Funk. The term has been rinsed thoroughly through the years — applied and mis-applied all over the shop on a seemingly loop — but at the end of the day, what is it really? The groove, hitting on the one, interlocking parts of a rhythm, all of them cycling in clockwork motion, players playing deep in the pocket all night long. Is it tight, is it loose, or somewhere in between? In attempting to answer that question, perhaps it makes sense to rewind to the man who dreamed it all up in the first place...
Smack in the middle of the 1960s, James Brown released the epochal Papa's Got A Brand New Bag, a frisky bit of proto-funk that took the nimble soul shuffle of early records like Think and Night Train to its logical conclusion. With an agile rhythm that found Melvin Parker's beats seemingly dancing three feet off the ground, while the bassline (played either by Bernard Odum or Sam Thomas, depending on who you ask) hopscotches across the spaces in between, it set the template for funk proper that would be hammered home further in records like Mother Popcorn, Give It Up Or Turnit A Loose, all the way up to Sex Machine, The Payback and beyond.
James Brown famously rehearsed his band The J.B.'s mercilessly, even going so far as to dock a musician's pay if they made a mistake live! The result was perhaps the most tightly regimented rhythmic unit ever assembled, with a style that moved so far beyond precision that they somehow wrapped around into looseness again. In essence, he constructed a a perfect machine from a group of individual human players, an innovation that set the course for large swathes of music's development in the years to come.
George Clinton's Detroit-based empire slowly developed in parallel, off-record in the shadows of Motown's artist roster before exploding with the twin debuts of Parliament's Osmium and Funkadelic's self-titled LP in 1970. Picking up where artists like James Brown and Sly & The Family Stone left off at the tail-end of the sixties, both groups spiked their funk/soul strange brew with a healthy dose of acid. Records like Maggot Brain and Cosmic Slop were shot through with post-Hendrix psychedelia, adding a dirty edge to the proceedings that was in thrall to the times.
Seemingly on the flipside of the coin lies that other institution that would prove to be so crucial in the development of Detroit's nascent progressive scene: Kraftwerk. They're often placed on opposite ends of the spectrum, Kraftwerk and Parliament, machine music and funk, but the truth — as is so often the case — is far more messy than one might expect.
There's that oft-quoted remark from Detroit club kids that Kraftwerk were so stiff, they're funky. Then, you hear something like The Model and Sex Machine back to back, and the parallels between the two become striking. Both tracks glide three feet above the ground on the horizontal tension of tautly arranged components interlocking like clockwork: rolling rhythms finding joy in repetition.
Somewhere in all of that was the sound of the future...
Whole worlds would spring from this fertile nexus — from techno and g-funk to r&b and electro — in the years to come, post-disco realms of sound stretching out in every direction, dazzling in their strange shapes and oftentimes even their distance from each other. And yet if there's one record that embodies this point of intersection — and did so before the fact, even — then it's surely Funkadelic's The Electric Spanking Of War Babies.
The Electric Spanking Of War Babies is the final album from P-Funk's original run, the last stop before George Clinton's Computer Games (which made the connections between funk and the machine explicit), an album that it also presages in many ways. War Babies is the illogical conclusion to everything that had come before, a record that throws everything from Flash Light and Not Just Knee Deep to Hit It And Quit It and There Is Nothing Before Me But Thang into a blender of abstraction and comes up with the adrenaline rush of pure future shock.
I often think the record works like a bizarre fusion of garage and laboratory, nestled deep in the heart of the Motor City, a place where mechanics and mad scientists disassemble vehicles and rebuild them in strange new combinations. Then, they flip the switch and machines spring to life, sputtering and scurrying like unwieldy insects across the shot room floor.
This shop operates at the interzone between post-disco, new wave and the nascent electro funk (the latter which Parliament/Funkadelic had a large part in birthing via Bernie Worrell's rubberband electronic basslines and gliding Arps). Rising stars like Prince and Zapp were soon hot at their heels, mapping both parallel and intersecting territory with their own innovations.
And yet, Funkadelic managed to up the ante one last time. Just as Kraftwerk rose to the challenge of new wave upstarts like The Human League and Gary Numan with their masterpiece, Computer World, Funkadelic went out with the left field big bang that is The Electric Spanking Of War Babies. Recorded after many key figures had left the group, including the aforementioned Worrell, the record is nevertheless the band's twilight era masterpiece.
The record opens with the title track, which kicks off with what sounds like one of Eddie Hazel's Maggot Brain guitar phantasmagorias (although it's actually played by Michael Hampton). Outer space sounds swirl as a booming voice intones the following madness:
You probably don't remember me, but...
But I remember you.
You probably won't believe this, but, uh...
I, at the early age of 72... was adopted by aliens. [bursts into laughter]
Was adopted by aliens... [bursts into laughter again]
That's right, I said aliens.
They have long since programmed me to return with this message...
Then, a bouncing groove at the intersection of new wave funk and video game music pounces into the fray for the repeated refrain, When you learn to dance, you won't forget it, before it all turns into a trademark p-funk groove in the tradition of Not Just Knee Deep and One Nation Under A Groove, only with an added sense of creeping desperation swirling in the mix. The phrase End Of The World Party springs to mind whenever I hear it, the band standing on the verge of the precipice, still getting it on. I suspect Prince was listening closely (see 1999).
The track is almost entirely built on Junie Morrison's electro funk foundation in the form of squelching neon synth architecture, throbbing basslines and a hybrid man-machine beat, while Michael Hampton shreds guitar into post-acid sparks across the track's entirety. Various members of Parlet and The Brides Of Funkenstein turn up on the chorus, giving their trademark input in the form of a gloriously sneering sing-song of the track's title, while Junie punctuates every bar with synth stabs that punch through the mix like electric-shock therapy.
Truth be told, it probably even edges out Not Just Knee Deep as my favorite P-Funk dancefloor rave-up ever...
After such a mind-bending opening, Electro-Cuties might feel just a little bit less extraordinary. A minor track, even. Nevertheless, it manages to connect the band's disco funk present with their rock hard roots, fusing a slap-bass fueled groove with a Cosmic Slop-esque riff in the bridge. Like the previous track, it has the lurching feel of disparate random parts recomposed into a brand new machine. The Brides even turn up on backing vocals again, with one even delivering a proto-rap in the track's extended second half.
Funk Gets Stronger Part 1 is another matter entirely: featuring the great Sly Stone, it's the indisputable peak of the record. Opening with a talking drum figure and psychedelic voices drifting in the ether, it kicks into a whirring, stop-start beat that seems to perpetually trip forward over it's own throbbing bassline. It seems another strange machine has been conjured up from spare parts, and more than any other track here, it embodies the record's modus operandi.
Lurching in one direction before swooping and diving in the other, the rhythm seems to be powered by unstable elements, its tripping beat kicking into high-gear double-time every so often as the band struggles to catch up. You're just waiting for the tune to shift gears again, and in its Doppler rush of acceleration and deceleration on can almost feel an eerie pre-echo of jungle.
All the while, the track's held-down by Zapp mastermind Roger Troutman's new wave-tinged rhythm guitar that's always struck me as a dead ringer for the sound on Adam And The Ants awesome Dirk Wears White Sox (the American version, of course). There's strong new wave/post punk currents running through the entirety of War Babies, and nowhere is that more evident than here. Think Metal Box, but coming from the opposite direction. Mike Hampton's incredibly pretty lead guitar threads the rhythm almost subconsciously, adding another dimension of emotion to the whole affair.
Sly Stone famously in the mix here, credited as co-producer alongside George Clinton and Bootsy Collins, and combined with staccato trumpet lines provided by Sly's old band-mate Cynthia Robinson in the chorus, there's a definite Sly & The Family Stone flavor to the whole strange affair. There's even a lush organ passage in the breakdown in the breakdown that would have fit right in on There's A Riot Going On! I'd swear it was laid down by Sly Stone himself, but the only keyboards on the track are credited to Roger Troutman, who works the Moog synthesizers. However, as with Riot's famously hard to navigate album credits (see also the Talking HeadsRemain In Light), I suspect that it's not the whole story. It's a late-era, extended band kinda thing...
The tune gets reprised a couple tracks later in the Killer Millimeter Longer Version, which finds the machine being started back up, its heartbeat pulsing quickly before tugging into shape. With its slightly more languid, open-ended arrangement, this version sounds even more like something from Riot. What's more, Sly Stone is credited on drums and keyboards, and late-period Family Stone member Pat Rizzo is present on saxophone. According to the album credits, it also features the lone contribution from original Funkadelic guitarist Eddie Hazel, who had already released his solo album Game, Dames And Guitar Thangs back in 1977.
There's an errant quote from The Beatles' All You Need Is Love before it all fades out and then back into place, with a thirty-second reprise-within-a-reprise cover version of She Loves You over the same rhythm. A drunken group chant, to be sure, and the perfect way to wrap up the Funk Gets Stronger saga.
Running parallel to these new wave/post punk moves, the record also spends a satisfying amount of time messing around with fourth world rhythms, with the extended rhythm sequence Brettino's Bounce nestled between both versions of Funk Gets Stronger. It's the sort of Caribbean-inflected groove that a post punk band like A Certain Ratio would kill for, with the band seemingly effortlessly unfurling a rolling percussion frenzy that lasts the better part of four minutes. A gong brings it all into focus, chattering polyrhythms and talking drums careening across the sound stage, before another gong sounds to conclude the jam session. Some might call it filler, but I think it's great!
The other big fourth world moment is Shockwaves, a cod reggae number that rocks a malfunktioning skank across the showroom floor. Once again, strange machines are afoot in the sound lab, this time with parts imported from Jamaica... Crazy!
At first it almost seems like a joke song, complete with ridiculous fake island accent in the verses, but like Chuck Berry's Havana Moon it quickly bolts toward the sublime. The sprightly rhythm slowly goes overcast with the descent of soaring backing vocals and its incredible chorus:
I'm from the first world,
I like to groove.
Don't want no problems,
Set up that groove.
I'm probably out on a limb here, but it always makes be flash on Bowie. Particularly contemporary things like the proto-Remain In Light fourth world stylings of Lodger
(the most obvious example being Yassassin), Up The Hill Backwards and even twenty later with Earthling's Looking For Satellites. It certainly fits right in with the wider My Life In The Bush Of Ghosts drift of the times. Interestingly, aside from the title track, it was chosen as the only other single from War Babies, coming out on 7" wax. Shades of new wave's détente with reggae (see also The Police, Jah Wobble, The Clash, et al.).
The following Oh, I almost feels like a breather after the breathless experimentation of the record's mid-section. It's the most straight-up p-funk number here, relaxing in a gently mid-tempo manner the way that Mothership Connection and Aquaboogie were. Adding to its sun-glazed aura is the acid-tinged, Ernie Isley-esque guitarwork of Michael Hampton and Jerome Ali. Interestingly, an unreleased 12" version of the tune later washed up on Parliament's The 12" Collection And More.
The record closes with the rubberband electro funk jam Icka Prick, the key final track in this song cycle. With its machine box rhythms rolling along at a hip hop pace, it's practically a g-funk track. David Lee Chong holds down synthesizer duties here, injecting the track with squiggly day-glo boogie shapes, while Michael Hampton returns (yet again) for some crunchy lead guitar work. One's immediately reminded of Zapp, but this is much looser, and less locked down, coming on like an amorphous, jell-o take on the electro funk sound.
As the song opens, Michael Hampton ad-libs Oh, you ain't seen obscene yet, We gonna be nasty this here time, and he ain't lying. Icka prick and iron pussy, yucka fuck and muscle cunt,while we servin' pussy from the shoulder, she servin' dick from the head, and Elmo MacNasty, mental masturbation, psychological perversion (hey, hey), are just some of the couplets you're treated to after he warns you to Put on some protection for your ears.Ain't no decent dick in Detroit! The Brides' backing vocals retort That's disgusting!
Without warning, it all goes supernova in the track's denouement, with soaring Hit It And Quit It vocals, whining Drexciyan synths and metallic guitars elevating the track toward its epic conclusion before it all fades without warning...
Over the years, The Electric Spanking Of War Babies has crept up on me to become my favorite piece of the P-Funk story. I've never seen it singled out for praise as such, but for me it distills nearly everything great about Parliament/Funkadelic into a sleek capsule aimed toward the future. Its man-machine hybrid draws together disparate contemporary strands — the post-disco funk of Zapp and Funkadelic themselves, the new wave shapes of Prince and the Minneapolis sound, and fourth world sonics straight out of the My Life In The Bush Of Ghosts playbook — all while pointing the way toward Cybotron, Model 500, Kosmic Messenger and beyond.
And as such, it's myriad routes stretch right up through the present day... not to mention the fact that it's a killer party record.
Hey man, I'm back from the bodega. Nothing like a snack, deep fried, to give you a second wind. Here you go my friend. So you like new wave, right? Sure you do... after all, everybody likes new wave. For the moment, let us focus on the dubbed-out dancefloor sides perpetrated by The Clash in that period just after London Calling, which puts us at 1980 A.D.
I'm talking about the triple(!)-LP trawl of Sandinista! and its orbital 12" singles, records like The Magnificent Seven and This Is Radio Clash, the latter of which features four versions spread across its twelve inch surface, each one sequentially more twisted and dubbed to pieces than the last. Outside Broadcast (the third version), is one of the great hidden gems in the band's back catalog, conjuring up images of a careening taxi cab ride through fog-cloaked city streets deserted in the twilight.
The Magnificent Seven — which must be heard in its spacious, sprawling album version to experience its true sparkling third-eye-tactile black magic — finds, as mentioned in their last episode, this band of outlaws messing around with the Good Times bassline and twisting it to their own swashbuckling purposes. In other words, it's Disco Not Disco at its absolute finest.
Interesting to hear it as Joe Strummer's take on contemporary rap (note The Clash's turn as backing band for graffiti artist Futura 2000 on The Escapades Of Futura 2000, one of the infamous Celluloid rap records), like Blondie's Rapture but even more so. Think killer disco rap like Grandmaster Flash & The Furious Five's Superappin', Kurtis Blow's The Breaks and Monster Jam by Spoonie Gee meets The Sequence (not to mention The Sugarhill Gang's Rapper's Delight if you want to get literal).
Noteworthy in the Parallax sense is also the fact that the intros to both The Magnificent Dance (the x-ray dub version of The Magnificent Seven) and Mensforth Hill form the basis of Reese's You're Mine (the b-side to Rock To The Beat), which suggests that Mr. Saunderson was working with both the album and 12" when vibing out in the studio to create that killer cut.
At moments like this, I'm reminded of Norman Cook/Fatboy Slim's review of Big Audio Dynamite's Sunday Best, in which he offhandedly placed The Clash at the genesis of indie dance. Which sounds about right to me, with New Order and Big Audio Dynamite arriving as fully formed ambassadors of the genre before it would go on to become a way of life.
Ah yes, that's right: Big Audio Dynamite! B.A.D. is, of course, a whole other can of worms. Now it's damn near painfully obvious to point out how that crew's merciless caning of the sampler and rewired approach to the dancefloor anticipated whole swathes of music in the nineties and beyond, but records like the proto-house madness of Hollywood Boulevard and Megatop Phoenix (which has nestled comfortably into Sgt. Pepper-status around these parts) serve to drive the point home and then some.
Their debut full-length This Is Big Audio Dynamite boasts not only obvious radio bounty like The Bottom Line, E=MC² and the sublime cool of Medicine Show (recently featured in Woebot's excellent 101-2001 — and for the record I agree wholeheartedly with the man's glowing assessment of the tune), but also a wealth of strange dancefloor material on its under-explored b-side (particularly Sudden Impact's phenomenal short-circuiting electroid groove and the proto-ragga dancehall of A Party).
Sudden Impact is particularly interesting in this context, with its strange spaghetti-western-by-way-of-Lee "Scratch" Perry guitar figure riding wicked rails of straight up electro, the track seeming to exist right at the very nexus of a number of contemporary sonic currents. For one, you've got electro boogie along the lines of Aleem's Get Loose, D-Train's You're The One For Me and C.O.D.'s cover of Gil Scott-Heron and Brian Jackson's In The Bottle, all of which predict Sudden Impact's own nimble touch in their wiry, skeletal rhythmic structure.
But why stop there? It doesn't take much effort to draw a short line from Sudden Impact! to honest-to-goodness minimalistic electro missives like Hashim's We're Rocking The Planet, the Imperial Brothers' We Come To Rock and World Class Wreckin' Cru's Surgery, all of which had been tearing up dancefloors for the better part of a year. Of course there's also the flipside of the coin: straight up electrofunk shearing into electro territory, records like Cameo's She's Strange (along with its proto-rap 12" club mix), Whodini's Escape and about a thousand other rap records.
Japan (the band) had their own incursions in this arena, where even amongst their most well-known new pop-era hits like the crepuscular fragile beauty of Ghosts and the supremely funky Visions Of China2 you'd find records like Gentlemen Take Polaroids and The Art Of Parties riding a malfunktioning electroid framework of their own.
Yet it's just before the group's widely-hailed peak that you'll find my favorite music they made, from that period when David Sylvian and co. were still slumming it as twilight era glam rockers operating in a weird interzone between new wave and funk that just shades this side of the (totally imaginary) post punk divide, with not only their blinding Adolescent Sex debut album (which featured in the Parallax 200 just the other day), but also the Quiet Life LP (and it's precursor, the Life In Tokyo 12" warning shot — produced by Giorgio Moroder for those keeping track).
Adolescent Sex in particular is the sleaziest rock 'n funk grind this side of The Stones' Fingerprint File, with real red light district velvet curtain bizzness in tracks like Performance (named after the Nick Roeg film, I wonder?) and the slinky cinematic slow burn of Suburban Love. This is funk the way The Isley Brothers played it. By which I mean turn on a dime rhythmic panache, smeared synth stylings — as if every texture were washed out in sun-glazed daylight somehow in the dead of night — and searing guitar lines rising from the murky depths.
There's shades too of Steely Dan at their Royal Scam grimiest — bringing to mind The Fez and The Royal Scam itself in particular — on tunes like Wish You Were Black and the marathon nine-minute album-closing Television. This sort of half-lit bedroom funk is a personal favorite sound of mine (see Prince's debut For You for another example), and should if there's any sense in the world at all spawn a feature of its own sometime in the future.
If there's a neon-tinged eighties analog to the sound I'm getting at here, then it must be Mtume circa Juicy Fruit. The album's centerpiece is the title track, no doubt, but there's a wealth of sterling rubberband funk in evidence throughout. The high top blacktop moonwalk of Green Light is emblematic of the whole affair in its casual loose-limbed bounce, with the more explicitly electronic grooves of Hips and Hip Dip Skippedabeat shearing into prime electrofunk territory. The production throughout is just perfect, with none of the overly-harmonized, booming drums that you'd often wind up with during in the era.3 It's the flipside of all the canonical new wave records here and a stone cold classic.
And while we're on the flipside, Funkadelic's The Electric Spanking Of War Babies is another unmissable slice of new wave electrofunk — from a crew that's arguably the progenitor of the form — and the flipside to PIL's Metal Box (the founder of this feast). The deconstructed start-stop groove of Funk Gets Stronger — featuring Sly Stone in full effect — is practically straight up new wave and never fails to make me flash on Adam And The Ants' Dirk Wears White Sox4 (particularly the distinctive guitar tone).
The whole record plays like a roadmap of eighties funk possibilities and beyond, and is absolutely essential listening. It will likely sound patchy at first, but give it time: what you're hearing is the familiar One Nation Under A Groove/Flashlight magic formula being warped and mutated beyond the point of recognition. Its strangeness is its calling card. The band even turn out the Lodger-esque freaky cod-reggae of Shockwaves, which starts out like a joke track (with fake accent to boot) before dropping out into the divine ravishment of the chorus. Definite shades of Bowie and très post punk!
On a related note, I make no apologies whatsoever for the heavy representation of Parallax 200 records here, since the sonic neighborhood on the table today couldn't help but throw up some of my favorite records almost by default. Wrapping up that list definitely put this sound firmly in mind. In truth, it likely inspired the whole trip! No doubt many of the remaining records will make the 300 when the time comes...
Now where was I... Ah yes, Japan. Coming a year after Adolescent Sex, Quiet Life and the Life In Tokyo 12" both seem to predict Duran Duran's self-titled debut in their sleek, chrome-eyed surfaces. Speaking of which, don't sleep on Duran Duran's 1981 debut, a record that is well worth checking out in its own right. The ace new wave disco of Planet Earth stands out as a particular highlight, but really the whole record is golden. Don't listen to the hipster haters — Nick Rhodes is way cooler than any of them anyway. Listened to back to back to back, these three records (Life In Tokyo, Quiet Life and Duran Duran) play like a tour of Europe by high-speed rail.
And while we're still on the continent, it's fitting to round out this strange punk funk-by-way-of-new wave triumvirate with Simple Minds, whose early records belie their Scottish origins and seem to point toward the most shadowy recesses of the Eastern Bloc. From the grimy claustrophobic corridors of Real To Real Cacophony to the sleek steel surfaces of Empires And Dance and even the Steve Hillage-produced widescreen canvases of Sons And Fascination/Sister Feelings Call, this is all prime real estate in the sprawling terrain of post punk/machine funk that just begs to be explored further. I've spent quite a bit of time here myself.
You've got the dead-eyed disco of Premonition, yawning gleefully with cavernous jaws and drip-dropping percussion, the slow-motion punk funk dirge of This Fear Of Gods and Today I Died Again's exquisitely swirling dread on one hand and the Kling Klang clanking funk of Sweat In Bullet (pointing the way to New Gold Dream) and the clockwork, backwards-crab-walking rhythm box black hole League Of Nations on the other. Taken as a whole, the four record run5 is a stellar excursion into post-Bowie In Berlin sonics.
So check them all out, the Simple Minds records and everything else here too. They won't do you wrong. I hear that the vendor across the street — yes, that gaunt gentleman in the robe — has them all on cassette, so don't sleep. Trust me... you need these records in your life. So fix up real quick. I'll be in the basement down the way grabbing some records from my homeboy Cornelius for the next chapter...
Actually, Prince's phenomenal Lady Cab Driver — from the glitzy 1999 double-LP — mines a very similar terrain. It's also got some crossover potential with The Clash's Outside Broadcast, come to think of it...
None can test. I'm on record as preferring the U.S. Version for its inclusion of the Zerox/Whip In My Valise, but only grudgingly so: I hate to give up the killer punk funk mekanik rush of not only Cartrouble Part 1 (which is doubly salient in the current context) but also Day I Met God and Catholic Day. Life's full of tough choices...
Real To Real Cacophony, Empires And Dance, Sons And Fascination and Sister Feelings Call are actually preceded by Life In A Day, a solid new wave record in its own right that's well worth checking out too (especially for fans of early Ultravox and XTC. The ingredients just needed to marinate a little longer before morphing into the fractured splendor of Real To Real and beyond.
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...
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.
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.
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.
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.
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.
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.
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).
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.
Instrumental reggae 7" crafted by man from the EastHerman 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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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...
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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 Dubjust 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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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..
This is where Janetgoes 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.
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.
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.
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.
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.
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).
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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).
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.
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.
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.
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 Kaiserwithout 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.
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.
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.
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.
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.
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!
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.
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.
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.
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.
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.
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.
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.
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!
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.
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.
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.
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.
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.
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?
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.
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.
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.
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.
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.
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...
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.
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