A couple thoughts occurred to me over the course of last week's endeavors, including the whole Island Disco post and the trio of concerts (especially the Jarre show) that I was lucky enough to attend. These were thoughts that I didn't get a chance to work into the other pieces, even if they may have been tangentially relevant, so I figured that I'd collect them all here. Well, here goes...
A couple dear cousins of mine, both a good deal younger than I, sometimes ask me to paint a picture of the nineties. Break it down, so to speak. Drop some science. I'm always more than happy to do so, as I have a fundamental fondness for the era. Not even so much fond memories of particular events or happenings, but an affinity with the general vibe of the era.
Anything was possible. The future was up for grabs! Dance music was on the ascendant, reaching ever new heights of innovation by the week, it seemed. It was like rock's sixties and seventies all rolled into one. There were hard times to be sure — that's just something you can't escape, no matter the era — but the general tenor was one that kept you hopeful that tomorrow was gonna be a brighter day.
I'm well on record as an aficionado of the nineties, and yet the 80s might have had an even greater impact on me. First off, I was younger. Secondly, I hadn't yet experience the symptoms of depression that would rear their ugly head increasingly as the decade wore on. But really, and I remember this vividly, circa 1989 there was this sense that the table had already been set for the decade to come.
Something like Big Audio Dynamite's Free and the film Flashback make the point I'm trying to here. I can think of no greater evidence of this than the fall of the Berlin Wall on November 9, 1989, and the elation that resulted (with dance music providing a suitable backdrop for the era, Love Parade, etc.).
This is the era that most of these thoughts I've collated spring from, loosely put the years 1986-1992. Period markers include hip hop's rise to dominance as a genre, house and techno on the ascendant as well, ragga in the charts, sampladelia coming into its own as the art form of the era, the Second Summer Of Love, big shades, t-shirts and day-glo colors everywhere, all with the darkness of Seattle grunge and the Wu-Tang Clan still a ways away from cracking the mainstream. If forced to narrow it down to a distinct season, I'd peg it for me at summer vacation following second grade. That is, summer 1989.
Still a kid at the time, I remember this era through the lens of phenomena like Reading Rainbow, LeVar Burton's PBS television show where he'd delve into some topic — oftentimes in some far off corner of the world (one episode on Japan stands out distinctly in my memory) — all while encouraging reading among the youth. This of course overlapping with his time on the USS Enterprise D as Geordi La Forge on Star Trek: The Next Generation. Yes, the man was on a roll.
I remember a distinct trend in music of the era — not only on the radio but also in movies and television shows — taking on a decidedly tropical flavor. Suddenly it seemed as if marimbas were everywhere! Even Quentin Tarantino/Tony Scott's True Romance featured them front-and-center during the more lighthearted scenes. I've been at great pains to point out the ways it colored the dancefloors of the era, but its presence could definitely be felt in the wider culture. I'm talking about Bobby McFerrin's Don't Worry Be Happy, Jimmy Cliff's cover version of I Can See Clearly Now and of course Inner Circle's Bad Boys (AKA the theme from COPS!). It doesn't get much more central than that, does it?
This when the likes of Shabba Ranks and Maxi Priest were tearing up the charts, also figures like UB40 and Snow giving it all a pop spin. This might be the strongest direct presence Jamaica has ever had in pop culture, more so even than the new wave era during Bob Marley's reign. Of course it was all hoovered up by rap and rave culture, popping up in all sorts of places from Dr. Dre's West Coast hip hop to The Prodigy's dazzling, candy-coated ardkore. Even rock had its dalliance with the stuff in the form of 311, Sublime and a thousand third-wave ska bands! And who could forget Common Sense's Never Give Up?
For our purposes, this manifests itself most particularly in the whole Nu Groove aesthetic, especially in the output of one Bobby Konders. Records like She Say Kuff, Ruff & Massive and House Rhythms offer up a near-perfect fusion of deep house and digital reggae, sometimes even featuring dancehall figures like Mikey Jarrett and Maxi Culture on the mic. And look no further than the sleeves to Bobby Konders & Massive Sounds and "All The Massive Hits" In A Rub A Dub Stylee for a perfect visual image of this whole trip.
There was a greater awareness of the environment at the time, which ties in with Jarre's Oxygene in ways that I'd forgotten. Did you know that it was originally an opus dedicated to the sanctity of planet Earth and a paean to its preservation? That was a thread running through the era, a notion that had become important in the aftermath of the 1960s but in truth dates back to grizzled adventurers like John Muir and Theodore Roosevelt realizing that America's wilderness was something quite special and undoubtedly worth preserving.
Famously, Richard Nixon established the EPA during his administration. This when films like Silent Running and Soylent Green hammered the point home in celluloid, films that would have a profound impact on the era's psyche. By the dawn of the compact disc era, environmental recordings, sounds of the rainforest, ocean waves, sounds of the bayou were everywhere: suddenly you could set up a whole sonic environment in your living room. Get carried away on rainclouds (or ocean waves!). You can hear this all over peak-era electronic music like FSOL's Lifeforms, The KLF's Chill Out and countless Orb remixes (Auntie Aubrey's Excursions Beyond The Call Of Duty is full of found environmental sounds).
This all dovetails with the sheer wonder I can still recall as a youth of having a yearly pass to the San Diego Zoo, seeing animals from across the globe and placing them within the context of the world's geography that I was picking up along the way (with the attendant flags and capitals, naturally!). It seemed that these formerly exotic realms were very much front and center at this point, places like the Serengeti, the Amazon and most of all Australia's outback were the focus of documentaries and more. The Discovery Channel really started to make itself felt as a presence around this time, and I remember spending hours watching coverage of these far flung locales.
I've often wondered why Australia in particular managed to so thoroughly capture the world's imagination at this point. It seemed to have this cachet of the exotic, romantic and futuristic. The sound of didgeridoo was everywhere. Was it the vanguard cinema of Peter Weir (Picnic At Hanging Rock, The Big Wave... Gallipoli even featured some Jarre in it's soundtrack) and George Miller (Mad Max, The Road Warrior, et. al.) making a splash, or impressive feats of architecture like the Sydney Opera House becoming lodged in the international consciousness as a modern wonder of the world? My brother lays it all at the feet of Paul Hogan. And yes, the Crocodile Dundee films were a bona fide phenomenon at the time, and they did spend a satisfying amount of time in the outback. At any rate, I remember that featuring a narrator with an Australian accent in your documentary was the golden touch at the time, signaling that elusive combination of frontiersman and futurist.
I defer to the films that Disney put out around this time: The Rescuers Down Under, The Lion King, The Little Mermaid, Cool Runnings and Aladdin. Also globe-trotting films like Club Paradise, Romancing The Stone and Jewel Of The Nile and the Indiana Jones trilogy. O.C. And Stiggs with their King Sunny Adé obsessions and inner tube pilgrimage down to Mexico, not to mention their high-rolling, exotica-crazed pal Coletti (Martin Mull in a brilliant cameo turn) took this spirit into the mundane suburbs of Arizona (often reminding me of a certain crew in the greater San Diego area circa 1997). Look no further than the soundtrack to Disney's The Little Mermaid (along with Cool Runnings, the storied film about Jamaica's first bobsled team) for evidence of the level to which it all penetrated the mainstream.
Think also of Peter Gabriel's records around this time, things like Security up to and including Us, and the whole Real World set up, bringing music from around the world to the Western stereo (usually glossed up with some period production flourishes). Speaking of the big time, you also had Paul Simon's Graceland, recorded with Ladysmith Black Mambazo and Los Lobos, a righteous flirtation with African music and zydeco (in the comics, O.C. And Stiggs were obsessed with Clifton Chenier). Vampire Weekend are still riding that wave. Then there's that one song (Help Me Somebody) on My Life In The Bush Of Ghosts that I could swear has a distinct zydeco flavor.
The Talking Heads went down this path after their whole Compass Point era had run its course, with David Byrne even directing a film (True Stories) about small town life. See also Paris, Texas and Ry Cooder's gorgeous slide guitar soundtrack to that film. This sound was sort of the era's go-to for signifying rootsiness at the time, shades of which filtered into Angelo Badalamenti's soundtracks to David Lynch' films (especially Twin Peaks). Think of all that heavily reverbed, languidly played rockabilly (Chris Isaak's Wicked Game) that fit Lynch's distinctly American Gothic, neo-noir moves like a glove.
As I mentioned before, the summer following second grade: that was quintessentially this. I remember taking a trip up to the Bay Area with my family for an uncle's wedding, a trip that extended to include a greater tour of Northern California. We checked out Lassen Volcanic National Park — memories of the lava tubes, hot springs and Mt. Harkness, seemingly covered entirely in grasshoppers — and Mount Shasta, the Redwood Forest and back to San Francisco and Monterey. In retrospect, there was an interesting mix going on up there, a melting pot of post-new wave gen x college kids, faded hippies, club kids, yuppies and bohemian types that was quite fascinating. To this this day it's stayed with me, a pungently evocative atmosphere. San Louis Obispo was pretty far out, anyway. We didn't get a chance to check out the aquariums in Monterey though (it was far too crowded).
Which was a shame, although I always meant to go back and check it out. A shame — not that I'm complaining — because the ocean is the final element in today's list of items. Some post-Jacques Cousteau bizzness. Whale song recordings were very hip at the time (see Sinéad O'Connor's Jerusalem, Open House' Aquatic and once again, The Orb). Then of course there was Star Trek IV: The Voyage Home, featuring a story involving time travel, San Francisco and humpback whales. Oceanic.
If there's one figure where I'd point and exclaim there!, then it's Arthur Russell. He makes this point quite beautifully. You can just hear it in records like Let's Go Swimming, In The Light Of The Miracle and Lola's Wax The Van. At any rate, I always thought it wax an appropriate touch making the sleeve to The World Of Arthur Russell the bottom of a swimming pool. His was a true Ocean Of Sound music.
The signifiers are almost too many to count. First of all there's the alias Indian Ocean that he used for the phenomenally abstract, fractal-winding post-disco of the School Bell/Treehouse record (bringing to mind both the aircraft carrier scenes from Top Gun — set in the Indian Ocean, remember, and tangentially Tony Humphries' Zanzibar club). The Paradise Garage too, Larry Levan's domain. Then of course there's the labels on the early Sleeping Bag releases, the era when Russell had the greatest influence, featuring a stylized Koala.
Another of Russell's aliases, used for production, was Killer Whale. Though there was never a record released under the name — such a shame! — it crops up on the Clandestine record, Loose Joints' Tell You (Today) and of course Let's Go Swimming. It's all very much emblematic of all subjects covered here today, showcasing that sense of the whole world being at your fingertips (a sense that would culminate in the world wide web). Everything suddenly felt very futuristic.
At any rate, I think the freshness of all this music — the Compass Point material, Nu Groove sides, Night Dubbin' — speaks to the era still having a quite strong charge about it. It has certainly stayed with me through the years...
Picking up where we left off with the last chapter (Imperial Slates) and in light of the recent Parkway Bowl Disco Mix, it's as good a time as any to touch on a key element in the Terminal Vibration blueprint that doesn't fit anywhere else in the schema. Consider this a cool breeze of an interlude between last episode's heavy dub shapes and next week's hip hop brakes. At the interzone between post-disco, new wave and boogie lies a tropical dancefloor sound that runs like a thread right through the 80s (and beyond). This sound is embodied by no one quite so much as (you guessed it) the Compass Point All Stars.
The crucial ingredient that sets this sound apart from what everything that came before is the thorough absorption of dub reggae's sonic toolkit into dance music's fabric. One can hear the reverberations echo through the ensuing years, most obviously in the spangly textures within the music of house figures like Bobby Konders (and by extension much of Nu Groove's output), Larry Heard and Tony Addis' Warriors Dance setup.
The thread then gets picked up by the likes of The Future Sound Of London (the earlier material in particular, see Accelerator, The Pulse EPs and the Earthbeat compilation), The Orb (Perpetual Dawn, Blue Room, Toxygene, et. al.) and even progressive figures like Leftfield and Andrew Weatherall.1
Tangentially, large swathes of trip hop — Massive Attack, Smith & Mighty, Bomb The Bass and loads more — seem to flow naturally from the more downbeat corners of Grace Jones' (I've Seen That Face Before (Libertango), for instance) and Wally Badarou's (literally, in the case of Mambo) discography. And like trip hop, this is a territory that I only mean to touch on briefly in the context of the Terminal Vibration series, as I plan to spend a much more time in this region in the not-too-distant future, with a feature of its own. Like I said, this is just an interlude of sorts.
This sound — which I'm still rooting around for a good, concise name for — was a key part of the story of what went down sonically at the Paradise Garage. Larry Levan's production on Gwen Guthrie's Padlock mini-album epitomizes the sound, in which deep grooving bass, spangly synthetic textures, dubbed-out percussion and disembodies vocals all coalesce in a swirling headphone symphony. This is a four-dimensional, tactile approach to sound design that pulses through the era like a homing beacon, bringing all manner of disparate figures into the fold as the decade rolls on like the pied piper.
As I was saying before, the key crew in all of this was the Compass Point All Stars, who cooked up something quite special down in Nassau on a series of records for artists like Grace Jones, Gwen Guthrie and the Tom Tom Club. Island disco, Parallax Pier, coastal dub... whatever you call it, it's very much a sound all its own.
It's interesting to note — and I've mentioned this before — the way Caribbean transplants Grace Jones, Eddy Grant and Billy Ocean all seem to have put in early work hammering this sound out in isolation over the course of the prior decade, their unique geographic perspective informing the music they were making within the context of what was the by-and-large straight up disco community.
Then there's the whole new-wave-gone-to-the-tropics phenomenon that probably started with the Talking Heads' I Zimbra and Remain In Light (who were coming at it from a West African-informed trajectory), and The English Beat's shimmering Caribbean inflections. I'm talking about Burning Sensations' Belly Of The Whale, Haircut One Hundred's Pelican West and XTC'sIt's Nearly Africa, not to mention David Byrne's production for The B-52's Mesopotamia mini-album (the influence of which seemed to stick around through their third album, Whammy!, even informing certain corners of their Cosmic Thing comeback in 1989).
The whole thing wraps around to the extent that the Talking Heads seem to be influenced by the groups that they influenced themselves (along with the Tom Tom Club's records), going full-on tropical with Speaking In Tongues, which was actually recorded at Compass Point. It's a sound not unlike what Kid Creole And The Coconuts had been up too, a sound that was co-opted and given a dark twist by Jerry Dammers on The Special AKA's In The Studio. Interesting that many of the ska bands ended up shearing into this territory, with English Beat songs like Ackee 123 seeming to split the difference between calypso and township jive.
One doesn't need to search far to find the real-deal flipside to these island incursions in the honest-to-goodness Jamaican disco like Crashers' Flight To Jamaica (Cool Runings) and Third World's Now That We Found Love (which despite hailing from 1978 sounds like something from, oh about 1993), while music coming out of Africa like Juju Music by King Sunny Adé & His African Beats and Tony Allen's Afrobeat 2000 squared the circle between new wave post-disco and their Yoruba/afrobeat roots. Once again, the circular logic is in evidence throughout, with the original influence being touched in turn by the music they'd originally influenced. And on and on and on.
And let's not forget Thomas Leer's globetrotting, sun-warped new pop, records like 4 Movements and Contradictions where he perfectly captures that Mediterranean drift between Tangier, Cairo and Ibiza (and often makes me flash on The Jewel Of The Nile!). There's also Suicide's second album, the glistening, mirage-like synths of which — coupled with Ric Ocasek's ace production — which always struck me as an almost unexpected detour into such sun-kissed terrain.
In many ways, I've often thought that records like Dream Baby Dream and Suicide: Alan Vega · Martin Rev run parallel to certain Arthur Russell records like Let's Go Swimming, In The Light Of The Miracle, Lola's Wax The Van and Dinosaur L's In The Corn Belt. Indeed, large swathes of the Sleeping Bag catalog sit quite comfortably in this vein, as does much of the early Easy Street output.
Even European dance music like My Mine's Hypnotic Tango, RAH Band's Clouds Across The Moon and Yello's exotica-tinged sides seem to fit into this puzzle with ease. To reiterate, the currents of this music seem to run through the very fabric of the era's dancefloors... but that's another story for another day, and I've already gone on far too long tonight.
There exists a particular sound that seems to leap out the speakers in vivid colors, engulfing its surroundings and drawing you into its world. I've come to refer to this as the day-glo sound. There's a four dimensional character to it... you can hear the neon in the air around you. It's something that's captured my imagination from day one, and I've been wanting to pull these records together for some time now. They tend to spring from the intersection of new wave and the dancefloor (at least initially), but in truth you might find them just about anywhere, from rap to techno and machine soul.
The reason I find this particular sound to be crucial is that it manages to spark up brilliant images in the mind's eye even as it throws spectacular shapes across the dancefloor. This is music for the mind, body and soul. It's verdant and full of life, with a four-dimensional depth that's thoroughly engrossing. Indeed, it's no surprise that some of the greatest pop music has keyed into this sound. It's particularly germane to the present moment, and I wouldn't be surprised if it pointed a way out of the quandary music currently finds itself in.
Rather appropriately, we begin our survey at the dawn of the eighties. There are bits and pieces from earlier records that may hint in the general direction, but they ultimately belong to a parallel lineage (one that I plan to discuss sometime next month). It's in the eighties that the day-glo aesthetic truly catches fire, coloring each of these records from the sleeves on down to the sonics held within. In rough chronological order then...
If we're talking day-glo, then there's no better place to start than with The Beat. Coming from the late-seventies ska revival (as spearheaded by The Specials and their Two-Tone stable of artists), they stand out by virtue of their sumptuous sonic palette. The Specials debut — with its stark black-and-white sleeve design and Elvis Costello's no-frills live-in-the-studio production — was thoroughly monochromatic working week music. From the baleful tenor of Concrete Jungle to the dead-end doldrums of Too Much Too Young, it was packed with no-nonsense photo-realistic documentary reportage.
In contrast, I Just Can't Stop It leaps out the speakers in vivid shades of violet and magenta, like neon lights dancing against the jet black of night. Mirror In The Bathroom, from the production on down, must be one of the most futuristic records ever produced. With five humans locked into the metronomic pulse of Everett Morton's drums and David Steele's creeping basslines, it almost seems to approach a state of machine music in its motorik drive and clockwork precision, with every texture clutching at your ear and pulling you deeper into its world.
You can sense the glitz of disco seeping into the post punk vanguard here,1 cementing the day-glo aesthetic that would color so much of the decade's music. An affinity with Giorgio Moroder's motor-disco, the spangled shapes of Prelude and above all the tropical, dubbed-out sounds of the nascent Island disco output can be felt throughout. The music spread across the entirety of this LP seems to exude a balmy glow, practically defining the word vibrant. Perhaps unsurprisingly, it remains one of my absolute favorite pure pop records of all time.
This is the point where post-disco morphs into eighties electro-boogie (see also Kleeer/Universal Robot Band, along with everything going down in Minneapolis at the time). You're The One For Me maintains the metronomic linearity of disco, lacking the top-heavy verticality of eighties electrofunk, but its machine rhythms do bear a striking resemblance to those of the electro boom looming on the horizon.
James Williams' soaring vocals swoop and glide over spangled synthetic shapes, wired into that central electronic groove, while Hubert Eaves III (the man behind the seventies jazz funk tile Esoteric Funk) gets busy on the keys. The instrumental version even begins with a liquid synth figure that sounds like loose wires shooting electricity across the third rail, kicking off a wild subway ride into the depths of the New York night.
Indeed, the whole Prelude aesthetic sits comfortably within the day-glo realm, from the rambunctious electronic shapes of The Strikers' Body Music, shifting and burning over tight mechanical rhythms, to the more organic sounds of Empress' Dyin' To Be Dancin', still firmly grounded as they are in the rules of disco proper.
Much of it has a vivid, compact clarity that seems to predict the architecture of eighties dance, but D-Train's You're The One For Me represents that crucial step forward, heralding a sea change in the way dance records would be constructed. Just compare 1980's Gap Band III to 1982's Gap Band IV, Cameosis to Alligator Woman or even Off The Wall to Thriller!
Another well-documented favorite of mine. It's also another singular pop record shaped in disco's shadow, combined with the arch grandeur of film music in an overwhelming clash of sonics. A definite case where the sleeve really captures the sumptuous moods found within. This music suggests ornate ice sculptures spiraling into the sky, crammed with so much richness of detail that they threaten to come crashing down at any moment, while Billy MacKenzie's shrieks pierce through their crystalline corridors with wild abandon. Every texture seems to pulsate fiercely, wherein unstable elements garland paranoia and raging emotion: this is blacklight affair music.
Songs like It's Better This Way and Skipping careen at a furious pace, seeming to combine euphoria and dread into a single emotion, every surface shimmering like storm clouds caught in a ray of sunlight. Conversely, No and Gloomy Sunday glide along at a more stately pace — with MacKenzie almost seeming to revel in his grief — but are no less overwhelmingly powerful for it. Every corner of the record is imbued with a raging intensity, as if all the colors — shades of blue, green and violet — were burning too bright to last for long. The dreamlike Party Fears Two is something like the embodiment of this sensation.
The CD reissue includes a wealth of bonus material (up there with Fifth Dimension's bonus tracks in terms of enhancing the original album experience), including an astoundingly raw early version of It's Better This Way (titled The Room We Sat In Before) and the moody instrumental Grecian 2000. The former is a splendid showcase for Alan Rankine's guitar finesse, as he strangles strange tangled shapes from his instrument, while the latter is a masterpiece of electronic noir: a captivating post-disco pulse cloaked in a haunting synth refrain, evoking paranoid pursuit through deserted city streets in the dead of night.
Needless to say, it's exactly the sort of thing we dig here at The Parallax Room.
The Island disco sound that I'd mentioned in passing while discussing The Beat, was in large part fueled by the inimitable Compass Point All Stars. The All-Stars were a crucial conduit through which both discomix reggae and dubbed-out vibes entered the eighties mainstream, and everything they touched was shot through with lush tropical flavor and a new wave glow. They backed Gwen on her first three albums (Gwen Guthrie, Portrait and Just For You), picking up where they left off with Grace Jones' excellent Island trilogy (Warm Leatherette, Nightclubbing and Living My Life).
The Padlock mini-album finds Larry Levan remixing a selection of tracks from Gwen's first two LPs into one extended atmospheric trip. The production here conjures up images of a steamy dancehall bathed in primary colors as viewed through a fun house mirror, evoking the spirit of Levan's Paradise Garage in its verdant, gently psychedelic atmosphere.2 The abstract machinery of dub remains in full effect throughout, righteously casting this cutting edge post-disco boogie as the head music of the eighties. Just keep in mind, this is the sort of head music that you can't help but dance to.
Tracks like Getting Hot, with those glimmering electronic flourishes spiraling out into infinity, and Peanut Butter, riding atop those insane rolling basslines, both burn with a raw, almost tactile sensuality. Hopscotch appears here in its most minimal version, while the title track (as featured on Parallax Pier) gives you a front-row seat at Club Paradise. When Gwen sings We'll sail away to shores... in Seventh Heaven, backing synths pouring through in a rush of sunlight, it's as if the feeling of pure ecstasy has been captured on wax.
Soul woman Barbara Mason had a history in the seventies as a no-nonsense truth-talker, rough hewn and down in the nitty gritty, smoldering with hard-won intensity on records like Shackin' Up and Caught In The Middle. Coming out nearly a decade later, Another Man is a sequel of sorts to her ballad She's Got The Papers I Got The Man, picking up where that tune left off — once the dust had settled on its romantic intrigue — with a humorous tale of infidelity and the realization that she really might not be his type after all.
Another Man has the shadowy, dubbed-out flavor you'd expect from a West End record, but it's wired to a cutting edge electroid groove that seems to be infused with hot pink liquid neon. Like D-Train's You're The One For Me, it's another killer late-period record from a disco powerhouse label that seems to cavort with electro in the half-light, laying out a blueprint for the future in the process. Notorious B.I.G. later used its sleek, depth-charging groove as the basis for his hit record Another, but trust me — you need to hear the original tune in all its glory.
The title track is rightly celebrated as a masterpiece of atmospheric machine soul (especially The After 6 Mix Juicy Fruit Part II version), while its striking music video3 perfectly captures the whole aesthetic on showcase tonight: day-glo and neon burning in the twilight. The florid magenta hues of those jackets they're wearing on the sleeve give you the first clue as to the vibes found within. Fog hangs over late night city streets bathed in neon. Cars creep in slow-motion by while the sounds of the corner disco seep out into the wider world, coloring the evening of the passers by.
This is post-disco funk music, fueled by rubberband basslines and twilight atmosphere (it's after six), cutting edge for its time it remains a pungent sound full of possibilities in the present. From Green Light's nimble, sure-footed boogie to the low key sway of Ready For Your Love, the group slide from dancefloor to bedroom with impeccable finesse. It all flows together so naturally, even as they take you to some unexpected places along the way (Hip Dip Skippedabeat is an electrofunk monster with a proto-rap that — in a strange twist of fate — recalls Lightnin' Rod's Hustlers Convention), that you can't help but get caught up in their moonlight vision. Without a doubt one of the great funk LPs of its era.
Compass Point's main keyboard man Wally Badarou strikes solo with an instrumental excursion that bravely expands on the groundwork laid out by the earlier Compass Point records, meshing lush jungle atmospherics with the power grid of the city. It's a rather astonishing tune to drop smack in the middle of the eighties, as it seems to predict whole swathes of the next decade's beat-oriented music even as it remains grounded in the gloriously lush post-disco climes of its day. The best of both worlds, in other words.
The original version — from his 1984 LP Echoes — was excellent, but the Vine Street mix on this 12" takes it to a higher plane altogether. When the verse's sleek groove unfolds into that insouciant low key moonwalk during the chorus — synths bathed in hypnotic half-light — it's as if you're gliding three feet above the ground. That it was released on 4th & Broadway is a perfect touch, as this was the label that would deftly navigate post-disco waters in the interzone between hip hop and house (charting the emergence of swingbeat and trip hop along the way). Rather appropriate for a record that plays like a roadmap to the future.
The original version, firmly of-its-era modern soul, gets stretched and spaced-out into timelessness by Andy Sojka (owner of Elite Records), Chris Madden and Keni Stevens himself at The Madhouse. The Ultra-Sensual Mix flows from its vocal to instrumental version flawlessly, recalling the low key half-lit brilliance of Lowrell's Mellow Mellow Right On when that tune memorably stretched out into its extended instrumental coda.
The central groove has been stripped down to an ultra-light frame and rebuilt like a graceful aero-glider, with not one element out of place. This has always struck me as something of a sister record to Barbara Mason's Another Man, those same sleek machine shapes grooving gently in the shadows. Yeah, I've gone on before about its rolling deep blue vectors bathed in moonlight, and yeah it's something of a touchstone around these parts; it's still a tremendous record. Paradise and polygons, you're in the grid now.
Early Detroit bizzness, which finds Juan Atkins picking up where he left off with Cybotron and No UFO's, venturing even deeper into nocturnal atmosphere and dubbed-out electronic shapes. Night Drive Thru-Babylon is surely one of the key records of eighties. It's just perfect, with Atkins' narration riding atop an elegant, starkly minimal electroid groove.
He's bombing up and down deserted Detroit streets, encountering strange freaks and existential loneliness in the darkness. That beat, a perfection of the electro structure, glides along like a rebuilt street racer. The vessel is cast deep blue on black, rushing past in luminescent streaks on the highway, everything bathed in scattered rays of unnatural moonlight. You're feeling the dread in that bassline, tronix swooping and rising like sparks over shimmering synth surfaces in otherworldly harmony, and your hands slowly tighten on the wheel...
Late eighties post-disco action produced by Bob Blank (of Blank Tape Studios), with the fingerprints of one Arthur Russell in evidence throughout. Certainly many other Russell tracks could qualify here — the cavernous shapes of Dinosaur L's Corn Belt and Indian Ocean's madly abstract Treehouse/School Bell spring to mind immediately — but this one's low key brilliance sits most comfortably among present company. Its swirling texture and slow-motion groove seem to evoke the feeling of floating underwater,4 and as is usually the case when Russell is involved, that water is gonna be deep (inna Larry Heard stylee).
Every texture pulses, throbbing against that gently chugging rhythm like unsteady electrical current running through a wavering light bulb. Think early Carl Craig, particularly the Gaussian blurred strokes of his Retroactive and Psyche/BFC material, but here everything is vivid and hyper-textured. Lola Blank's untamed vocals burst in and out of the mix as if she were inhabited by different personalities, while Arthur Russell does his inimitably subtle backing vocal thing (see also Loose Joints' Is It All Over My Face) throughout, poised just on the edge of the mix and weaving around Lola's breezily captivating lead to satisfyingly hypnotic effect.
Such a beautiful record, filled with the most absorbing house music you could imagine, made simply and elegantly by two Chicago kids armed with not much more than a DX-7 synth and a TR-707 drum machine. The Virgo album is essentially an expansion on the Ride EP, doubling the tracklist and stretching out into a thoroughly engrossing, immersive sonic trip. Sure, the gorgeous sleeve gives tantalizing clues as to the sounds held within, but dropping the needle on the record still never fails to take my breath away.
Do You Know Who You Are?, cloaked in lush synths cast in deep aquamarine, throws smooth shapes at placid angles off the clubhouse walls; it's as if you've passed through a door into the backroom and wound up on the far side of the galaxy. Tracks like In A Vision and Ride persist on a course through deep space, with luminescent textures routed through a hall of mirrors, cascading gently into infinity.
Starting with Ride, a handful of songs feature murmured vocals, feeling like a soft-focus take on what Jamie Principle had been up to during the preceding four or five years, placing sensitive, introspective men among the machines. Here, the duo fade into the mix like ghostly apparitions. All The Time is one such moody burner (vocals glide over the shifting ocean surface, locked onto the horizon), while Never Want To Lose You has the duo sneaking Bowie-esque into the foreground while an uncredited female vocalist intones acid house phrases like move your body! and listen to that beat!.
This lush machine soul reaches its twin peaks in both Going Thru Life — with those cascading synths and stark piano lines in spiral orbit over the deepest bassline you could imagine — while the warm geometric pulses of School Hall anchor a touching missive that surpasses even Kraftwerk's Computer Love in teaching machines to cry. There's this recurring moment when everything stops and the bassline just hangs there for a second — in suspended animation — before dropping back into the mix in a tumble of tones... oh man, it's one of my favorite things in the world.
More prime deep house, this time from New York's Mark Wilson. The whole Nu Groove aesthetic fits snugly within this realm (things like Rhythm Masters, The Sound Vandals and Bobby Konders' records spring to mind immediately). In fact, I often think that Nu Groove picked up on what the Compass Point All Stars had done and ran with it, bringing it into the nineties with their singular, multifaceted take on deep house. It's a sound that folds disparate strands of dub reggae, hip hop and r&b into its digital disco, offering up a definitive New York take on house music and a crucial stepping stone into the next decade.
Go directly to the New York Mix. Every surface is immaculate: that rolling bassline rides a gliding, shuffling rhythm with impeccable finesse, while underwater synths pulse deep in the background (making it feel something like a distant cousin to Wally Badarou's Chief Inspector). That oceanic synth — springing as it does from deep within the mix — certainly helps strengthen the comparison, sounding strikingly similar to the one rolling beneath long stretches of Badarou's track. Tons of tones tumble in and out of the ether, scattered against light reflected off the cityscape, as all surrounding entities are submerged into the deep. Shimmering and aquatic, this is underwater music for real.
The next node in the sequence brings us to the UK. So appropriate that this follows, as I've often thought that Dougans and Cobain's early records owe a huge debt to not only the Nu Groove aesthetic but also Compass Point's: they wired that same verdant, kaleidoscopic atmosphere into rave's kinetic breakbeats and the stark futurism of Detroit. This is where the two meet.
A definite cyberpunk flavor can be felt throughout, with shades of Cabaret Voltaire lurking between the cracks and of course Buggy G. Riphead's gorgeous artwork remaining a key period signifier. The Blade Runner vibes are most apparent in the shades of paranoia threaded throughout the record, and also in tracks like Moscow and Central Industrial, with the duo living up to their chosen name.
Accelerator is the culmination of all their early records, released under names like Humanoid, Mental Cube and Indo Tribe (indeed, many of these tracks had already appeared in various forms on the four volumes of The Pulse EPs). The opening track, Expander, rolls in on clouds of foreboding before dropping into a loose breakbeat groove, the unstable synth notes of the chorus spiraling out into crimson swirls.
On the flipside, Central Industrial closes the record with a staggering downbeat rhythm, each and every texture piercing into the darkness like an early prototype of the duo's Yage visions. In between lies all manner of magic, from the freewheeling calypso shapes of Stolen Documents (yet another track that seems to recall Badarou's Chief Inspector) to the sumptuous shades of While Others Cry, with its uncredited vocals seeming to connect literally to the tropical flair of Compass Point.
A key ingredient running through many of the tracks is a riverbed of percussion lying just below the surface, placed within dubbed-out caverns of echo (see tracks like It's Not My Problem and 1 In 8)5 while another is the near-constant stream of subspace breakbeats threaded through a 4/4 techno beat-matrix. Tracks like Calcium and Pulse State unveil shimmering vistas, hypnotic swirls of sound painted in vibrant color against Monet-like skies. These are some of the album's deepest moments, during which FSOL perfect a sort of rolling, filmic techno, as if a perpetual motion machine's course had been charted into the sunset.
Then there's the matter of Papua New Guinea, which rides a slice of gently unfurling breakbeat magic over a bassline lifted from Meat Beat Manifesto's Radio Babylon, prefiguring the path of rampant sampladelia the duo would engage in for the remainder of the decade. Further related capers can be found on its 12" single, with an excellent Dub Mix and the Journey To Pyramid version in particular shot through with the vivid colors of a certain day-glo psychedelia.
The one you want is Guido's Aquasonic Ice Rink Dub. Check that bassline, the awesome DX-100 bass sound that graced hundreds of records from the era, sparring with the nagging refrain of an after hours organ emerging in violet shades from the darkness. The vocal version is no less special, with the presence of an uncredited dancefloor diva wailing defiantly against the track's sumptuous nocturnal backdrop.
I still remember stumbling upon this record at an indispensable thrift shop (whose name eludes me) that once existed down the street from the Clairemont Library back when I worked there after school. The place was a goldmine of dance and hip hop promos that had apparently been shed by local DJs in an effort to pare down their collections. I used to drop by every Thursday during my lunch break and pull loads of killer garage and rap cuts for next to nothing, so I've gotta give props to those cats for hooking a young (broke) brother up back in the day.
Lush, melodic Bay Area hip hop. The cognoscenti seem to prefer his earlier Playaz N The Game, but I reckon that this one's his masterpiece. Every surface seems to exude a warm glow as shapes shimmer in the darkness and colors get scattered at random. From the title on downwards, it's as if JT had immersed himself in the studio on a mission to conjure up the most amazingly vibrant sounds possible, smearing the rough-hewn edges of these homespun studio mixes into a sleek flow of rolling machine music. The result is casually psychedelic, but electrofunk tight.
All techno heads must hear Root Of All Evil immediately. Like E-40's In A Major Way, with its astonishing shades of Drexciya atmosphere, this seems to share an affinity with those same plangent computer sonics (via West Coast rap's roots in electro). The drums snap with a quintessential coastal crispness that dates back to the days of Arabian Prince and The Egyptian Lover, while the bass itself seems to melt into the spaces between.
JT's tight flow is augmented here by guest spots from Rappin' 4-Tay and San Quinn, along with other Bay Area luminaries like E-40, Mac Mall and Celly Cell elsewhere on the record, while shadowy figure The Enhancer crops up behind the boards on both Representing and the aforementioned Root Of All Evil. Free-flowing horizontal grooves like Ain't Something Wrong and Bay Area Playaz perfectly capture the feeling of cruising down the 5 as the late afternoon blurs into evening, the world half-lit somewhere between darkness and daylight (like in the movies), while the sun and moon ease onto the horizon at opposite ends of the sky.
Glorious technoid house from Chicago original Marshall Jefferson, released on the heels of his Day Of The Onion album but surpassing it in every way. That's a whole mini-category right there... Robert Owens' I'll Be Your Friend and Romanthony's The Wanderer spring to mind immediately. At any rate, I suppose that trilogy sits so comfortably together also because they're each instances of brilliant house artistes operating at the peak of their powers to forge masterful statements of futurist soul. All three of them stone cold classics.
The Horse is a fast-forward house rhythm, 909 snares bouncing everywhere — sparks shooting royal blue into the night, every surface glistening — and evoking the feeling of careening at top speed down the freeway in the middle of the night. The flipside almost sounds like something Kevin Saunderson might have knocked off during the same era — just think of The Dream, or even the E-Dancer remix of Blackwater — with a grinding bassline and rough cut percussion battling in full effect throughout.
Pairing these tunes together was a stroke of genius, as the 12" taken as a whole seems to stand astride the twin worlds of house and techno, its unshakable trancelike shapes shimmering gloriously in the milieu of late-nineties dance.
Around the turn of the century, the minimal sound of micro-house revealed itself to be one of the leading hot spots in dance music for a spell. In truth, it's a sound that had been bubbling under for the better part of five years, but its sleek, gliding surfaces seemed the perfect sound to take house into the 21st century. Labels like Force Tracks and Kompakt became powerhouses, practically defining the sound in the public imagination.
The form threw up loads of great 12"s and even a handful of excellent albums, but — with the possible exception of Isolée's Rest — this one is my absolute favorite. It's a wholly surreal record that slips and slides through six deeply hypnotic missives of luminescent alien disco, perfectly capturing the state between consciousness and sleep... when dreams can bleed out into reality. Every track lasts ten minutes or longer, gliding on liquid machinery and fixed to the endless horizon, pairing lush machine shapes with seductive (and uncredited) human vocals.
The jazzed-out, three-dimensional electronic chords of Market set the stage, sparring with a squelching bass figure that gradually gains momentum, before swooping into a kinetic groove at the track's midpoint that seems to rearrange itself before your eyes. Getting down to the root of the matter, the flowing motorik drive of The Right Wing is closest thing here to the dubbed out techno of Basic Channel, who without question had a profound influence on the whole micro-house/minimal scene.6
Luomo share a similar mastery of the architecture of atmosphere, and employ it on a shadowy dancefloor half-lit in the moonlight under the stars. My absolute favorite moment, Synkro, is also the record's most spacious, with fathoms deep disco set adrift in a neon haze. Every element so lush that you feel as if you're swimming in its fluid textures as they tumble and cascade over one another. The mix practically defines the term four-dimensional.
Matching the deft play of mood and texture throughout this record is some truly stellar songcraft. Even without its heady production, Tessio would make for an excellent pop song. With the production factored in, the track is quite simply mind-bending, scattering those spongy bass tattoos — that seem to slide and shift gears beneath a clicking rhythm track — all across the soundscape, as two mystery singers engage in a fractal duet. Listening in feels like you're surfing waves of blurred emotion.
Throughout their tenure as Atlanta's unofficial hip hop ambassadors, Outkast had traded in verdant shapes and sounds. As far back as ATLiens, and even on their debut Southernplayalisticadillacmuzik, their music always seemed to exude a warm neon glow. Stankonia is the culmination of everything the duo had been up to during the nineties, and finds them descending even deeper into a sort of psychedelic machine soul.
The vibrant technicolor dream of Ms. Jackson is universally known (and deservedly so) — its lush sonic imagery could be heard everywhere at the time — and to this day it remains a masterpiece. The spectre of Prince looms large throughout, not only in Andre 3000's vocal moves but also in the record's dense, multi-faceted synth-led sound. Indeed, songs like Ms. Jackson and Humble Mumble seem imbued with the spirit of Paisley Park.
The electra glide textures of Zapp, Mtume and Kleeer, are in evidence throughout, laying the groundwork for the next decade's glorious blurring of hip hop, funk and r&b. I'll Call Before I Come gets into undeniable Atomic Dog territory, but Stankonia goes even deeper into the realm of Funkadelic with the twisted psychedelic soul of the title track. Between its Eddie Hazel/Jimi Hendrix guitar figure and that wailing group chant, it conjures the same dread vibes as March To The Witch's Castle and predicts Brain On Drugs a couple years ahead of schedule.
This long, strange trip curdles with Red Velvet's gnarled computer funk and the strung out psychedelic soul of Toilet Tisha, offering a starkly modern update of Superfly for the new millennium. Perhaps nothing sums up the record quite like ?, a strange junglist sketch and the album's shortest track, it's title hovering over these proceedings like a spotlight... hinting perhaps that even to this day, Stankonia remains a riddle wrapped in an enigma: try as you might, you'll never get to the bottom of this one.
Seeing these last three records together makes the turn of the century seem like some sort of golden age! Well, I suppose it was, after all. Jaxx's debut Remedy was easily the better record, but its sonics were sourced in wild pitch house and seventies disco (with Rendezvous and Red Alert coming on like turbo-charged Studio 54 gear).
Rooty, on the other hand, seemed informed by the new wave eighties (with the duo at the time referring to their sound as punk garage), and moves beyond house into a sort of crazed maximalist boogie (I think they've got the kitchen sink in there somewhere). Which, of course, makes it right at home in present company...
Hard-edged tracks like Where's Your Head At (built around a renegade Gary Numan riff) and Get Me Off roll with reckless abandon through the gutters of the red light district, trading in just the sort of sleazy, low-slung glamour that I wish pop could manage to muster in 2016 (although next year will be another story altogether, I'm sure of it... fingers crossed!).
Like contemporary Outkast, the duo channel Prince in Breakaway, sounding like a wild fairground ride experienced through a cracked fun house mirror, while the album-opening Romeo recalls Sheila E. Coming on like Remedy gone freestyle, its squelching synths seem shot through with hot pink liquid neon.
Two years earlier, Jaxx paid tribute to the machine soul moves of Timbaland with U Can't Stop Me, a strung out slice of stop-start machine funk built on an approximation of the man's trademark spidery beat matrix. Circa 2001, it looked like they'd returned the favor, with Timbaland's work on Missy Elliott's 4 My People and The Neptunes' productions for Britney Spears (Toxic, in particular) sounding like dead ringers for the relentless house sound of Basement Jaxx.
Golden age is right!
That initial run of Metro Area EPs were excellent, picking up where The Driving Memoirs left off, but introducing an expansiveness to the proceedings and opening up the soundscape considerably. This record is a culmination of those earlier releases, encapsulating a very special time with incredibly crisp, deep production that stands comfortably with the best records of the turn-of-the-eighties era that it's so clearly inspired by.
Dan Selzer's stunning sleeve art really captures the mood here, all those half-lit mystery dancefloors out of the past, present and future. I played this one over and over at the time, even if I thought that Morgan Geist's contemporary Moves EP was even better. Now I'm not so sure. This is one of those records that takes a sound previously confined to 12" singles and tucked away on b-sides and gives it room to breathe across an entire double-LP.
The record kicks off with two tracks featuring the tight string arrangements of Kelley Polar. I've always though that Dance Reaction sounded a bit like a long lost dub of Don't Stop 'Til You Get Enough. The first record seems to emphasize live musicianship, with everything from piano to terse vocal harmonies and even acoustic guitar embellishing the warm, uncomplicated soundscapes. Piña rides a Latin piano figure before slipping into Spanish guitar for the placid, dreamy coda. Itis Tandoor's live percussion runs through half the tracks here, opening up the sound considerably into a tactile, physical experience.
The string section and live playing give way to gorgeous machine disco on the second record, where things get down and dirty in a moody stylee. Those bright spangled synths take over, bouncing off the nightclub walls all around the listener as if Super Breakout had gone musical. I've always thought that Soft Hoop was this record's quiet masterpiece, that spongy synth sparring with the bassline in chambers of the deep, while Atmosphrique traps the listener in its hall of mirrors with an almost psychedelic play of, you guessed it, atmosphere.
The closing Caught Up seems a fusion of both sides of this record, pairing the strings of the Kelley Polar Quartet and a gorgeous piano/organ duet with the rubberband synths and dubbed-out rhythms of the last four tracks in a moving conclusion to a quietly powerful record.
Nearly everything this crew put out would be eligible, but this one's here for a few reasons and they all have to do with the b-side, Death Of A Star SUPERNOVA. First, those blacklight synths that seem to spray across the track like day-glo champagne, bathing its chanted vocals even as they threaten to take center stage. Second, those guitar trills that seem to recall nothing so much as peak-era Duran Duran, driving the beat before shearing off into the distance.
Third, is the energy, the fire and the tune itself — after all, it wouldn't mean anything if it were just a finely executed pastiche — marking it out as one of the tunes of the decade. Conjuring images of some outer rim nightclub nestled among the stars, its cosmic disco spheres orbiting as they cast glimmering lights all across the firmament. And yea, this is another sleeve that perfectly illustrates everything the record's about.
This is the point where the day-glo impulse really came into focus again and began to catch fire underground, culminating in a lot of the best music from the last decade or so. The strung out auto-tune r&b of Double Dutch CO CO POPS predicts the sound of the latter half of the decade, even if I've never been crazy about it.
As usual, however, the instrumentals are something special. SA-RA Space Theme is a low-key entry in their line of astral jazz outings — picking up where Herbie Hancock and Dexter Wansel left off — sounding for all the world like Herbie and Sly Stone jamming circa Fresh. Hangin' By A String, on the other hand, comes on like liquid neon, staggering along on a stop-start beat it seems to have been synthesized from unstable, radioactive elements. Part of SA-RA's charm lies in the fact that no one else sounds remotely like them.
I liked the first Gorillaz record a lot, so at first I missed the dubbed-out vibes of Dracula and Clint Eastwood. I got over it pretty quick though, as this is very much the superior record. What's more, parts of it seemed to key into the machine funk of Kleeer and Mtume... who would have guessed!? Check that synth squiggle in Feel Good Inc., featuring De La Soul in fine form, rough house rhyming over an electroid beat that cuts out just in time for the acoustic Staring At The Sun-esque chorus.
The sound at first seems more stripped down than the first record, but its really just a sleeker, more aero-dynamic approach. Tracks like Kids With GunsNeneh Cherry and El Mañana are skeletal tunes built on spartan drum machine rhythms and glistening analogue tones. Opener Last Living Souls is cut from the same cloth, only in slow-motion. All Alone features Roots Manuva doing his bashment thang over roughneck breakbeat riddims and a garage bassline while Martina Topley-Bird swoops in angelic and sublime for the breakdown.
The masterful Dirty Harry is that rare track to feature a children's chorus that works, spiraling into electro-funk territory once it really gets going and sounding like a dream version of something from Whodini's Escape. When The Pharcyde's Bootie Brown drops in on the mic for the guest spot, a ragged breakbeat takes over with its grinding bass accompaniment.
Dare is just perfection. Clearly one of the finest songs of the decade, it seems to pick up where the Dazz Band left off before immersing it all in vast cathedrals of sound. The record goes through various twists and turns before ending in a bizarre Brian Wilson hinterland, with Fire Coming Out Of The Monkey's Head featuring Dennis Hopper's narration (recalling old-time radio serials like Escape and The Mysterious Traveller) and the sumptuous Surf's Up moves of Don't Get Lost In Heaven, before swerving into the Rotary Connection-esque Broadway soul of the title track.
This double-CD (5xLP!!) album is the perfect distillation of decades of West Coast machine soul, ranging from the rolling basslines of g-funk to the computerized rhythms of electro, taking in the squiggling shapes of Solar Records, boogie and even mysterious shades of straight-up techno for good measure along the way.
Every track seems bathed in computer blue moonlight, wired up to neon (literally LAtrifying, as one song puts it) and drifting through a dreamlike haze. It's the perfect soundtrack to those late summer evenings spent cruising the sprawling web of city streets in the south side of California, just as dusk begins to fall, palm trees cycling by in the rear view mirror.
I certainly can't think of a record that better encapsulates the vibe of late afternoons and late nights down here in San Diego. It's the sound of crashing waves, the freeway stretching through rolling hills in burnt sienna and the grid of the city nestled within, the calm heat of the desert hanging wraithlike in the air. It's the sound of late night trips to your favorite taco shop, cruising down El Cajon Boulevard at midnight, or flipping through a stack of Parliament and Zapp records at your homeboy's spot. It's a million different memories all rolled into one, drifting bittersweet and beautiful out of the past like a mirage.
For instance, I Gots 2 Be Done Wit' U always takes me back to August of '95 and afternoons spent listening to One Way and Kleeer, soaking up their atmosphere while playing Atari 2600. Later I'd go roller-skating with my brother and our main man Gregory, the day seeming to stretch on forever.
Tracks like Spacecapades and Keep Lookin' 2 The Sky seem to key into a stream of pure techno soul, as if the sounds of Detroit were refracted through the cool water of the Pacific Ocean to sound right at home in the Golden State. In a sense, it sheds some light as to why this music always made perfect sense to me, a kid growing up two-thousand miles away. Parts of this record bring back vivid memories of bombing around San Diego back in the day, listening to Model 500 and Drexciya in the moonlight, taking the longest route home to hear just one more song and stretch the magic out across the electric shades of the evening.
A wildly inconsistent record, but a fascinating one with an engaging sound, seeming to exist comfortably alongside SA-RA and Dâm-Funk in the context of 21st century machine soul. Its release was tucked away toward the end of a year that had already seen one Leslie LP, his self-titled debut. Transition was apparently inspired by a late-summer romantic affair and knocked out in an off-the-cuff series of sessions.
That its release was buried is the only way I can square the fact that it didn't bother the charts with songs like You're Not My Girl and Zodiac, sounding something like the hypothetical album Michael Jackson might have released between Thriller and Bad (circa Kleeer's Intimate Connection and The Isley's Between The Sheets).
Leslie made his name producing Cassie back in 2005, and after a few years he got the chance to launch a solo career of his own. This and the self-title debut came out during a period when I was mainlining on SA-RA and seeking out anything and everything in a similar vein. New Amerykah: Part One (4th World War) had just seen release the previous year, featuring tracks produced by SA-RA, and it seemed like something special was in the air.
I remember when this and the Kid Cudi album dropped, and I was totally sold on their sleeve art from the jump: this had to be interesting. Actually, the sleeve is not a bad place to start if you're looking for a thumbnail sketch of the sounds held within, conjuring images of deep green vectors unfurling in slow-motion neon. The album-opening Never Gonna Break Up more than lives up to the anticipation, with Leslie slinging luminescent analogue synths across a gently chugging rhythm while doing his modern soul man routine on vocals. Leslie 's thing is switching between r&b vocals and quasi-raps, which suits his productions just fine.
A track like Sunday Night flows gracefully on moody synth swirls, while Nothing trades in almost new wave shapes. The new wave thing is actually in full effect throughout: All My Love even seems to recall New Order in its string/synth progression. The slow-burning post-disco boogie of You're Not My Girl just might be the finest thing here, rolling along on that nagging verse before slipping into its sublime refrain.
This lot have been the biggest surprise since SA-RA, coming out of nowhere with a killer record that sounds unlike anything else around. I've gone in depth on them before. Not much to add, but I still can't quite believe that they exist... and I don't understand why they aren't the biggest thing around right now. Sari and I have caught them live twice, and both shows were excellent in different ways. I suspect they can make any venue their own, their atmosphere seeps into every corner of the space.
Possibly the first group to spring fully-formed from within the day-glo aesthetic, rather than approaching from a tangent (be it post punk, disco, hip hop or rave). I've said before that they seem to build their songs out of texture as one would sculpt matter: everything here is like day-glo cast in gold and chrome liquid set against jet black skies, where everything glows gently.
It would have sounded incredible on the dancefloors of the Paradise Garage, yet it's perfectly at home in the context of now-pop, excelling most of the half-finished ideas that currently set the charts ablaze. This of-the-moment music exists in a continuum stretching back decades... nevertheless it sounds unlike anything that's come before.
Ranging from resolute floor-fillers like Busy Earnin', Time and Julia to moody burners like Accelerator, Drops and Platoon, Jungle imbue everything here with a sense of gravity and physicality. There's a deeply haunting nature running through these atmospheric reveries to the night. In effect, its a stone cold masterpiece. This crew are more than suited to take this sound screaming into the future, and I'm awaiting their next record more anxiously than any other. These are the things that dreams are made of.
Whereas before it was disco's method, its production techniques that were taken on board by the post punks: artists like PIL ejected the sunshine and engulfed their tracks in pure dread. Even The Human League were still making righteously strange synth music at this point — see 1980's Travelogue — at times Moroder-inflected yet stark and severe, with the full-on pop of Dare! still a year away.
This all germinated from an exchange between Sari (my wife), Andrew (my brother) and myself in which we each compiled our top 100 records of all time and then had a little party to review the lists while listening to bits of the records in them. It was a great excuse to talk music and I daresay that we all had a blast trawling through each other's favorites. It was during the process of putting together my own that my love for writing about music began to rekindle and I vowed to myself to bring back this site. I suppose then that it's only appropriate that I use it to kick things off again here at Parallax Moves.
This list represents my absolute favorite one hundred records of all-time, including albums, EPs and singles. Truth be told, a couple borderline compilations sneak in too! The idea was to select the records that essentially form my musical bedrock, the very core of my taste in music, and in a sense, the lens through which I tend to hear everything else.
It can be so tempting to only include influential, important records, to lean too heavily on the accepted canon of (insert genre here) classics rather than those records one actually loves most. The flipside of that coin is to veer too deeply into the obscure, or all those neat little records one discovers along the way. I found that the trick was to ruthlessly select (from my initial pile) only the records that: 1. Had a crucial impact on me (be it immediate or gradually, over time), 2. Are front-to-back amazing, and 3. I still listen to all the time.
This narrowed the field considerably, but there were still about a dozen too many records. Eliminating those was probably the most difficult part of the process, but its amazing just how much the list started to write itself at that point. To be honest, it was a bit of rush seeing it all come together. The result is a deeply personal selection, but I think that's the only way to go. In the end, I can promise you that every record here is a stone cold killer...
The Parallax 100 has recently been augmented by the next 100 records, which rounds out the set to an even 200. To start from #200, click here.
French synth wizardry from Richard Pinhas on Heldon's first odyssey, the driving pulse of which marks it out as a remarkably physical permutation of space music proper. Tracks like Back To Heldon and Northernland Lady seem to soundtrack actual landscapes you could touch and feel, wander and get lost in. Gilles Deleuze even makes a cameo on Ouais, Marchais, Mieux Qu'en 68 Ex: Le Voyageur, the one track to feature the band in full.
Man Parrish produced loads of great records throughout the eighties, but this wildly mutated remix of Hip Hop, Be Bop Don't Stop is a multi-jointed electro monster. Its rubberband bassline and depth charging 808s are remarkably loose within the context of electro, a genre typically defined by it's (intentional) rigidity.
Psychedelic, spaced out funk from this giant of Anatolian music. Occupying that nexus between acid rock and straight up prog (think Paul Kantner's Blows Against The Empire), it bests all other contenders by merit of its singular sound and vision. Those massive, supremely deranged synths come as an added bonus.
The greatest record to come out of the perennial clash between house and hip hop, a sound that has remarkably crashed back into the mainstream over the last five-odd years. The vibe here brings to mind certain records on the Strictly Rhythm imprint, also things like Hateful Head Helen, but the whole of this EP is thoroughly up to date and leans brashly toward the future.
The Rocking Chair Album. By my estimation the wildest electric blues LP, even outstripping his own supremely fuzzed out work on Chess' head-oriented subsidiary Cadet Concept. Wolf here sounds hungry as he attacks each tune with the ferocious charm he was renowned for, wrestling their melodies into a dense, churning turmoil of rock hard rhythm and blues.
One of the many great records laid down in Nassau by the brilliant Compass Point All Stars, this one benefits from Ms. Jones' compelling presence front and center. Splitting the difference between disco, post punk and dub, this is pristine, chrome-surfaced boogie on ten-inch rubber wheels. Just given the lavish Deluxe Edition treatment as well, with an unreleased cover version of Gary Numan's Me! I Disconnect From You tossed into the bargain. Grace's music is essential.
Digital dancehall. Generally recognized as a genre best served by the 7" single, this sterling LP is an exception to that rule. Tiger himself is responsible for just about every element on the record, from the toasting on down to the beats, resulting in a super-tight — and endlessly playable — ten track selection on which his larger-than-life personality shines immensely.
Japanese pop outfit remixed by the early heavyweights of British abstract techno: The Black Dog, Aphex Twin, Ultramarine and Global Communication. The ladies' heavenly vocals weave through these warped re-workings of their original compositions, informed by the curious slant that each producer brings to bear on the material. Truly otherworldly in every possible sense, the results simply sound like nothing else around.
Ethiopian Jazz. Discovered this via the excellent Éthiopiques series on Buda Musique and just had to track down the original LP. Mulatu's band so fluid here, the murky soundscape so dense with rich detail, that the record itself seems to conjure up a ghostly mirage of some smoky dancehall in Addis Ababa, thick with atmosphere and hovering three feet off the ground.
Wicked downbeat hip hop on the cusp between day-glo jazz rap and the dark blunted zeitgeist just around the corner (see Black Moon, Cypress Hill and the Wu-Tang Clan — the RZA and 4th Disciple of which actually produced this record), and managing to deliver the best of both worlds. N-Tyce's flow is smooth as can be and Method Man on the hook a particularly inspired touch.
Sampladelic, hard-edged post punk. The Maffia backing is incendiary and Mark Stewart explosive, veering between rage and sadness in equal measure. Also notable for spawning Stranger Than Love, the dub of which was perpetrated by none other than a very young Smith & Mighty. Indeed, pre-echoes of nineties Bristol seem to reverberate throughout the entirety of this fierce, uncompromising record.
A peak-period Joe Gibbs production that leaps out of the speakers with a rude zig-zagging synth and rock hard backing by The Mighty Two. Althea & Donna still manage to steal the show with their raw, infectious delivery on this absolutely massive (#1 in the U.K.!) pop reggae number. I've often thought that this tune must have had a profound shaping influence on The Slits, in both sound and spirit.
Strung out fourth world voodoo funk. Captures that feeling in late August when summer's lost its luster and seems like it's never going to end; sun-glazed buildings and steam rising off the streets. A definitive L.A. record, if I may be so bold. The band's interplay here so dexterous (City, Country, City) and group chants so obsessive (Beetles In The Bog) that nearly every tune feels like a mantra. This is my Marquee Moon.
Seminal N.Y. House and Todd Terry's finest moment of patchwork brilliance. Owing to his background in freestyle music, he was the first house producer to truly grasp the possibilities of hip hop and consequently seemed to approach all of his early traxx with a wildstyle mindset. This was already over a decade old (an eternity in the nineties) by the time I first got to hear it, but it blew my mind nonetheless. If there's one record that I'd like to think my life sounds like, this is it.
Globetrotting synth pop from one of the pioneers of the form. Looking past the gloriously icy climate of his peers (this the era of Gary Numan, Fad Gadget and The Human League), Leer establishes a warm and astonishingly nimble sound here. Splitting the difference between Kraftwerk and Tonto's Expanding Head Band, while adding a bit of eighties pan-global jet set atmosphere for good measure (think Club Paradise and Jewel Of The Nile), this plays like a Balearic record out of some parallel universe. In ours, it wouldn't even occur to people to make something like this until about fifteen years later (see Jimi Tenor, Patrick Pulsinger, Uwe Schmidt et al.). Utterly indispensable for any electronic pop lover.
Bracingly intense, white-knuckled biker metal. Despite their reputation as speed-metal pioneers (their very name a slang term for speed freaks), on this, their very first record, the hangover of hard rock's James Brown-as-played-by-cavemen beats endures, informing the entirety of its blistering mid-section: one of my favorite rock 'n roll trips of all time, sounding like a two lane stretch of highway cutting deep into the Mojave desert.
UR in their undeniable prime, back when Jeff Mills and Rob Noise were still kicking it in the group with Mad Mike Banks and the crew came off like Detroit's very own Public Enemy. I love nearly everything they've put out, from space jazz to computer-age electro to no-nonsense techno — all of it was extraordinary — but they never hit harder than when they were intensifying Belgian hardcore. On the Riot EP, UR's conceptual brilliance collides with their Hard Music From A Hard City aesthetic, resulting in their definitive statement.
In which the German dancefloor chanteuse collaborates with The Grid for a double-EP of ambient blues. In the process, she briefly inhabits — maybe even invents — the role of ecstasy age post-canyon troubadour (amplified here by the presence of BJ Cole on pedal steel), fragile and coming down from the shattered heights of the rave dream. This fertile landscape would eventually provide sanctuary to artists like Beth Orton, Dido and Dot Allison, while stretching outward to color the sensibilities of projects like Broadcast and The Beta Band. The results here are as true to her vision of dark electronic soul as she would ever get and practically define the word majestic.
New wave ska-pop, played with clockwork precision by The Beat. Tropical, breezy numbers like Hands Off... She's Mine and Rough Rider rule the day, although there's a definite undercurrent of dread beneath all of this day-glo pop, rising to the surface in Twist & Crawl and even Mirror In The Bathroom's unresolved paranoia. The U.S. version of this record is the one you want, as it includes two crucial extra cuts: Ranking Full Stop and a cover version of The Miracles' Tears Of A Clown, both of which add an extra dimension (and loads of charm) to the record.
Machine Soul twisted to the nth degree. SA-RA were often at their best when they didn't even seem to be trying, and this two-part EP (that only ever surfaced in Japan) might be the best example. Instrumentals like Jumbo and Enter Sex Slop beam two decades worth of hip hop-infused r'n'b into deep space, while Love Stomp and Wonderful (the alien descendant of Stevie Wonder's 70's records) ply a sort of warped astral jazz. And the two ballads (sung from a space capsule), Intoxicated and We Can Do Anything, stand among the finest songs they've penned. It's a shame that Butterscotch (aka Frequencies), possibly their single greatest moment (and one that would have felt right at home in this company), remains unreleased.
Early works by the jazz giant, recorded during his very first sessions as band leader. This well before his stellar run on Riverside and Columbia, which resulted in a flurry of great albums like Brilliant Corners and Solo Monk. Captured here is the initial supernova that eventually went on to generate those later works, shining as they do like stars in the firmament. A wild and intensely cerebral vision of jazz that finds careening bebop taken to logical abstraction.
Manuel Göttsching, krautrock guitarist extraordinaire, creates one of the great synth lines and then proceeds to construct an hour-long jam around the ebb and flow of his machines. The result is a marathon of spaced out proto-techno that gradually seemed to weave its way through the very DNA of electronic music in the ensuing decades. I first heard him on Terranova's Tokyo Tower way back in good old 1997, and he's remained one of my favorite guitarists ever since. His guitar sound here, as always, is exquisite.
Definitive statement from one of garage's true auteurs. This is supremely lush and soulful. A saga spread across four radically different versions, each managing to simultaneously contrast and complement the other, with the hypnotic electro pulse of CD Remix #9 and Fusion Dubb's cascading instrumental bliss running perpendicular to the wild pitch madness of Let Da Rhythm Move U, while the opening Journey Man Thump itself is extraordinarily haunting.
A luminescent nocturnal paradise, and the precise point of intersection between post punk and new pop. Alan Rankine and Billy MacKenzie drape sheet after sheet of sound onto a staggering pileup of impenetrable texture that they somehow manage to mutate into a breathtaking sequence of fully formed, brilliant tunes. Billy MacKenzie's soaring, operatic vocals are about the only ones you could imagine successfully cutting through these densely populated soundscapes.
A pre-Future Sound Of LondonDougans and Cobain get down to business with the title track, a rolling breakbeat monster, but the centerpiece is undoubtedly Q, an absolutely gorgeous peak-era rave anthem. As great as all of their later FSOL output was (Accelerator and ISDN among my favorites), their early records have a certain ravishing intensity, a rough-hewn charge, and this one is their masterpiece.
Afrobeat icon's mightiest record, from that blistering offensive he ran during the seventies, a period when the man was simply a force of nature on a serious roll. The title track was inspired by a police raid on the Kalakuta Republic (the story of which is the stuff of legend), but it's the insouciant brilliance of b-side Water Get No Enemy that quietly sneaks up to steal the show and push this record out above the stiff competition. As the man once said, Music is the weapon of the future.
The quintessential disco LP, and possibly the greatest, catches The Chic Organization in the middle of their late 70's winning streak: a period when they could do no wrong. It's lush, peak-era disco like Happy Man and I Want Your Love (not to mention the immortal Le Freak) that seem to be the obvious bounty here, yet the leisurely Savoir Faire (sounding like a lost instrumental from the Superfly soundtrack) and gorgeous balladry of At Last I Am Free — almost undisclosed moments of pure elegance — match all those songs for beauty, with everything blending together to make this record such an undeniably strong one.
Pure, elemental space jazz, in which gravity simply ceases to be a factor. This is the gateway record between Mwandishi's longform electric grooves and the full-on jazz funk of Head Hunters. The presence of one Dr. Patrick Gleason, working the ARPs, pushes this recording into the realm of pure tech jazz. A delirious odyssey into the deep black void of space and an obvious ancestor to later like-minded projects such as Galaxy 2 Galaxy, Innerzone Orchestra and Fretless AZM.
Four elegiac folk suites that burn with a white hot intensity. Everything here suffused with heartache and dread, yet staunchly refusing to ever fully give into the darkness. Harper's mournful vocals and spidery guitar weave their way through the orchestra's towering Gothic architecture, these great vaulting spires from which one can but observe the rolling, desolate tundra laid out below.
Categorically fierce ragga jungle from the golden age of rinsin' amens. Masterminds James and Mark X took the proper name for ancient Egypt to christen both their label and crew, all of whom are present here (plus Remarc, in a blistering cameo appearance). Tearing breakbeats are the order of the day, with subsonic bass charges and a militant atmosphere pervading the whole of this furious, uncompromising LP.
Dreamy post-grime r'n'b, moments of which make me think alternately of Detroit and The Prodigy. This a three-way collaboration between the Fade To Mind and Night Slugs crews (both dealers in dark electronic instrumentals) and Kelela, who lends her ethereal vocals to these already otherworldly backing tracks. The whole affair feels deeply surreal, as if this were a music heard through the lingering mists of a dream. Technically a mixtape, as an album-length statement it excels.
New Jack Swing. Teddy Riley's greatest moment, the Teddy 2 mix far superior to the album version. With the inclusion of that piano twinkling on the breeze, easing the tension of an interminable sax line from The Darkest Light, the whole thing is pushed to perfection as the groove's mesmerizing sway begins to lift into low orbit. I remember hearing this on the radio for the first time, as an 11 year old, and thinking that it sounded like a mirage in the desert (pyramids and palms dancing on the horizon). It wasn't until I finally tracked the record down, years later, that I realized what the song was actually about!
Sublime deep house from Chicago. Simply perfect, everything in its right place. Do You Know Who You Are and School Hall are among the most achingly beautiful songs ever written, while Ride and In A Vision map infinity: true hall of mirrors music. I'd been into house music for ages before finally managing to discover this thanks to a hot tip from Woebot, whose exceptional writing about music was a revelation, and for that I will forever be grateful.
Elton and Bernie Taupin, at this point still firmly in singer-songwriter mode, deliver their country western concept album. Almost musical-esque in execution, each song seems to follow one character while the next will drift on to focus on another (I've always recognized a kindred spirit in Come Down In Time). A front to back masterpiece with some of their most glorious songs; that it's almost obscure these days is a shame.
A dense, hallucinatory vision of fourth world jazz. Don Cherry's crystal-clear tone cuts through this mercurial brew of boundless depth, a mesh of struck bells, electric piano, tambura, bass and percussion. Pure Ocean Of Sound music. Frank Lowe's presence here a revelation, his pellucid tenor licks shimmering like the very surface of the water.
Superb roots reggae LP on Coxsone Dodd's Studio One imprint. The Wailing Souls are one of the mightiest vocal groups of all time, their harmonies among the great elemental sounds in music, managing to effortlessly capture the feeling of pure joy and then whip around to endless longing in but a moment.
Eighties jazz funk one-off. It's 1981: Keith O'Connell and Mike Collins, two British session men, get down in the studio with a Prophet 5 synth, Fender Rhodes, CR-78 rhythm box and electric bass, churning out this motorik bit of smooth jazz onto a demo tape and sounding completely out of time (think Hall & Oates and Carl Craig stuck in an elevator, making elevator music, and you won't be far off). The duo spent years trying to get a label to release it, until Passion Records (the soon-to-be parent label of Jumpin' & Pumpin') finally pressed it to wax directly from the original demo tape and gave them the epic name Sun Palace. The record wound up as a Loft Classic, and the rest is history.
Remarkably flawless longform work of pristine machine soul, produced by The Neptunes just as they were surfing their creative peak and released a matter of months after the first N*E*R*D album. Like the original electronic incarnation of that record, it was tragically buried at the time (never even receiving a U.S. release in this case). Still, a bunch of us bought the imports and played them obsessively. Of all the vocalists that The Neptunes worked with, Kelis always seemed to best articulate the Star Trak vision — that intriguing mix of stoned ennui and star-child optimism — and nowhere better than on this record's cosmic denouement.
Moody, half-lit Detroit techno. This album links together two EPs from the preceding year: The Living Key and, you guessed it, Images From Above, tacking on the absorbingly lush Burujha to round out the set. Not a famous record, but an essential one. The sound that the Burden Brothers achieved during this era is utterly captivating: arcing fractals of percussion entwine mathematically precise drum patterns while shards of synthetic texture pierce vast burnished soundscapes, splashes of melodic color drifting wraithlike out of the darkness. Every element so modest, so low key, yet the combination is ruthlessly magnetic.
An absolute beast of a record, in which monumental waves of pressure build and build over endless, rolling breakbeats. Narra Mine is a lavishly melancholic stretch of widescreen ardkore, while the flipside's nightmare strains of urban paranoia rise like steam from twilight city streets. Guns of Brixton, indeed. Sharon Williams wails like a banshee and Killerman Archer's maniacal, rapid-fire toasting amplifies the tension every moment he's on the mic. Pure dread.
Sixties garage rock from New York, made gently with liquid guitars. Where the Velvets' rockers used to pound, they now glide smoothly, with gorgeous folk numbers being the order of the day. The Murder Mystery, their final concession to the avant garde, is an engrossing dive into the subconscious.
Breezy French pop, and one of the greatest pure pop records ever. Sounding like ribbons of sunlight shimmering through stained glass, this is daydream music to fall in love to on a summer afternoon. The reluctant icon is accompanied here by the Charles Blackwell Orchestra, whose inventive flourishes provide a swooning, sumptuous palette of sound for Hardy to wistfully inhabit with inimitable style and grace.
Lush, haunting orchestral environments crafted by bossanova's greatest composer. A seventies record through and through, this is an incredibly heavy listening experience. Songs stretch out over vast uncharted terrain, every corner of the soundscape cloaked in rich detail. There are entire worlds transcribed within the grooves of this record.
French disco, prefiguring the likes of Daft Punk and Cassius by some fifteen years. Martin Circus were a rock band that drifted into disco's orbit for a couple albums, one of which spawned the original fourteen-minute version of this tune. Here, it gets reworked by the legendary François Kevorkian into a dazzling maximalist affair, crammed with nearly every sound you could imagine and capturing disco's essence within its shining seven minutes. The b-side, I've Got A Treat, is an infectiously sleazy bit of motorik Euro disco.
Half-lit bedroom disco from the nascent superstar. Maybe not as spectacularly widescreen as his staggering run of eighties records, there's still something very special about the sound here that draws you in. In Love and Soft And Wet have a deft, almost dainty, rhythmic touch to them, while ballads like Crazy You and So Blue sound improbably low key amidst his considerable slow jam repertoire. The undoubted climax is I'm Yours, an epic prog/funk workout that closes out the record in a thrilling crash of thunder, pointing gamely toward the future.
Bun B and Pimp C loom large over the history of Southern rap, having been in the game since virtually day one, and Ridin' Dirty is their ornately detailed masterpiece. The whole record glides in graceful slow motion, Pimp C and N.O. Joe's velvet-cushioned production forming a plush foundation for UGK's elliptical rhymes to dance over. An affinity with one DJ Screw can be felt throughout the blurred, spectral grooves of this LP, and nowhere more than the ghostly twilight vision of 3 In The Mornin'.
Late-period Coltrane. These sessions, from 1965 (although the record itself was only posthumously released in 1971), are among the last to feature his classic quartet with McCoy Tyner, Jimmy Garrison and Elvin Jones. True space jazz in every sense, with Coltrane blasting through the stratosphere, slipping into zero gravity and back again as Elvin Jones pounds out the propulsion for this interplanetary starship's travels.
Psychedelic dub reggae 7", produced by Lee "Scratch" Perry at the Black Ark and at the peak of his powers. This sun-baked, hallucinatory underwater excursion seems to rise from the immense bass pressure of the titular river's bed, where everything churns and tumbles in a great slow-motion whirlpool, sucking you ever deeper into the hypnotic abyss.
Legendary rock band at their most arcane and mystical, veering from the hard blues of their first two records into a sort of unheimlich folk balladry. The proto-metal is still there — Immigrant Song, Celebration Day and Out On The Tiles — but now filtered through a medieval lens only occasionally hinted at before. That's The Way and Tangerine are two of their most bewitching acoustic numbers, while the majestic sway of Friends remains my absolute favorite moment in their oeuvre.
This mesmerizing Indian classical recording is quite simply magnificent. Shivkumar Sharma a true visionary and master of the form. His playing on the santoor never fails to be thoroughly captivating: hearing him work his magic is like watching someone coax time to a standstill. The added touch of those flickering, gently swaying rhythms make this my absolute favorite record of his.
Bowie in Berlin, taking on aspects of minimalism and Krautrock while transforming his plastic soul sound into something even more robotic in the process. Side one is crammed with strange, paranoid pop songs and shimmering instrumentals, while side two stretches out into an ambient landscape of Europe endlessness. This era of Bowie's (detailed in Bowie In Berlin: A New Career In A New Town, an excellent read) is ceaselessly fascinating to me, and remains a conduit to so much amazing music, amidst which this record more than holds its own as a masterpiece.
Far-out salsa, shot through with an unyielding sense of cosmic jazz exploration. Eddie Palmieri, often referred to as the sun of Latin music, has a great many first-rate records to choose from, but this one is my favorite (with Vamonos Pa'l Monte running a close second). Pulling together some of his wildest studio experiments (Cobarde's crazed ten minute salsa pulse and the almost modern classical Random Thoughts) with marathon live workouts recorded at the University of Puerto Rico (Chocolate Ice Cream and The Mod Scene), this record essays some of the man's outermost sonic precincts. Those improbable zero-gravity breaks on Condiciones Que Existen's low-slung barrio funk are a particularly impressive touch.
Gorgeous vocal jazz shearing into proto-soul territory. Having informed so much great music throughout the years, it still remains entirely unmatched on its own terms. The very sound of this record is enchanting, infused as it is with pure depth and splendor. Billie Holiday, here still clear-voiced and resplendent (before the ravages of time and hard living took their toll), remains the greatest vocal presence jazz has ever seen. A record to lose yourself in.
Majestic early techno relics from Detroit's Carl Craig, back when he was just a fresh-faced kid trying to make his mark on the culture. Each and every track would be a highlight in any other context, while in present company they all flow into one extended hypnotic sequence. Moody dancefloor burners like Crackdown and From Beyond flow effortlessly into the glorious breakbeat release of Please Stand By and out toward the elegiac ambient house of How The West Was Won, while the peerless Neurotic Behavior still sounds like a record from another age... wholly timeless and too magnificent for words.
No Wave duo get atmospheric with Ric Ocasek in the producer's chair, stretching the sounds of the debut's most sumptuous passages out across the entirety of their second full-length. Diamonds, Fur Coat, Champagne sets the stage with a casually ethereal groove, while the duo map their sound's spaciest precincts in the eerie freeform calm of Las Vegas Man and Harlem.
Long-running legends riding the crest of their mid-seventies 3 + 3 era, arguably the band's peak. Prefigures Bowie and Eno's Berlin-era methodology, in which the uptempo numbers fill out side one while the second is given over to pure atmosphere: in this case melting into a sidelong mix of ambient soul, the ravishing synths of which are exceptionally lush and sun-glazed.
Speaking of which, Eno's Berlin-era album is absolutely essential listening, of a piece with his earlier classic Another Green World (a crucial record for me, just barely outshone by this one). Here, Eno examines the lush vegetation of that world from an entirely different perspective: that of the laboratory (the domain of science), and the elegant precision exercised therein is thoroughly modern. Even as strange almost-pop songs gradually give way to pure ambience, the former seem to inform the latter (and vice versa), melting together in a state of perfect harmony.
By my estimation Arthur Russell's finest moment, fusing the introspective nature of his World Of Echo material with the strange propulsion of his left field disco records like Let's Go Swimming and Wax The Van. This is a vision of the dancefloor that stretches far beyond the walls of the city, out across the great plains and into the deep blue horizon, spreading joyously outward as far as the eye can see.
Two old timers who've seen it all finally get a chance to meet up in the studio, laying down crisp re-workings of a bunch of classic Ellington-penned numbers. This is quite possibly the purest glimpse into the very essence of jazz ever put to tape. Even as these two legends swing together like it ain't no thang, they sound for all the world like they're jamming in orbit on the space station.
Weird new wave. Literally overflowing with ideas and traveling in every direction at once. Spiky rockers like Citizen cut their way out of the murky depths even as moody instrumentals like Film Theme revel in them, while mid-tempo club burners like Premonition crop up to inhabit the space between. Veldt, a maddening slice of pure atmospheric paranoia, even breaks out into a pleasantly menacing skank. For me, an unquestionably crucial record.
The godfather's dense double-album, rife with an overwhelming sense of seventies dread, yet at the same time home to some of his most gorgeous ballads. The fourteen-minute closing stretch of Papa Don't Take No Mess, one of his greatest extended workouts, is an obvious standout, while the Latin-tinged reworking of Please, Please, Please a hidden gem that hints at the remarkable breadth of this LP. I can't think of another record remotely like it.
Skewed hip hop from this visionary Brooklyn crew. If their first LP gave birth to the Native Tongues era then this one effectively laid it to rest. Decomposed beats, subsonic bass pulses and random machine bleeps punctuate these Gaussian blurred samplescapes within which Eugene McDaniels and Public Enemy rub shoulders with The Stooges. The results are a kaleidoscopic hallucination of hip hop: bizarre, druggy and in the end, their crowning achievement.
Nineties r'n'b. A glistening, four-dimensional soundscape that seems to morph and gyrate like liquid clockwork. Here, the swingbeat girl group hook up with Timbaland and Missy "Misdemeanor" Elliott (at an early peak, when everything they touched turned gold) to produce this casually futuristic one off — and a highlight for all parties involved — realigning SWV for the chrome age.
Sub-conscious deep house, where the border between electronic and live instrumentation decomposes to the point that its hard to tell where the programming stops and the band begins. I'm Doing Fine embodies this seamless symbiosis, while the juke joint boogie of traxx like Shades Of Jae and Back At Bakers On Livernois form a perfect counterpoint to the spectral jazz found in Holiday and I Need You So Much. Riley's Song, no more than a bassline groaning in slow motion beneath layers of ghostly atmosphere, nearly manages to steal the show, while the Mahogani 9000/Black Mahogani suite that closes the album (and memorably quotes Eddie and Priest from Superfly) could go on forever and I wouldn't mind.
The original soul man's second full-length is an indispensable glimpse into his signature vision of rhythm & blues. Exquisite backing vocals from the ever-reliable Raelettes add a swaying finesse to this already remarkable material, sweeping from the spectral crawl of It's All Right to the carefree shuffle of Swanee River Rock, through the rave up threat of Leave My Woman Alone and on to the back door blues of Blackjack. The all-encompassing breadth of vision outlined in this sequence of fourteen flawless tunes is truly staggering.
Dego and Marc Mac, operating out of their studio in Dollis Hill (located next door to The Future Sound Of London's), charted rave's trajectory from the intensity of its hardcore origins through the depths of the darkside, ultimately arriving at this distant outpost of interplanetary jungle. Yet even as they connect with the lush space jazz of Galaxy 2 Galaxy and Herbie Hancock, they still manage to retain the rhythmic danger from even the most twisted of their earlier records. If anything, that fury gets amplified in Wrinkles In Time and Sounds From The Black Hole: astonishing displays of breakbeat science as you're ever likely to find.
Avant garde crooner's finest moment. An existential rumination on the certainty of death and dues, and a flawless work of orchestral grandeur. The Seventh Seal and The Old Man's Back Again are so majestic that they practically beggar belief on first listen, while the fragile moments (Boy Child, Duchess) are among the most exquisite songs he's ever written.
Awesome dub reggae LP from this pioneering architect of the form. The drums splash, the hi-hats skip and the bass cuts massive caverns beneath a soundscape in which everything exists as texture. This is a dusty, planet-shaking sound: simultaneously futuristic and ancient. Invasion, kicking off with those rude synth bleeps, could soundtrack the boarding of Zion in William Gibson's Neuromancer. In a word, massive.
The fabled outsider checks in with his first LP of abstract blues, burning with raw garage punk fury and a set of unforgettable tunes. A remarkably early intervention for this sort of rootsy swagger (The Stones still mining psychedelia in '67), at times so dynamically gnarled that it seems to reach forward and predict the next ten years of rock's progression.
Bristol trip hop from the originators of the form. Nearly all of their records are splendid, but this little EP, recorded as a companion to their brilliant DJ-Kicks mix on Studio !K7, distills everything great about the crew into one exceedingly lush slice of perfection. Like some hazy afternoon vista bathed in mist, this sun-glazed melancholia feels like a daydream that lasts deep into the night. The remix on the flip is a bit of storming U.K. hip hop, featuring an uncredited MC Kelz. I've always loved the way that each version samples a bit of vocal from the other. This is one of those records that never fails to bring the memories flooding back, and along with the accompanying mix was the soundtrack to the better part of my final year in high school.
Motorik Krautrock speeding down an endless stretch of highway, this also possesses some of their gentlest moments. Seeland, in particular, sounds exactly like the sunrise looks when you're up early enough to watch the world wake. The flipside of the coin boasts Hero and After Eight, two exhilarating proto-punk onslaughts that achieve a sort of rock 'n roll perfection.
Spaced out smooth soul. The confessional nature of the material — focusing on the disintegration of Gaye's marriage to Anna Gordy — marks it out as unique, especially within the context of late 70's boogie-tinged soul. I've often felt that parts of this record (especially A Funky Space Reincarnation and Is That Enough) share an affinity with certain records by The Orb, prefiguring that same extra-dimensional sense of gently shimmering psychedelia.
Early hip hop's mad visionary stretches out in this loping sidelong groove, coming on like a hip hop update of Sly Stone's Africa Talks To You/The Asphalt Jungle. Jean-Michel Basquiat's production is crisp and spacious as his diagram on the sleeve, and no other MC had more claim to be dropping science than Rammellzee.
Strange, cutting edge art-pop constructed with heavy use of the Fairlight sampler by this visionary British songstress. Kate is incredibly moving throughout, her voice a controlled fury at the center of these fiercely brilliant songs, wherein she deftly coalesces shards of pure sound into form much like a nebula gradually becomes a star. Choosing highlights is virtually impossible, for as surely as each song differs wildly from the other, they're simultaneously all of a piece, the jigsaw edges of each locking with the others into a seamless fabric of inner space.
Landmark Brazilian double album, brimming with pure majesty and splendor. Grounded in Tropicália and samba, there are also deep currents of acid-psyche and even space rock running through its core. The Clube Da Esquina group achieve such an absorbing widescreen sound here, launching off into hitherto unexplored and expansive realms, that its difficult not to get lost in the very sound of the record. Trust me, you'll want to set aside an afternoon for this one...
Stomping Detroit techno from Kevin Saunderson, a figure who more than any other has had a profound influence on my own musical life. Around this time, there were loads of great records coming out of Detroit, which was enjoying one of its periodic renaissances. For me this was the apex. Velocity Funk is a pounding hardcore banger that seemed to be everywhere at the time (see also Stacey Pullen's remix), but it's World Of Deep on the flip — with that deeply haunting bassline and sheer, rolling waves of psychedelic sound — that really captured my imagination.
Nigerian juju from King Sunny Adé on his own Sunny Alade imprint, with both sides of the record encompassed by these great, effortlessly flowing suites. The steel guitar sound heard here stands among my favorite pure sounds ever, gliding through a polyrhythmic web of backing guitars and percussion as they churn beneath those gently chiming bells. His show at The Belly Up a few years back was a real treat, and remains one of the great concert experiences of my life.
Eighties post-disco stretched out and dubbed to abstraction by Larry Levan. This whole mini-album flows together into one long kaleidoscopic mix, the bedrock rhythms of the peerless Compass Point All Stars (Sly Dunbar, Robbie Shakespeare, Darryl Thompson and Wally Badarou) gently tumbling out into space. Gwen always had such a warm presence that she invested in her music and this is no exception.
Gritty, apocalyptic funk from the man who mentored a young James Brown and anchored the legendary J.B.'s. The horn fanfare on Back From The Dead is one of the great openings of all time to one of the mightiest funk songs ever laid down, and The Way To Get Down on the flip might even be better.
Marvelous roots reggae LP wherein each and every song is immortal, every note perfectly played and Byles' voice outstanding. Lavishly produced by Lee "Scratch" Perry after his falling out with The Wailers (for anyone wanting to investigate reggae music as thoroughly as it deserves, Lloyd Bradley's indispensable Bass Culture tome is essential reading), you can especially hear his fingerprints all over Coming Home. Everything here shot through with a gentle melodic sway so intoxicating that it's sometimes difficult not to simply let the record play out all day. A front to back masterpiece.
Awesome proto-jungle. From his early tenure in 808 State and the Voodoo Ray/Automanikk era to his status as a drum 'n bass innovator, Manchester's Gerald Simpson looms large over British dance music. This album is the culmination of early records on his own Juice Box imprint, with which he essentially forged the idea of jungle out of an interface between his techno past and hardcore present. It's the sound of a restlessly inventive dreamer kicking through the ceiling and into the clouds. To this day, it remains full of possibilities.
Space age jazz from this tireless innovator who managed to maintain his Arkestra through the four decades after big band's golden age until his death. The first side features Ra experimenting with the newly issued Hohner Clavinet, while the second is given over to the sidelong wild free jazz excursion Atlantis, sounding like a field recording of that mythical empire's cataclysmic descent into the sea.
Adam Ant was the first artist I ever got into in a big way, and my enthusiasm never waned: a definite case where I love nearly everything he's done. This is the man at his most raw and unvarnished, plying a sort of angular new wave post punk... with a hefty dose of rock 'n roll thrown in for good measure. His early band, an entirely different proposition than the one that would make it big a year later, is one of the great turn-on-a-dime powerhouse units in rock. The U.S. version includes both sides of the phenomenal Zerox/Whip In My Valise, tracks that blew me away when I first heard them as a 14 year old. I can't tell you how happy I was that his recent show at 4th & B leaned so heavily on this material.
Embryonic post-rock, from a time when it was still a genre yet to exist. These erstwhile new romantics stretch out far beyond the dancefloor into a state of permanent abyss. It's the omnipresent, swelling Hammond B3 organ that elevates this just above Laughing Stock (perhaps the more obvious choice) for me, the impassioned vocals of Mark Hollis doubly poignant in this context. Possessing a gently smoldering intensity, their music is disarmingly spiritual and direct.
Jamie Principle's improbably early house missive, arriving out of the ether fully-formed on his own Persona imprint. Dreamlike and haunting in all three versions, this is a wholly alien music even within the context of its own scene. It's a tragedy that such an obviously massive talent got such a raw deal, often not even getting credit on the sleeves of his own records. If there's one house artist that I wish had the chance to record an album in the eighties, its Jamie Principle.
Fusion — in this case the elements fused being earth and fire — an untold substance then molded into these towering, monumental grooves. He Loved Him Madly is a 32-minute dedication to the late Duke Ellington, ambient jazz picking up where In A Silent Way left off, while Calypso Frelimo and Maiysha establish some spooky fourth world voodoo.
Gothic glam rock, with Brian Eno still in the fold, generating his inimitable atmospherics and pushing the whole affair down some thoroughly surreal avenues. Bryan Ferry still sounds alien on each of these haunting numbers, while the band inhabits an island all their own. The Bogus Man and In Every Dream Home A Heartache are particularly obsessive and dreamlike, while Editions Of You never fails to burn the house down.
Hendrix the futurist in experimental mode as The Experience launch into deep space, touching on everything from hard rock (Voodoo Child Slight Return) to space music 1983... A Merman I Should Turn To Be and everything in between (including Gypsy Eyes and Crosstown Traffic, both improbably forward-thinking, wild breakbeat stormers) on this blazing, nomadic double-LP.
The Beatles at their most vulnerable and downcast, captured here on the cusp of their transition from infectious power pop to beatnik-inflected folk rock into psychedelia and beyond. The seeds of the groups endlessly fertile mid-period are here. Teeming with youthful passion, this record captures the intensity with which one seems to experience everything as a teenager.
Definitive New Orleans funk. The first LP from this group of loose-limbed legends and one of the great bands of all time. Everything here so disciplined and clean that its hard to believe it was recorded in 1969 (the year of Woodstock, endless jamming, etc. etc. etc.). This is a sparse instrumental funk that rocked like hip hop long before it was ever even sampled, existing in a class all its own.
Molten rock 'n roll. Iggy Pop is as ferocious here as he would ever be, while the band try their hardest to drown him out in this densely tangled sonic jungle. Of course you don't just drown out Iggy Pop, but you can still hear him clearing all those sonic vines out of his way in a panic (Let me in!). The sound this nasty bunch of thugs summon here is elemental.
A singular collection of proto-jungle torch songs produced by Shut Up And Dance. Sounding out of time in part thanks to their visionary, stripped down production, these skittering avant pop numbers are also shot through with a deep sense of the uncanny — which is entirely down to Nicolette. A truly unique songwriter and vocalist, skewed in the best possible sense, her records and guest spots are all defined by their idiosyncratic brilliance. Now Is Early, her debut, is positively steeped in it. An unheralded masterpiece.
Exquisitely poised Germans further mechanize their sound and casually invent electro in the process. Home to some of the warmest synths you will ever hear. For me, this beats The Man-Machine by only the slightest margin, those next-level beats the deciding factor. Possibly the most perfect record ever made with machines.
Visionary soul man's second studio LP, a work of majestic orchestral soul festooned with his sublime guitar work. Astonishingly innovative, full of breathtaking sonic vistas that stretch as far as the eye can see, crawling with the dense stylings of his orchestra and anchored by a backbeat that spells doom. Mayfield is there to guide you through it all, honest and touching as ever.
Folk-rockers expand their sound into hitherto unexplored territory, informed by their deep admiration of both John Coltrane and Ravi Shankar, and wind up inventing acid rock in the process. Here, their straight folk numbers are perfected in the shimmering Wild Mountain Thyme and John Riley, while Eight Miles High (Gene Clark's parting gift to the band) sees them soar to unprecedented heights (further explored in I See You and What's Happening?!?!). Even the tracks that didn't make the cut (Psychodrama City, in particular) are phenomenal.
Epochal trip hop debut from Tricky, wherein he rewrites the rule book, cuts it to pieces and then tapes it back together in an order of his choosing. By way of example, Aftermath's casually brilliant, loping groove (co-produced with Mark Stewart) stitches together bits of rhythm from Marvin Gaye and LL Cool J, samples dialogue from Blade Runner and quotes from both David Sylvian and The Rascals. Tricky's murmur anchors the pervading atmosphere of dread as Martina's ghostly wail haunts every corner of the soundscape. Oh yeah... and Hell Is Around The Corner is my favorite song ever.
Legendary German band at their most aqueous, their telepathic interplay lifting off into the upper atmosphere. Damo Suzuki, with one foot out the door, sounds too hip to be happy as he casually lays down his most soothing set of vocals on a Can record. Moonshake is an irresistibly slinky groove and the band's greatest pop moment, while Bel Air, the sidelong jam that encompasses the entirety of the second side, is so lush and expansive that it seems capable of supporting its own ecosystem.
Sly Stone's dusted masterpiece, sounding like his Woodstock-era recordings left out and faded by the sun. Crawling rhythms from ancient beatboxes spiral off into infinity, every edge of the soundscape blunted and out of focus, as timeworn tapes spool out in blurred slow-motion. The tempos drag, the prevailing mood is downbeat and the sound itself is divine.
Derrick May surfing a wave of pure innovation. The greatest techno record ever made bar none. Simultaneously cerebral and driving, it appeals to the mind and body in equal measure. That it's muted reception at the hands of the critics was partly responsible for the man's untimely retirement is a shame. The Beginning itself might be the undeniable centerpiece, but from the dazzling technoid disco of Drama to the geometric precision of Emanon and Salsa Life's tuff versioning of Strings, every track is sublime.
Number One. My favorite record of all time, no question. Always drawn to Contact, the record's big single, I was blown away when I finally tracked down a copy of the full album — a sonic utopia where pop music meets the rave. This is where Mick Jones' fascination with sampladelia is fully absorbed into his immortal knack for penning a tune, resulting in a true embarrassment of riches. Someday I'll write a book about this record.