You're Sad

One Little Indian 1986

Sun-warped post-Beach Boys blues. When You're Sad is a joyously aching teenage daydream with Alex and Rudi's gently soaring harmonies drenched in wild-eyed feedback. Meanwhile, the b-side's Haunting offers up an unresolved slab of guitar melancholy that seems to lay the blueprint for the whole shoegaze endeavor and by extension predicts the sound of nineties indie rock about four years ahead of schedule.

185. Joni Mitchell Song To A Seagull

Reprise 1968

The birth of canyon folk, featuring songwriter Joni Mitchell front and center with virtuoso fretwork and that voice. In a bold move, Mitchell decided to rely entirely on new material rather than fall back on songs that she'd already provided to other artists (as was common practice for singer-songwriter albums at the time). The results are stunning, with a rich thematic continuity running through the record even as individual songs like Marcie and Cactus Tree glisten like gems in their own right, epitomizing everything that makes Mitchell's music such a treasure.

184. Burning Spear Burning Spear

Studio One 1973

The Burning Spear's debut album, full of deeply spiritual roots music. Bottomless bass and rock hard riddims play out in stately slow-motion while Winston Rodney's haunting vocals hover above it all like a ghostly mirage. Songs like Ethiopians Live It Out and Fire Down Below ride tough rocksteady beats into the sunset, while the deeply moving Creation Rebel and Down By The Riverside are among some of the most gorgeous roots music you'll ever hear.

183. Funkadelic The Electric Spanking Of War Babies

Warner Bros. 1981

The final Funkadelic record, where all previous electrofunk innovations are taken to their illogical conclusion. P-funk's engine is deconstructed, the parts spread out across the floor of a Detroit garage while the band methodically rebuilds them into freaky malfunktioning warped machines. The deliciously bizarre Funk Gets Stronger (featuring Sly Stone), seems to rev its engine only to reel it back down again in a nagging stop/start groove, while the title track re-routes their early guitar freakouts through the new wave hall of mirrors before wiring it all up for the next decade's dancefloors.

182. René Et Gaston Spectacle De Foire

Fresh Fruit 1994

Dutch techno par excellence from the inimitable Dobre and Jamez, in one of their myriad guises (Jark Prongo, Klatsch!, Tata Box Inhibitors, Chocolate Puma, etc. etc. etc.). The carnivalesque wild ride of Spectacle De Foire is undoubtedly the centerpiece here, but the Moroder-inflected digital disco pulse of Houp! seems to contain the germ of house music's next ten years in its gloriously geometric groove.

181. Cheb Khaled Hada Raykoum

Triple Earth 1985

Algerian raï from a true pioneer of the form. Cheb Khaled plays the cosmopolitan desert mystic, singing his winding, hypnotic chansons over sun-glazed synths and spidery machine rhythms in a stunning roots 'n future mash up that defies its period of origin with striking clarity. He'd go on to international stardom and eventual political exile in France, but this record — released smack in the middle of the eighties — remains Khaled's crowning achievement.

180. Public Image Ltd. Metal Box

Virgin 1979

Pre-eminent post punk malcontents lose themselves in the studio, intoxicated by the twin experimentations of krautrock and dub, in the process deconstructing the album format into three 12" singles packaged in a metal reel-to-reel film cannister. The ten-minute Albatross creeps out the soundsystem like a ghostly steamroller, Jah Wobble's ten-ton bass kicking you in the chest, while Keith Levene's searing guitar shoots sparks across its surface and John Lydon wails deep into the abyss. And that's just the first side...

179. Areski & Brigitte Fontaine L'incendie

BYG 1971

Iconoclastic chanteuse Brigitte Fontaine blends sophisticated songcraft with Areski's droning inflections (inspired by music of the Algerian musicians that he grew up around) in a haunting set of skewed chansons. Les Borgias and Ragilia are shot through with a distinct North African inflection, while Il Pleut Sur La Gare and L'abeille come on like Medieval folk ballads. The duo also touch on their jazz roots in Déclaration De Sinistre and venture into acid folk with L'engourdie, a gently psychedelic reverie. Indispensable.

178. The Black Dog Spanners

Warp 1995

Brittle art techno masterpiece. BDP's deep space sonics remain in full effect throughout this sprawling set of electronic head music, touching on everything from skittering techno to ambient house and the abstract hip hop that had informed their music since day one when they first set to work cloistered in the mystery of Black Dog Towers. The esoteric current running through the trio's work — that ancient quality haunting the music's shadows even as they pushed headlong into the future — inhabits every corner of this record and sounds like the soundtrack to some secret society in lunar orbit.

177. Mýa Sisqó of Dru Hill It's All About Me

Interscope 1998

Siren song in 3D. Sumptuously produced headphone r&b laid down by Da Bassment cohort Darryl Pearson and masterfully inhabited by star-in-the-making Mýa. From that period when a slowjam would casually sound like a UFO landing in your backyard. Every element, from the crisp beats to the blurred instrumentation and of course Mýa's wistful multi-tracked harmonies, is meticulously placed and blissful to the ear.

176. Devin The Dude

Rap-A-Lot 1998

Lazing Texas rap from Devin The Dude, featuring guest appearances from the likes of Scarface, Spice 1 and the rest of his old crew, the Odd Squad. It's a supremely lush and mellow LP, to my mind surpassing even the excellent Fadanuf Fa Erybody as the finest full-length on Rap-A-Lot. A laidback, homegrown live sound prevails throughout, with deep blunted bass, smooth guitar runs, synth strings and dusted bleeps enveloping Devin's loose-limbed raps like a twilight mist.

175. Derrick Harriott Whip It

Hawkeye 1983

Discomix reggae cover version of the Dazz Band's immortal Let It Whip, self-produced by the great Derrick Harriott, which somehow manages to surpass the sterling original. The version on the flip is reworked by Paul "Groucho" Smyke, who also dubbed King Sunny Adé's Ja Funmi into oblivion around the same time. The sumptuously pulsing bassline quickly grows hypnotic as myriad shards of sound reverberate across the soundscape, marking this out as the neon-bathed cousin to the x-ray dubs of Lloyd Barnes on Horace Andy's Dance Hall Style.

174. Johnny Hammond Gears

Milestone 1975

Definitive jazz funk produced by the Mizell Brothers during their blazing arc of seventies studio excursions. This one is without a doubt my favorite, featuring veteran key master Johnny Hammond tinkling the Rhodes over rock hard rhythms and soaring ARPs while that odd spectral chorus weaves its way in and out of the ether. The sound of the city.

173. Jonny L Hurt You So Alright

Tuch Wood 1992

Candy-coated ardkore from the man with the golden haircut, recorded well before he turned to the darkside and pounded the jungle scene into submission with his techstep brethren. The Full Mix rides tumbling breakbeats into the trancelike bridge before collapsing into a blissed out lovers rock chorus, while The L Mix brings hard-edged hoover stabs into the equation before exploding into the ecstatic piano-led climax.

172. The Beach Boys Sunflower

Brother 1970

My absolute favorite era of The Beach Boys is the six year period spanning between Smiley Smile and Holland. There's a strange charm and paradoxical rough-hewn smoothness to the sound that seems of a piece with both Lee "Scratch" Perry's sun-glazed productions at the Black Ark and latterly The Beta Band's oeuvre. The only trouble is, most of these albums are fairly patchy (thanks Mike Love). The one exception is Sunflower, in which Dennis Wilson emerges a master songwriter in his own right, kicking off the whole affair with Slip On Through's insouciant counter-clockwise groove and striking yet again with the immortal ballad Forever. Brian Wilson's presence remains in full force as well, lending his touch to the gorgeous sunstruck reverie Dierdre (co-written with Bruce Johnston), All I Wanna Do's ethereal drift and the ambient surf music of Cool, Cool Water.

171. Cheo Feliciano Cheo

Vaya 1972

Cheo Feliciano cut his teeth in legendary groups like Tito Rodriguez's Orchestra, the Joe Cuba Sextet and the Eddie Palmieri Orchestra before gradually descending into drug addiction and bad times. After a stretch of rough years and hard miles, Cheo kicks heroin for good and finally makes his record. A delicately crafted masterstroke, it finds him confidently working through a peerless set of Tite Curet Alonso songs like Mi Triste Problema and Poema De Otoño with unmatched depth and splendor.

170. Recloose Spelunking

Planet E 1999

Nocturnal electronic jazz from Detroit whiz kid Matt Chicoine. Standing outside the boundaries of any one scene or genre, he unfurled a number of exquisite delights on an unsuspecting public at the turn of the century, none better than this astonishing five track EP. Kicking off with the oddball deep house of Soul Clap 2000 before launching into Get There Tonight's off-kilter boogie and the bebop stomp of Landscaping, it's not long before he's easing into the half-lit downbeat moves of Insomnia In Dub and Four Ways Of Saying Goodbye's multi-part jazz funk excursion. A crucial record for me at the time, it's stayed with me ever since.

169. Blue Orchids The Greatest Hit: Money Mountain

Rough Trade 1982

An utterly out of time acid-soaked masterpiece, existing in the netherworld between post punk and a living, breathing psychedelia. The Blue Orchids splintered off from the mighty Fall, and in the process stretched that band's speedfreak intensity out into a wild, pantheistic celebration of the great outdoors. Una Baines' ghostly keyboard mirages are the crucial factor in these eerie, widescreen sonic tapestries. The mood here curiously similar to On The Silver Globe, and I've often thought that this album could soundtrack the haunting ritual beach scenes from the first half of the film.

168. The Mover Frontal Sickness

Planet Core Productions 1991/1992/1993

The soundtrack to your nightmares. Mark Arcadipane — the man behind The Mover — wrote the blueprint for rave hardcore with Mescalinum United's We Have Arrived and a sequence of uncompromisingly bleak 12"s that surfaced on his Planet Core Productions (yeah... PCP) imprint. This double-pack combines both volumes of the Frontal Sickness EPs into one blazing package of sonic extremism, ground zero for the zombie sound that would come to be called gloomcore.

167. Skip James The Complete 1931 Session

Yazoo 1931/1986

Stone cold blues from the Mississippi Delta. Skip James' music remains deeply unconventional, full of shadow and mystery, marking it out as utterly unique even within the rich terrain of early blues recordings. Still, there's quite a bit of weary joy to be found hidden within this record's grooves, even if only in the promise of salvation after a lifetime of hardship and tragedy. Hope against hope, in other words.

166. Cymande Cymande

Janus 1972

Cymande — featuring musicians from Guyana, Jamaica and Saint Vincent — are the sort of group that could have only formed in a town like London. Merging Jamaican Nyabinghi rhythms (the bedrock on which reggae was formed) and American funk, the crew forged a wholly unique sound that on first listen seems almost too good to be true. The glorious rock hard beat of Bra rubs shoulders here with gentle moments like Listen and the slow-burning groove of Getting It Back, while the eleven-minute Dove finds the group stretching out into a rolling longform jam. There ought to be a copy in every home.

165. Ramsey & Fen Lynsey Moore Love Bug

Bug 1998

A particularly elegant slice of slinky UK garage, Love Bug's bionic two-step groove seems to expand on both the liquid garage sound of Roy Davis Jr. and Timbaland's android r&b. Diva Lynsey Moore's vocals get chopped and twisted through the tune's very fabric, in which every piece clicks like percussion in the clockwork machinery of this sultry digital juke joint jam.

164. Talking Heads Remain In Light

Sire 1980

Uptight New Yorkers cut loose in widescreen, stretching the impenetrable atmosphere of Fear Of Music to its outer limits as they mainline on African rhythms and the information overload of modern America. Each track is a dense web of sound spun from layers of throbbing bass, drifting synths, strange guitars and those rolling, polyrhythmic beats. Hard to believe the album predates the sampler, so intricate is its multifaceted construction. Indeed, you can hear the germ of nineties music (and beyond) buried deep within these unfurling, technicolor grooves... it sounds a lot like a blueprint for the future.

163. Tony Allen with Afrobeat 2000 N.E.P.A: Never Expect Power Always

Wrasse 1984

Eighties electro-afrobeat monster jam, with Fela Kuti's right-hand man in the driver seat, rocking the drum kit with singular style and finesse. N.E.P.A comes on like one massive arcing groove stretched over two sides of vinyl, each housing a song in two versions (with both an original and a dub) that probe different aspects of the same central theme. Sounding a lot like a pirate radio transmission from the distant future, this is the original groove that won't stop.

162. Prince Jammy Computerised Dub

Greensleeves 1986

Digital dancehall! This the instrumental companion piece to Wayne Smith's epochal Sleng Teng LP, produced by Prince Jammy, which famously brought reggae into the computer age. Taking Sleng Teng's brittle electronic rhythms into the spacious realm of dub, these tracks embody a sort of machine perfection that one usually expects from places like Cologne or Detroit, but slackened and smoked out with a singular Jamaican flavor.

161. The Three Degrees The Three Degrees

Philadelphia International 1973

The Three Degrees hook up with Philadelphia International after their appearance in The French Connection, resulting in a vocal masterpiece of lush Philly soul. The ladies' breathless harmonies deftly swoop and glide through the gossamer orchestration of Gamble & Huff's Sigma Sound, their exquisite production ringing clear as a bell. You can hear disco's wings begin to spread in the driving pulse of Dirty Old Man, while in If And When's epic balladry and the swirling A Woman Needs A Good Man their pathos is undeniable. You also get When Will I See You Again, quite simply one of the most beautiful songs ever written.

160. J Dilla Donuts

Stones Throw 2006

A joyful hip hop symphony composed by the late great J Dilla just before his untimely departure from planet Earth. Slicing and dicing all manner of loops and breaks from his seemingly bottomless crates of arcane records and reconstructing them into rock hard beats and interlocking movements, he created his unassailable masterpiece: a boundless, wildly shifting song cycle that feels like a glorious tribute to life itself.

159. Basic Channel Quadrant Dub

Basic Channel 1994

Dub techno par excellence. As difficult as it is to narrow it down to just one record from the dynamic duo of Mark Ernestus and Moritz von Oswald, for me Quadrant Dub just edges out Lyot Rmx for the #1 spot. Its two elongated tracks — spanning one to each side — last the better part of forty minutes, dubbing Round One's soul-inflected I'm Your Brother deeper and deeper into shimmering cascades of four-dimensional sound. Over twenty years later, it still sounds like the future.

158. Can Ege Bamyasi

United Artists 1972

In a further elaboration on the towering eighteen minutes of Tago Mago's Halleluwah, Can submerge their mercurial kraut-funk deep into the swampy voodoo of their Inner Space studio and surface with a spooked out set of seven songs teeming with otherworldly atmosphere. The proto-world music of Spoon sets a rhythm box against a gently swaying, lopsided rhythm, while I'm So Green showcases the group's pop sensibilities at their absolute finest. The spectral tango of One More Night even points the way toward Future Days and beyond.

157. J.J. Cale Naturally

Shelter 1971

Offbeat slacker blues debut from the great Okie troubadour, this one goes down like the smoothest bourbon at sunset. Containing the original, superior versions of After Midnight and Call Me The Breeze, it's a veritable treasure trove of exquisite songwriting. That crawling rhythm box is a particularly far-sighted touch, putting Cale in shared company with Kraftwerk and Sly Stone as the first artists to put electronic rhythms on record. In the context of the hazy dreamtime sparkle of songs like River Runs Deep and Crying Eyes, it's almost as if they're springing naturally from the surrounding terrain itself. A casual masterpiece.

156. Colourbox Lorita Grahame Baby I Love You So

Virgin 1986

The a-side cover version of Jacob Miller's Augustus Pablo-helmed lovers rock standard is a post punk proto-trip hop masterpiece, submerging Lorita Grahame's torch song vocals within a murky stew of towering bass, metallic percussion and film samples from John Carpenter's Escape From New York. The flipside's Looks Like We're Shy One Horse, meanwhile, mines Sergio Leone's Once Upon A Time In The West over an apocalyptic groove skanking endless into some dystopian horizon as a blood red sun sets in the distance.

155. Brian Eno/David Byrne My Life In The Bush Of Ghosts

Sire 1981

Remain In Light's (edgier, younger and slightly mad) sister record takes its forward-thinking fourth world moves further yet into proto-sampladelia and the avant-garde. Side one is stuffed with non-stop crazy rhythms: The Jezebel Spirit is a left field disco staple for good reason, spooling an actual on-air exorcism out over a frenetic rhythm matrix, while Regiment's stone cold funk is something like the interzone flipside of Once In A Lifetime. Side two stretches out into pure atmosphere, its individual tracks seeming to materialize from the shadows before drifting off again into the night, spectral and sublime.

154. Mr. Fingers Ammnesia

Jack Trax 1988

A quasi-compilation pulling together a whole raft of choice instrumentals from contemporary 12"s and unreleased material, this record offers a stunning glimpse into the mind of Larry Heard. Bookended by the genre-defining Can You Feel It — the song that took Europe by storm during the Second Summer Of Love — and Mystery Of Love (which has the distinction of being Larry Levan's favorite song of all time), the record also ventures into the deep space ambient house magic of Stars, Bye Bye's sleek electronic soul and the proto-acid madness of Washing Machine. Crucial in every respect.

153. Duke Ellington And His Orchestra Ellington Indigos

Columbia 1958

Exceptionally lush and melancholy jazz for big band, orchestrated and conducted by the late great Duke Ellington. Moody and spacious, the record evokes lonely nights, long moonlit walks and downbeat solo blues. Melancholy meditations like Solitude and Willow Weep For Me are swathed in layers of sumptuous atmosphere, while wistful reveries like The Sky Fell Down and Prelude To A Kiss overflow with the promise of romance. There's even a solitary vocal showcase in Autumn Leaves, featuring the vocals of Ozzie Bailey intertwined with Ray Nance's weeping violin, a haunting duet in a lonely place.

152. Gil Scott-Heron & Brian Jackson Bridges

Arista 1977

Steeped in nuclear dread, economic uncertainty and post-Watergate blues, Gil Scott-Heron and Brian Jackson casually laid down the definitive late-seventies soul album. I was turned onto this record by Moodymann's set at the first DEMF, which he opened with We Almost Lost Detroit (a rumination on the meltdown at Three Mile Island). I was blown away and simply had to track down the album, which includes songs ranging from Under The Hammer's synth-smeared funk to the downbeat blues of Delta Man and everything in between, each of them rising slowly from languid pools of soul.

151. Mobb Deep Shook Ones Part II

Loud 1995

The definitive statement in bleak mid-nineties hip hop, that era when the RZA's sphere of influence seemed to spread across the entirety of the genre. Showcasing the peerless words and sonix of Prodigy and Havoc, the loping unresolved piano figure of the epochal Shook Ones Part II is matched here by the more elusive first part, sounding like something that sprang from the same New York shadows that Terranova was just beginning to essay from across the Atlantic. You ain't a crook, son... you just a shook one.

150. David Bowie Station To Station

RCA Victor 1976

The return of the Thin White Duke, throwing darts in lovers' eyes, sings Bowie as the record opens, setting the stage for his transition from plastic soul crooner to fearless sonic trailblazer. Using his recent forays into Philly Soul as a jumping off point into churning proto-disco rhythms — shot through with the motorik drive of German groups like Neu! and his avowed love of Kraftwerk — he kicks off with the ten-minute multi-part rush of the title track and closes with a heartbreaking rendition of Wild Is The Wind, touching on everything from the insouciant funk of Golden Years to TVC 15's robotic pop in between.

149. Santana Santana

Columbia 1969

I'm a huge fan of Santana's music throughout the seventies, all of those excursions into space rock and interstellar jazz, but the raw frenzy of the debut remains my absolute favorite. This is where it all began, with the same band that rocked Woodstock within days of this record's release. Songs like Soul Sacrifice and the cover version of Babatunde Olatunji's Jingo are masterful in their building tension and release, while Evil Ways remains one of the great jukebox tunes of all time. If you dig the sound of the Hammond B3, then you need to get down with this record..

148. Janet Jackson The Velvet Rope

Virgin 1997

This is where Janet goes deep. There's a breadth and depth to this record that one usually expects to find in an Erykah Badu or Moodymann LP — you can really get lost in this record's grooves — but it's really just a logical progression of everything she'd been up to since the days of Control. Jam & Lewis square their production finesse in the age of Timbaland and — with the help of Q-Tip and a young J Dilla — unfurl a set of tracks that are both state-of-the-art yet at the same time imbued with the timeless gravity of 70s soul, remaining right at home in the present all along.

147. Robert Owens I'll Be Your Friend

Big Bubbles 1991

Released hot on the heels of his excellent Visions LP, this is my absolute favorite moment from Robert Owens (the voice of house music). Teaming with master producer David Morales and Satoshi Tomiie on keys, this seems to be an attempt to recreate the dynamic of their epochal Tears (masterminded by one Frankie Knuckles) in sprawling widescreen. The Original Def Mix is a moody dancefloor burner of the highest caliber, but The Glamorous Mix takes it to another level altogether, where driving strings and organ runs are woven into an echoic epic over which Owens' voice soars.

146. Wiley Treddin' On Thin Ice

XL 2004

Grime taken out to die in the frozen wastelands. Crafting a surprisingly varied landscape within this icy realm, Wiley roams between the crystalline garage moves of Doorway and the bleak tundra vision of the title track, essaying the almost straight up hip hop shapes of opener The Game and the shimmering r&b inflections of Special Girl along the way. I've always preferred Thin Ice to Dizzee Rascal's Boy In Da Corner, which is the classic grime LP by critical consensus (and a classic it is), but this ploughs a deeper furrow and remains my absolute favorite grime record.

145. Mtume Juicy Fruit

Epic 1983

Neon-lit bedroom funk from Miles alumni James Mtume, taking seventies cosmic jazz into the computer age. This is without a doubt the greatest electro boogie LP of them all, boasting computer blue dancefloor burners like Green Light and Your Love's Too Good To Spread Around, while both mixes of Juicy Fruit remain twin pillars of atmospheric machine soul and a font of inspiration for so much music (from Dâm-Funk and SA-RA to Timbaland and The Neptunes) that I hold dear.

144. Yusef Lateef Eastern Sounds

Prestige 1961

When weaving this record's captivating pan-global menagerie of sound, Yusef Lateef looked East for inspiration, predating just about everyone — from The Beatles to John Coltrane and even Sun Ra — in his exploration of the wider world's sonic shades and timbres. The Plum Blossom employs Chinese globular flute in it's off-kilter shuffle, while Three Faces Of Balal features a notably stripped-down exercise in rhythm. Rudy Van Gelder's peerless production imbues these sonic excursions with an almost exotica-esque sense of space, remarkable within the context of contemporary jazz.

143. Tony! Toni! Toné! Sons Of Soul

Motown 1993

The There's A Riot Going On of swingbeat, Sons Of Soul is a lushly multi-textured record that makes for a dense, absorbing listen. Some strange turns are taken in the shifting corridors of this record's jazzed-out r&b (see the almost subconscious funk of Tonyies! In The Wrong Key), even shading into the epic with the closing ten minutes of the Anniversary/Castleers suite. I can't think of many records that I get as much pleasure listening to, regardless of the mood I'm in (indeed, Fun may be the most honest song title you'll ever come across).

142. The Future Sound Of London Accelerator

Jumpin' & Pumpin' 1991

FSOL's sterling debut, featuring ten tracks of brilliantly vivid, four-dimensional breakbeat techno. A brace of tunes from the Pulse EPs get paired with new material like Expander and the epochal Papua New Guinea, rounding out a deft song cycle shot through with unmistakable cyberpunk vibes. From Buggy G. Riphead's striking sleeve art to the paranoid interludes and Central Industrial's slow-motion widescreen cascade, the whole thing conjures up imagery of Neuromancer, Blade Runner and Cabaret Voltaire in its long flowing corridors of Chiba City blues.

141. Forrrce Keep On Dancin'

West End 1982

Exceedingly warped, fathoms deep disco on the legendary West End imprint. Forrrce unleash a proto-rap party jam with an unforgettable whiplash bassline tearing through its very fabric, while François Kevorkian works his inimitable magic on the flip, stripping the track down to its frame and rebuilding it like a ramshackle mine cart before running it off the rails through the illogical machinery of Jamaican dub.

140. The Upsetters Return Of The Super Ape

Upsetter 1977

Weird reggae forged by its greatest band and produced by Lee "Scratch" Perry at the peak of his powers. The title track is one of the finest dub outings ever, running down a languid skank before collapsing into a rock-hard slow-motion climax, while the Tell Me Something Good cover version blows away everyone I've ever shown it to. Throughout, Scratch coaxes the swirling sounds of the Black Ark into a singular negotiation of reggae roots and the deepest chasms of futuristic dub.

139. The D.O.C. No One Can Do It Better

Ruthless 1989

Of all the records to spring from N.W.A.'s axis, this is hands down my favorite. A dense, varied record, full of twists and turns like the liquid funk of the title track and the skittering fast-forward groove of Portrait Of A Masterpiece, it even features the entirety of N.W.A. on The Grand Finalé. Dr. Dre's ace production splits the difference between the hard edges of Straight Outta Compton and the nimble funk of Efil4zaggin, while The D.O.C. out-raps everybody else in the crew. No One Can Do It Better indeed.

138. David Crosby If Only I Could Remember My Name

Atlantic 1971

Cosmic canyon folk from ex-Byrd and CSN main man David Crosby, recorded in San Francisco and featuring local luminaries like Grace Slick and Jerry Garcia (along with further members of Jefferson Airplane, Santana and The Grateful Dead) and a few L.A. colleagues for good measure (including Neil Young and Joni Mitchell). This ad-hoc supergroup shines in Cowboy Movie's low-slung, eight-minute canyon funk jam (a chronicle of CSNY's dissolution as seen through the prism of The Wild Bunch) and the murky tumble of What Are Their Names' abstract, blazing protest, while gentle, otherworldly moments like Traction In The Rain and Orleans quietly steal the show with a shimmering magic all their own.

137. Television Marquee Moon

Elektra 1977

Sparkling proto-new wave from a four piece group of hard-dreaming CBGB luminaries. Picking up where West Coast acid rockers like The Byrds and Jefferson Airplane left off, Television reshape yesterday's wild psychedelia into a contemplative sonic menagerie — with just a hint of punk attitude — that ushered in a whole new era for rock.

136. Popol Vuh Einsjäger & Siebenjäger

Kosmische Musik 1974

Pastoral Krautrock from a large, shifting group of musicians centering around the vision of Florian Fricke. Gentle instrumental sketches like Kleiner Krieger and Morgengruß set the stage, gradually giving way to the title track's lush, multi-part longform jam — featuring the ethereal vocals of Djong Yun — that dominates the entirety of side two. The common thread running throughout is a bucolic sense of tranquility and near-telepathic interplay between the musicians.

135. Underworld Dubnobasswithmyheadman

Junior Boy's Own 1994

Two holdovers from eighties new wave are joined by younger techno DJ Darren Emerson and dive headfirst into dance music, sculpting a moody masterpiece of electronic noir. Karl Hyde's rock dynamics are crucial to the record's singular tone, with the overcast alternative rock stylings of Tongue and Dirty Epic's subterranean guitar moves utterly unique within the context of nineties dance. This is "binary skyline" music, to borrow a phrase from Snakes, shimmering on a cloudy horizon.

134. Wally Badarou Chief Inspector

4th & Broadway 1985

Twelve-inch post-disco dancefloor action from synth wizard Wally Badarou, lifted from his excellent Echoes LP of the same year (recorded at Compass Point Studios in Nassau). The Vine Street mix by Paul "Groucho" Smykle is the absolute best version of Chief Inspector (and it can only be found here!), gliding along with percussion inspired by D.C. go-go and slipping into a zero gravity moonwalk for its dreamlike refrain. Tying together strands stretching from disco to post punk, dub to hip hop and even the nascent house music, Badarou winds up with an eerily prescient hallucination of the next twenty years of club music.

133. Terry Riley A Rainbow In Curved Air

Columbia Masterworks 1969

Late sixties minimalism from one of the prime architects of the form. Absorbing the hypnotic electric pulse of Indian classical music as a prime influence, Riley treats the organ as a proto-synthesizer and plays every note by hand, becoming the human sequencer as he multi-tracks myriad layers of keyboards, harpsichord, tambourine and goblet drum into a cycling electronic ballet on the sidelong title track. The flipside's marathon workout, Poppy Nogood And The Phantom Band, trades kinetic flow for gently droning arcs, with Riley's improvised saxophone dancing across its surface.

132. Jefferson Airplane Mexico/Have You Seen The Saucers

RCA Victor 1970

Jefferson Airplane are the embodiment of radical sixties counterculture's interface with rock and are the obvious precursor to seventies German groups like Amon Düül II (the commune that coalesced into a band) and Ash Ra Tempel. This 7" single stands as their greatest merger of righteous joy and anger into a triumphant firebrand vision of acid rock, continuing the everyone sing at once (preferably in a different key) and let the chips fall where they may late-period sloppy proto-punk vocal style that they'd pursued since Volunteers. Mexico, possibly the greatest song about smuggling marijuana into the country, expands on the spirit of songs like We Could Live Together, while Have You Seen The Saucers is quintessential West Coast space rock, setting the stage for Paul Kantner's Jefferson Starship and Blows Against The Empire.

131. Japan Adolescent Sex

Ariola Hansa 1978

Sleazy new wave glam rock, where punk meets disco in the red light district. You can see where Duran Duran got most of their ideas (executing the whole Sex Pistols meets Chic equation years before it had even occurred to Nick Rhodes and Simon Le Bon), and I've often thought that you can hear a bit of Royal Scam-era Steely Dan in the jazz-tinged grooves of Wish You Were Black and Television. An utterly original sound in evidence throughout, this record deserves to be be more widely heard (and imitated).

130. Dillinja The Angels Fell

Metalheadz 1995

Cyberpunk jungle. Taking in the sonic skyline of Vangelis' Blade Runner Blues and sampling a snatch of Roy Batty's "tears in the rain" speech from the film's conclusion, Dillinja runs riot with his trademark depth charge bass bombs and speaker-shredding breaks to create one of jungle's all-time greatest rollers. The two tracks on the flip pursue the same path of shape-shifting, aerodynamic drum 'n bass intensity, rounding out a three-track set of superbly engineered breakbeat noir.

129. Black Sabbath Black Sabbath U.S. Version

Warner Bros. 1970

Led Zeppelin and Blue Cheer may have gestured ominously in the general direction, but this monolithic, towering LP was the de facto birth of heavy metal. Slowing hard rock down to a robe-shrouded crawl, Black Sabbath injected a blood-soaked sense of the occult into their music while everybody ran for cover. A key outpost in rock's grappling with James Brown's elegant, funky beats inna caveman stylee, this stone tablet is cherished by rock, rave and hip hop heads alike (just ask Ice-T and Joey Beltram). Containing five ruminations on slow-motion fury, for me the debut remains their finest hour.

128. Ambassadeur International Mandjou

Badmos 1979

Mande music snaking its way through the desert sands of Mali, cooked up by the region's finest band and fronted by the inimitable Salif Keita, whose piercing wail cuts through the dense instrumentation like a knife. The towering title track rocks a dusty downbeat rhythm before breaking into a double-time frenzy in its coda, while Kandja refracts Caribbean music back across the Atlantic in mutant form. Balla closes the record on a gentle organ-led shuffle (think Booker T. & The M.G.'s), with a vibrant repartee between the band as they ride off into the sunset together.

127. The Cosmic Jokers The Cosmic Jokers

Kosmische Musik 1974

Endless cosmic jam by an ad-hoc supergroup of Krautrock luminaries, the results edited down into a series of five spaced-out kosmische LPs (of which this is the first) by Rolf-Ulrich Kaiser without the knowledge of the band. This is true outer space/inner space music, with one extended track sprawling across each side. The opening Galactic Joke is a pulsing excursion into deep sonar architecture — its guitars arcing gracefully into oblivion — while the flipside's Cosmic Joy inhabits a dark textural sprawl that ultimately spawns a ten-ton bassline. The record should come with a spacesuit.

126. Donna Summer I Feel Love

Casablanca 1977

Brian Eno once called this the most important record ever made, and when you hear it booming over a nightclub soundsystem at full volume it's pretty hard to argue. Pulsing machine music produced by Giorgio Moroder, this forward-thinking computer disco remains wildly influential. And then there's the matter of Donna Summer, who takes the whole affair to another plane altogether, her voice soaring in graceful arcs around that central rhythm and putting all manner of would-be divas to shame in the process. This is hardcore.

125. Masta Ace Incorporated Sittin' On Chrome

Delicious Vinyl 1995

For my money, the greatest late-summer hip hop LP ever. East meets West in this extended song cycle about two cousins from opposite coasts spending a summer together in the city that never sleeps. If you imagine a rap record produced by Roy Ayers, you wouldn't be too far off. Even the skits are good. This always takes me back to August of '95 when my brother and I were refinishing a deck for walking-around-money, tripping out under the blazing sun with Jammin' z90 coming through like a mirage in the Santee heat... Born To Roll, the man said.

124. Bobby Konders House Rhythms

Nu Groove 1990

The perfect encapsulation of Nu Groove's half-lit, anything goes vision of house music, where reggae, disco, ambient and acid rub shoulders on the dancefloor and nobody misses a beat. Of course it's hard to choose just one Bobby Konders 12", but this one's the reason the man's a household name where I come from. From the rolling pianos of Let There Be House to the searing 303 lines of Nervous Acid, Massai Women's eerie Serengeti atmospherics and the sprawling deep house epic The Poem, it's an unmissable EP of off-the-wall New York house.

123. Massive Attack Protection

Wild Bunch 1994

This is the sound of my youth. I could have picked any of their first three LPs, but this one's dubbed out, rootsical bass architecture marks it as my absolute favorite. The voodoo calm of Karmacoma, Weather Storm's invisible soundtrack, Mushroom Vowles, Tracy Thorn's mournful croon, the smoked out Light My Fire cover version, Horace Andy's x-ray falsetto, the depth-charging 303 basslines, Nicolette's serenading of the spirits and Tricky's dread magic — still in full force at this point — all blur into the perfect prescription of blunted Bristol blues and a true smoker's delight.

122. Charles Mingus The Black Saint And The Sinner Lady

Impulse! 1963

Mingus' Impulse! debut finds him righteously at home in the house that Trane built, working through a series of four complex suites inspired by Duke Ellington that — with all apologies to Count Basie — seem to take big band jazz into the atomic era. Mingus was so impressed with Bob Theile's in-house production that in the liner notes he proclaimed that his fans could throw out all of his old records because this was the sound he was after all along!

121. Horace Andy Dance Hall Style

Wackie's 1982

Skeletal, dubbed out reggae from the concrete jungle. Black and white newsprint paranoia reigns supreme throughout, not unlike a remake of The Parallax View set in contemporary Kingston. Spying Glass, later covered by Massive Attack, drapes gutter-glazed synths over its stately, slow-motion crawl. Horace Andy's lonely falsetto is cloaked in layers of desolate production courtesy of Lloyd Barnes, who stretches these solarized riddims out into echo-chambered infinity.

120. Hashim Primrose Path

Cutting 1986

Dark and moody electro dubbed out into a mirage on the fabled Cutting Records imprint. Hashim advances from the sparse, crisp edges of his epochal electro jam Al-Naafiysh The Soul into deeply blunted terrain, the sound of which seems to strangely overlap with that of certain late-period post punk records like 400 Blows' Declaration Of Intent in its slap-bass fueled approximation of William Gibson's visions of the future. This always makes me think of riding around with Snakes back in high school, bombing down the lonely corridors of Grantville and Mission Gorge at night.

119. Sinéad O'Connor The Lion And The Cobra

Ensign 1987

The spectacularly powerful debut, and the unacknowledged midpoint between Kate Bush and Neneh Cherry (by way of 4AD). A treasure trove of striking moments, ranging from the machine rhythms of Jerusalem and I Want Your Hands On Me (which seem to trace a jagged line between Control and Buffalo Stance) to the warrior charge of Mandinka (featuring the unmistakable guitar of one Marco Pirroni) and the indie rock drone of Just Call Me Joe (sounding like The Breeders a couple years early), the record's heart lies in majestic numbers like Jackie and the drama of Troy's towering suite, while the lush folk balladry of Just Like U Said It Would B and Drink Before The War swoop in deftly to conquer all. O'Connor wields her voice like a weapon throughout, and on The Lion And The Cobra she takes no prisoners.

118. Kendrick Lamar To Pimp A Butterfly

Top Dawg 2015

After his stunning major label debut good kid, m.A.A.d city, Kendrick Lamar went on to top it soundly by improbably hooking up with jazzmen like Stephen "Thundercat" Bruner and Kamasi Washington, crafting a vital modern rap record in thrall to figures like The Last Poets and Gil Scott-Heron. There's a wealth of material here, from the staggering modal grandeur of How Much A Dollar Cost to King Kunta's nightclub stop and the free jazz interludes in between, while the bleak intensity of tracks like u and The Blacker The Berry are balanced by occasional moments of lighthearted euphoria like These Walls and i. The sonic breadth in evidence throughout is matched only by the vast array of subjects Lamar explores over the course of this often harrowing — if ultimately uplifting — record. Someday, someone will write a whole book about this record.

117. Michael Jackson Smooth Criminal

Epic 1988

The kid from the Jackson 5 delivers yet another pop masterpiece, the claustrophobic machine shapes and soaring chorus of which mark it out as my absolute favorite moment from the man. The Extended Dance Mix stretches the tune's crashing groove to nearly eight minutes of sonic perfection, with Jackson vamping sublime over its protracted jam. I've often thought this tune was a kindred spirit with the contemporary techno output of Detroit's big three: when those gorgeous, soaring synths hit in the chorus — Jackson's vocals sliding effortlessly across the surface — you're cruising the same sprawling metropolis corridors essayed in Reese's Rock To The Beat, Rhythim Is Rhythim's It Is What It Is and Model 500's Off To Battle. File under futurism.

116. The Ragga Twins Reggae Owes Me Money

Shut Up And Dance 1991

Swashbuckling ragga ardkore produced by PJ and Smiley of Shut Up And Dance. Setting the tone for the nineties, this swings wildly from the breakbeat madness of Ragga Trip and Wipe The Needle to Illegal Gunshot's straight up dancehall moves and the awesome EWF-pillaging groove of The Killing. The instrumental 18" Speaker — a bassbin-shattering slab of dubbed-out ravefloor magic — spools wild bleeps across a shuffling breakbeat strapped with a bassline like an oil tanker. One of those records where everything comes together to form an unlikely masterpiece (in truth SUAD had quite a few of those under their belt), this is what raving is all about.

115. MC5 Kick Out The Jams

Elektra 1969

Legendary proto-punk Detroit heavy metal. Maybe the wildest live album ever recorded, and certainly my favorite. The title track and Come Together ride great churning riffs deep into the redline, while I Want You Right Now seems to split the difference between Wild Thing and 1983... A Merman I Should Turn To Be in a slow-motion come-on of epic proportions. The closing Starship borrows from Sun Ra in a wild freeform launch into the stratosphere, rounding out a chaotic masterpiece that manages to transcend its era and feel brazenly alive in the present.

114. Rodriguez Cold Fact

Sussex 1970

An urban troubadour rises from the streets of Detroit to cut a blistering folk LP. Rodriguez hits plain and direct throughout — rather than hiding behind layers of abstraction — as he chronicles his singular visions of the inner city. Each of these tunes progress with a wicked internal logic that slowly creeps toward their inevitable conclusion (like the baptism scene from The Godfather). I only recently learned that it was arranged and produced by disco/funk stalwarts Mike Theodore and Dennis Coffey. Right on!

113. Stevie Wonder Fulfillingness' First Finale

Tamla 1974

The lushest, most laidback LP from Stevie Wonder in the seventies, an era when the man could do no wrong. After surviving a near fatal car accident the previous year, he seemed to enter the studio in an even more introspective mood than usual. Indeed, aside from the blistering electronic funk of You Haven't Done Nothin' — the last in his line of songs to take on our very own Parallax icon Richard Nixon — this is by far his most mellow album of the decade. Even more lavishly arranged than usual, it features appearances by figures like Minnie Riperton, Syreeta and The Jackson Five, lending their rich backing vocals throughout, while Tonto's Expanding Head Band coax the verdant shapes of their machines into a sumptuous bed of sound.

112. Grandmaster Flash & The Furious Five New York New York

Sugar Hill 1983

Grandmaster Flash & The Furious Five, firing on all cylinders, dropped this 12" hot on the heels of their debut full-length and somehow managed to surpass everything on it. A crucial, forward-thinking elaboration on The Message, with a next-level reality rap flowing sharp and precise over skyscraper-crumbling beats and a searing, futuristic production, this anticipates and exemplifies basically everything I love about modern music.

111. Jungle Jungle

XL 2014

Jungle came out of nowhere a few years back with this absolutely blinding album, a sterling debut haunted by a dozen of their gloriously fractured dancefloor hymns. Sounding wholly alien and unlike anything else around, I like to imagine this intoxicating hall-of-mirrors post-disco trip would have sounded right at home pumping out the immaculate soundsystem at the Paradise Garage. These shimmering grooves shift and slide like liquid metal, melting into a sonic T-1000 reclining at the cutting edge of dance music and pop.

110. Edu Lobo Cantiga De Longe

Elenco 1970

The mesmerizing Edu Lobo's most intimate record finds him unveiling a thoroughly unique take on lush Brazilian samba. I always liked how Woebot would refer to him as "the Brazilian Bryan Ferry". Here you definitely get that same sense of sophisticated languor one finds in Roxy's more downbeat moments. The peerless Quarteto Novo, fresh from Miles Davis' Live/Evil sessions, provide sumptuous backing with their patented turn-on-a-dime rhythmic panache and nimble touch. Everything here is light as a feather, yet deep as the ocean.

109. Alice Coltrane Strings World Galaxy

Impulse! 1972

Cinematic free jazz with its eyes locked firmly on India. Alice Coltrane takes her boundless vision into widescreen with a full string orchestra in tow for this record's five swirling rhapsodies. Her masterful reworking of late husband John Coltrane's A Love Supreme breaks into a left field beat that leaves you blinking in disbelief at the improbable perfection of it all, while the sprawling Galaxy In Satchidananda feels like the soundtrack to some metaphysical sword-and-sandal epic set on an alien planet orbiting a distant star.

108. Van Morrison Astral Weeks

Warner Bros. 1968

Wild-eyed Celtic folk troubadour cuts loose with a jazz combo, reaching his true potential as he unleashes a stone cold masterpiece imbued with gentle soul and a spiritual elegance all its own. The heart of the record lies in sprawling character studies like Cyprus Avenue and Madame George, where Morrison lingers on these sad characters longer than most would dare. Sweet Thing and the title track seem to magnify the sum total of human love until it threatens to eclipse all of its bitterness and hate, embracing the world in its weary arms. And really, what could be better than that?

107. Monoton Monotonprodukt 07

Monoton 1982

Dense NDW. This is a space music that sounds like something SETI picked up on a particularly long range scan, those churning alien sonics emanating from within the center of some distant black hole. Voices echo just on the outer rim of the soundscape as fractal synth sequences pulsate all around, literally absorbing everything within reach. It feels like a staircase spiraling off into oblivion as gravity's pull draws you ever deeper into the churning vortex below. Surreal and occasionally disturbing — like late-period David Lynch — and the true soundtrack to In The Mouth Of Madness.

106. Model 500 Night Drive

Metroplex 1985

Juan Atkins's second release on his own Metroplex imprint is characteristically ahead of its time with its ultra-modern stripped down production and racing computer blue sequences. A lone driver's tale unfolds, recounting a freaky trip through the nocturnal highways of Techno City and the mysterious passenger he encounters along the way. The flipside is a turbo-charged rework of No UFOs (the centerpiece of the first Model 500 record), which finds Atkins short-circuiting World War III by landing a spaceship in your backyard. A bold, angular line drawn through the middle of the 1980's... this is what Detroit Techno is all about.

105. Pere Ubu The Modern Dance

Blank 1978

Rising from the ashes of post-industrial Cleveland, Pere Ubu are without a doubt one of the great American bands (in fact, they're almost too good to be true), working up their own unique brand of post-Velvets racket long before punk — let alone post punk — even existed. In the past, I'd always gravitated toward their earliest sides (essayed on the Terminal Tower compilation) but over the last year or so the razor-sharp precision of The Modern Dance finally won me over once and for all. This is either the sound of perfection perverted, or perversion perfected... take your pick.

104. Tim Buckley Happy Sad

Elektra 1969

Dreamy, jazz-inflected folk from one of the early visionaries of the Laurel Canyon scene. Lazy reveries like Strange Feelin' and Dream Letter drift weightlessly beneath the setting sun, even as a curling undertow continues to build up deep within until the interminable jamming of Gypsy Woman threatens to pull all of its surroundings into orbit before collapsing into a swirling vortex of proto-Krautrock intensity. Sun-baked with an undercurrent of dread, this is the L.A. of Inherent Vice.

103. The Doors Strange Days

Elektra 1967

Monumental, unclassifiable moody psychedelic cabaret rock 'n roll from the days when giants roamed the lazy beaches of California. Jim Morrison comes on like a twisted beat-poet crooner (echoes of Eden Ahbez in full effect) while Ray Manzarek wields his keyboards as if they were synths. Meanwhile, John Densmore seems to draw his tricky rhythms from anywhere but rock and Robbie Krieger's crystalline guitar style anticipates Carlos Santana. The whole effect is entirely unique, yet so easy to take for granted owing to the sheer magnitude of their historical impact. Utterly essential.

102. Terranova Manuel Göttsching Tokyo Tower

All Good Vinyl 1997

German b-boys cut loose in widescreen with Krautrock legend on guitar. Basically a jazz record, Tokyo Tower is eight minutes of somber perfection, while the flipside's Clone is a slab of seriously bleak microtonal madness that drops you into the middle of The Parallax View without map or compass. Terranova's album from a couple years later was good, but this right here is magic. When this first dropped, it seemed to me like a record from another age... whether that age was twenty years in the past or twenty years in the future, I'm still not quite sure...

101. Sneaker Pimps Splinter

Clean Up 1999

Chris Corner steps out of the shadows to front his own group — sounding like some unholy blend of Scott Walker and Marc Almond — who wrap him up in the raw architecture of feedback and ragged downcast beats on the long road to ruin. The whole trip feels deeply unhealthy and self-destructive — making plenty of stops in some incredibly dark places along the way — yet somehow in its resolute, brave stance finds itself at a strangely uplifting conclusion, crawling through the basement to find redemption. If OK Computer were as good as everyone says, it would sound an awful lot like this.


NOTE: To continue onward to The Parallax 100, click here.

AG Memories: In The Heights

Graffiti marks the backside of a billboard, rising above El Cajon Blvd., viewed from behind a palm tree
El Cajon Blvd., from somewhere in the Heights...

Picking up where we last left off, it was January of 2006. I found myself back in the Heights — living with my brother in a spot off El Cajon Blvd. — after a year spent living between Hillcrest and Balboa Park. The neighborhood was my kind of place, with a varied working class population crammed into a timeworn infrastructure that pre-dates the second world war. There was a public library a few blocks away and an excellent bar down the street called Shamrock's that played a selection of vintage rock (of the San Francisco variety) or block rocking hip hop and r&b, depending on the night.1 As Lamont Dozier might say, I was going back to my roots.

Forrrce Keep On Dancin' West End

A couple of synchronous events had occurred just before the move that colored the next year or so. For one, I discovered Woebot's blog by way of his epochal list of The 100 Greatest Records Ever (via a timely link from Blissblog2), which — more than any list I've ever found — seemed to align with my own musical priorities.3 It was uncanny! In truth, I'd only heard about half the records in the list, many of which were among my own favorites, and I'd heard of maybe another 30%; the rest represented a new frontier. It quickly became clear that most of them would be right up my alley, and it was time to get hunting.

Edu Lobo Missa Breve Odeon

There were loads of cool revelations, like how often our favorite records by key artists overlapped: Kraftwerk's Computer World, Herbie Hancock's Sextant, The Velvet Underground's self-titled record, Neu! '75, Rhythim Is Rhythim's The Beginning and Captain Beefheart's Safe As Milk.4 His list also tuned me into the music of Scott Walker, Virgo, Edu Lobo, Brigitte Fontaine and Allen Toussaint, sounds that would come to mean the world to me. This isn't even taking into account the writing itself, which always came off witty and warm, coloring even his most esoteric excursions into the avant garde with a down-to-earth flavor. Without a doubt, discovering Woebot's scurrilous activities in sound remains one of the key moments in my musical life.

SA-RA Creative Partners Set-Ups & Justifications Getting Out Our Dreams

The other event that went down toward the end of my time at the 1808 was the near-simultaneous appearance of SA-RA and Hot Chip on the pop music landscape: two crews that were so very tailored to my tastes that it was almost comical. There's a piece I've been working up centered around their appearance (in light of the recent Hot Chip show), but for now suffice it to say came along at just the right time for where I was at in 2005.

Moodymann Black Mahogani Peacefrog

Moodymann's recent Black Mahogani LP was fast overtaking Silentintroduction as my favorite record of his, and I'd been diving deeper into disco and garage than I'd ever been able to before. The output of labels like West End and Easy Street were in constant rotation, along with some other things that I'd been turned onto by one Kenny Dixon Jr.5 There were loads of greet electro-boogie records to be found for pennies (an ongoing obsession), things like Ray Parker Jr.'s Woman Out Of Control and One Way's Who's Foolin' Who.6 SA-RA dropping at this point only served to bring my various obsessions into focus.

Grand Funk Railroad Live Album Capitol

Shamrock's had tuned me into a whole bunch of hip hop and r&b around this time, along with a number or choice rock selections. This the era when Comets On Fire dropped their masterstroke, Avatar, sending me into the past digging up a bunch of storied Head Heritage material like Pentagram, the first three Blue Öyster Cult LPs and early Grand Funk Railroad.7 Augmenting old favorites like the Groundhogs, MC5 and Blue Cheer (not to mention Black Sabbath, Led Zeppelin and Van Halen, of which my brother was a huge fan), it provided the soundtrack to that summer.

The Byrds Dr. Byrds & Mr. Hyde Columbia

Barney Hoskyns' Hotel California had just come out around this time, illuminating the context around the Laurel Canyon scene in L.A. (something I was a bit thin on). Nearly everything I already knew I'd found out by simply following the various lines of flight from The Byrds' orbit. Things like Gene Clark's solo records, The Flying Burrito Bros and Crosby, Stills & Nash. Which then connects to Buffalo Springfield and Neil Young/Crazy Horse, not to mention of the early solo albums by David Crosby, Stephen Stills and Graham Nash. That's how it works, this music thing, you go from node to node. Hotel California simply fleshed it all out, and provided the impetus to dig a little deeper.

John David Souther Black Rose Asylum

All of which sets the stage for the second era of Radio AG, a period stretching from the dawn of 2006 to the close of 2007. I finally had a proper setup for my decks again (I'd had them laid out on the floor at the 1808). The mixes from 2006 were all coming to terms with the above tributaries, threading them into a matrix of groove-based music and taking the intended audience just a little deeper into the realm. There's that one mix where I played out the entirety of Halleluwah because it seemed like the right thing to do. The lions share of the year's mixes were from the summertime, and it shows. Lot's of high desert action, dry and dusty.

Theo Parrish First Floor Peacefrog

2007 was really the sea change. The winter mix was the first where I was really able to run wild with a consistent atmosphere, opening with Asmus Tietchens and closing with When The Levee Breaks. Everything had an glacial cast to it, from an unreleased Kelis tune to late-period Gentle Giant and early Simple Minds (a perennial favorite), it came on like an icy gust of wind. The next few mixes got deeper and deeper into beats, which is something I'd always meant to do. Firm favorites like Drexciya, Scan 7 and Theo Parrish all got a well-deserved look in. The table was finally set.

Various Artists Minicomp 001 Sneakmove

At the end of the year, G.B. loaned me a stack of records with the stated mission to make a mix out of them. The result was Episode 012. It was a great experience, working with a bunch of records I'd never heard before (I was only familiar with something like five of them), and on the whole pleasantly disorienting (like one imagines deep sea diving to be). Especially eye-opening were the Sneakmove Minicomps and the records on Bully, which were great breakbeat-driven slabs of noise seemingly built atop live drums.8

Radio AG Episode 012

The uniting thread throughout was a sort of post-rock, post-everything even, selection of sounds. There were beats that seemed to blur the lines between IDM and abstract hip hop, like the remix of Boom Bip by Boards Of Canada. There was James Figurine's cover of Other 99 (an old Big Audio Dynamite song that became the name of my original blog back in 2003) along with a G.B. original. It was a fascinating realm to spend some time in, resulting in the second true winter mix. Coming at the close of 2007, it's also the perfect way to close out the second chapter of the Radio AG saga.


And then, a long break...

Footnotes

1.

Sadly, the place closed down about seven years ago, ultimately being replaced by a hookah lounge.

2.

Blissout [Reynolds, Simon]. Edifying, controversial. Blissblog, 28 Dec. 2005. https://blissout.blogspot.com/2005/12. Accessed 25 Jun. 2015.

3.

At the time, your typical list seemed to take in 90% classic rock with token soul, jazz, hip hop and — if you're really lucky — electronic entries.

4.

Whereas the canonical picks at the time would have looked something like this: Kraftwerk Trans-Europe Express, Herbie Hancock Maiden Voyage or Head Hunters, The Velvet Underground & Nico, Neu!'s debut, Rhythim Is Rhythim Nude Photo and Captain Beefheart Trout Mask Replica.

5.

Take for instance his DEMF set (available on Groovetech), where he opened with Gil Scott-Heron & Brian Jackson's We Almost Lost Detroit before running through Curtis Mayfield and William DeVaughn chestnuts, ultimately settling into a boogie groove with The Brides Of Funkenstein and André Cymone.

6.

I'd been seeking out this one for ages. It turned up on the floor of some indie rock shop for 50 cents and was the only record I bought that day. Cutie Pie was one of my key jams circa '93 that for whatever reason was in heavy rotation along with The Isley Brothers' Between The Sheets and Kleeer's Tonight on Jammin' Z90. I'd taped them all off the radio, along with Ice Cube's It Was A Good Day, Duice's Dazzey Duks and the Geto Boys' Six Feet Deep, on what was the first tape I ever made.

7.

I'd actually bought a couple of their later records way back in the day based on their name alone, and Snakes and I had sampled some material for some of our earlier beats (see G-Street, for one).

7.

It makes perfect sense that they reissued the Silver Apples compilation, as that duo seem like the logical ancestor to their sound.