July 31: Daily Guru, "Music School: Tom Petty"

In today's video, I take a look at the amazing history that is the musical life of Tom Petty. Share and enjoy.

July 31: Daily Guru, "Gurucast #135"

CLICK HERE TO LISTEN (will open in new tab)


(Left Click (PC) or Command-Click (Mac) to save it to your desktop...it's about 75MB)

One hour of amazing music and commentary from "The Guru" himself. Tracklist will be added to THIS post on Thursday.

July 30: Daily Guru, "Something Old, Something New #84: John Lee Hooker / The Gaslight Anthem"

Today I review an essential piece of blues history, as well as look at the new album from The Gaslight Anthem. Share and enjoy.

July 29: Daily Guru, "The Playlist #14"

In today's video, I offer some suggestions on some killer music you MUST check out! Share and enjoy.

July 29: Sleep, "Dopesmoker"

Artist: Sleep
Song: "Dopesmoker"
Album: Dopesmoker
Year: 1994 (recorded), 2003 (released)


Most of the time, when metal bands attempt the "symphonic" approach to their music, it leads to them having full orchestras and ending up looking like completely pompous idiots. This is mostly due to the fact that such bands have lost sight in the fact that the true brilliance of this style of metal is the fact that the classical form is being fused into the metal sound, and in many ways, it has absolutely nothing to do with the "formal" sense of the word symphonic. Understanding this fundamental truth, and creating some of the most phenomenal metal symphonies in history, California doom-metal legends, Sleep, remain one of, if not the greatest artists that the genre has ever heard. The fact that they were creating such sounds in the early 1990's, long before heavy metal had its commercial resurgence, solidifies the fact that, along with being fantastic musicians, Sleep were true musical pioneers as well. Taking heavy influence from the early metal-psychedelic sound of Black Sabbath, it is the extraordinary "wall of sound" approach of Sleep that had massive influence on bands like Om, Sunn O))), Boris, and Dozer. With a pair of full length records, and an EP to their name, it is Sleep's final album, as well as the mystique behind it that stand as their finest work. Though it was recorded as a follow-up to 1993's Holy Mountain, Sleep's final release would not see the light of day for more than a decade, yet the album in question, 2003's Dopesmoker, stands as one of the most stunning and truly unparalleled musical efforts in history, and the title track is an outright masterpiece.


Clocking in at sixty-three minutes and thirty-two seconds, there is quite literally nothing else every recorded that can be used as comparison to the massive sonic mammoth that is the song, "Dopesmoker." The song title perfectly captures the bands' overall musical approach, as well as solidifying their spot as "stoner metal" kings. The song itself is a jaw-dropping, trudging musical journey, the likes of which have never been heard, and yet even for non-metal fans, it is a truly mesmerizing musical experience. With five or six distinctive sections of the song (depending on how you justify a beginning and end), the song is clearly a single piece, and the various sections would sound outright disjointed and strange as single pieces, as was evidenced in the Jerusalem release. Creating massive hills and valleys within the music, "Dopesmoker" also varies throughout in the overall mood and tone of the instrumentation. From powerful, crushing chords that slam through the speakers, to more melodic, softer passages that play in almost breathtaking contrast, there are few bands of any genre who can play such varied styles anywhere in their catalog, let alone within a single song. Furthermore, "Dopesmoker" is very much a song that gets better and better with each additional listening, as each time one experiences the majesty of the song, new aspects and smaller nuances are revealed deep within the sonic structure. The fact that, over the hour of music, the song never becomes uninteresting is a testament not only to the amazing composition of the song, but also to the stellar musicianship of Sleep's three band members.


After experiencing "Dopesmoker," it is almost unfathomable to learn that only three musicians created the massive wall of sound that comprises the entirely of the music found throughout the title song. Whether taking brilliant, winding solos, or playing punishing, powerful chords, guitarist Matt Pike is absolutely phenomenal throughout the song, and quickly makes his case for being one of the most talented guitarists of his generation. Adding to this, in what can be argued as the single most awe-inspiring performance in music history, drummer Chris Hakius plays with loads of force and power, and he does not stop for the entire run of the song. Such endurance is nothing short of mind-blowing, and this feat remains truly unrivaled throughout music history. Rounding out the band, and creating the trademark "trudge" that dominates "Dopesmoker," bassist Al Cisneros is nothing short of superb throughout the entire track. Finding the ideal balance between melody, and an unrelenting, pulverizing, often outright intimidating tone, Cisneros delivers an extraordinary performance on bass, as well as providing the vocals on the song. While these are vocals scattered throughout the hour-long musical masterpiece, and are quite secondary to the music itself, one can make the case that they are quite necessary to the overall feel of the song.  The lyrics themselves are largely mythical in nature, speaking of caravans crossing the desert, as well as strange references to the "Weed Priests." As the song progresses, the lyrics turn far more to marijuana related, almost religious phrasing, and it is fitting in many ways, as "Dopesmoker" is most certainly a religious experience.


Throughout nearly every genre, there are a handful of individual songs that are so amazingly unique, that even I the band released nothing else, for that song alone they would be legends.  Cementing this idea, as well as serving as a true benchmark by which all heavy metal, and more specifically, "stoner metal" is to be judged, Sleep's magnum opus, "Dopesmoker" is a song that has no equal anywhere in music history. There is no arguing that the energy and undeniable level of musicianship found on this monumental recording are beyond the vision of nearly any other performer or band from any point in music history.  While it took the better part of a decade for the song to finally be released in the proper manner, the wait was well worth it, as "Dopesmoker" is by far, one of the greatest musical achievements in history. Taking the idea of creating metal masterpieces, with movements similar to those found in classical symphonies, Sleep were innovating this new approach years before it would come into style. Furthermore, though many bands after them took on a similar musical approach, few of these bands have been able to come even remotely close to Sleep in terms of composition or musicianship. Though the live track found on Dopesmoker is nothing to pass off, the fact of the matter is, the title track is so imposing and staggering, that it overshadows everything else associated with the album. With their own influences, Black Sabbath and Saint Vitus being the most obvious, clearly on display, Sleep completely re-wrote everything about music with their hour long musical epic, and there has simply never been another track that even comes close to what one can experience on "Dopesmoker."

Artist: Sleep

Song: "Dopesmoker"

Album: Dopesmoker

Year: 1994 (recorded), 2003 (released)



Most of the time, when metal bands attempt the "symphonic" approach to their music, it leads to them having full orchestras and ending up looking like completely pompous idiots. This is mostly due to the fact that such bands have lost sight in the fact that the true brilliance of this style of metal is the fact that the classical form is being fused into the metal sound, and in many ways, it has absolutely nothing to do with the "formal" sense of the word symphonic. Understanding this fundamental truth, and creating some of the most phenomenal metal symphonies in history, California doom-metal legends, Sleep, remain one of, if not the greatest artists that the genre has ever heard. The fact that they were creating such sounds in the early 1990's, long before heavy metal had its commercial resurgence, solidifies the fact that, along with being fantastic musicians, Sleep were true musical pioneers as well. Taking heavy influence from the early metal-psychedelic sound of Black Sabbath, it is the extraordinary "wall of sound" approach of Sleep that had massive influence on bands like Om, Sunn O))), Boris, and Dozer. With a pair of full length records, and an EP to their name, it is Sleep's final album, as well as the mystique behind it that stand as their finest work. Though it was recorded as a follow-up to 1993's Holy Mountain, Sleep's final release would not see the light of day for more than a decade, yet the album in question, 2003's Dopesmoker, stands as one of the most stunning and truly unparalleled musical efforts in history, and the title track is an outright masterpiece.


Clocking in at sixty-three minutes and thirty-two seconds, there is quite literally nothing else every recorded that can be used as comparison to the massive sonic mammoth that is the song, "Dopesmoker." The song title perfectly captures the bands' overall musical approach, as well as solidifying their spot as "stoner metal" kings. The song itself is a jaw-dropping, trudging musical journey, the likes of which have never been heard, and yet even for non-metal fans, it is a truly mesmerizing musical experience. With five or six distinctive sections of the song (depending on how you justify a beginning and end), the song is clearly a single piece, and the various sections would sound outright disjointed and strange as single pieces, as was evidenced in the Jerusalem release. Creating massive hills and valleys within the music, "Dopesmoker" also varies throughout in the overall mood and tone of the instrumentation. From powerful, crushing chords that slam through the speakers, to more melodic, softer passages that play in almost breathtaking contrast, there are few bands of any genre who can play such varied styles anywhere in their catalog, let alone within a single song. Furthermore, "Dopesmoker" is very much a song that gets better and better with each additional listening, as each time one experiences the majesty of the song, new aspects and smaller nuances are revealed deep within the sonic structure. The fact that, over the hour of music, the song never becomes uninteresting is a testament not only to the amazing composition of the song, but also to the stellar musicianship of Sleep's three band members.


After experiencing "Dopesmoker," it is almost unfathomable to learn that only three musicians created the massive wall of sound that comprises the entirely of the music found throughout the title song. Whether taking brilliant, winding solos, or playing punishing, powerful chords, guitarist Matt Pike is absolutely phenomenal throughout the song, and quickly makes his case for being one of the most talented guitarists of his generation. Adding to this, in what can be argued as the single most awe-inspiring performance in music history, drummer Chris Hakius plays with loads of force and power, and he does not stop for the entire run of the song. Such endurance is nothing short of mind-blowing, and this feat remains truly unrivaled throughout music history. Rounding out the band, and creating the trademark "trudge" that dominates "Dopesmoker," bassist Al Cisneros is nothing short of superb throughout the entire track. Finding the ideal balance between melody, and an unrelenting, pulverizing, often outright intimidating tone, Cisneros delivers an extraordinary performance on bass, as well as providing the vocals on the song. While these are vocals scattered throughout the hour-long musical masterpiece, and are quite secondary to the music itself, one can make the case that they are quite necessary to the overall feel of the song.  The lyrics themselves are largely mythical in nature, speaking of caravans crossing the desert, as well as strange references to the "Weed Priests." As the song progresses, the lyrics turn far more to marijuana related, almost religious phrasing, and it is fitting in many ways, as "Dopesmoker" is most certainly a religious experience.


Throughout nearly every genre, there are a handful of individual songs that are so amazingly unique, that even I the band released nothing else, for that song alone they would be legends.  Cementing this idea, as well as serving as a true benchmark by which all heavy metal, and more specifically, "stoner metal" is to be judged, Sleep's magnum opus, "Dopesmoker" is a song that has no equal anywhere in music history. There is no arguing that the energy and undeniable level of musicianship found on this monumental recording are beyond the vision of nearly any other performer or band from any point in music history.  While it took the better part of a decade for the song to finally be released in the proper manner, the wait was well worth it, as "Dopesmoker" is by far, one of the greatest musical achievements in history. Taking the idea of creating metal masterpieces, with movements similar to those found in classical symphonies, Sleep were innovating this new approach years before it would come into style. Furthermore, though many bands after them took on a similar musical approach, few of these bands have been able to come even remotely close to Sleep in terms of composition or musicianship. Though the live track found on Dopesmoker is nothing to pass off, the fact of the matter is, the title track is so imposing and staggering, that it overshadows everything else associated with the album. With their own influences, Black Sabbath and Saint Vitus being the most obvious, clearly on display, Sleep completely re-wrote everything about music with their hour long musical epic, and there has simply never been another track that even comes close to what one can experience on "Dopesmoker."

July 28: Saturday Smorgasbord: essentiALLY5 STEALS The Channel!

For the good of the universe, I have broken in and taken over The Daily Guru YouTube and Tumblr. I may not give it back! -essentiALLY5

July 28: Harold Budd, "The Pearl"

Artist: Harold Budd
Album: The Pearl
Label: EG
Year: 1984


Throughout the course of music history, there are a handful of performers that have created such a unique body of work that they can only be classified as a musical institution onto themselves.  While they most certainly have their own musical roots, and can be seen as clear influences on a wide range of later performers, the reality remains that whatever genre title is given to their music, cannot be properly placed upon the work of any other artist.  Among the handful of musicians that have proven worthy of such distinction, few shine as brightly as Harold Budd, and his talents as a poet, composer, and musician are far beyond that of almost any other performer in history.  Whether one wishes to place him more in the world of classical composers or some offshoot of the avant or independent music scene, the fact remains that his sounds cross countless genres, truly defining what it means to be an outright musical genius.  Within all of his recorded work, there is a sense of mystery coming through in his amazingly imaginative, ambient textures; and it is the sort of music that once one hears it, the sounds can never be forgotten.  Though much of his catalog is certainly beyond the term "extraordinary," few will argue that any of Harold Budd's work matched the sheer brilliance of his 1984 collaboration with Brian Eno, The Pearl.

While many assume that Brian Eno simply served the role of "producer" on The Pearl, the fact is that while he did take some production credit, much like their previous collaborative work, Ambient 2: The Plateaux Of Mirror, Eno's instrumental additions are absolutely essential to the albums' overall impact.  It is the light touches of echo that one can hear throughout the album, as well as what can be seen as the most subtle and understated synthesizer work ever captured on tape.  Truth be told, one needs to often listen very closely to hear exactly "where" Brian Eno is contributing to the tracks, and yet once one hears these small touches, the massive importance of his additions becomes completely clear.  It is this rare balance, this ability to create so much from almost nothing, which not only adds to the overall stature of Brian Eno as a musician of the highest caliber, but also shows his deep understanding of the overall work that Budd was trying to create.  Yet Eno does step forward a bit more within his role as co-producer alongside Daniel Lanois.  Whether they are very slightly altering the tone of some of Budd's notes, or creating whispers and wind around the track, it is again the ability to make so much impact out of such small moves that in the end proves to be the element that vaults The Pearl to such greatness.

However, while there is no question that the contributions of Eno and Lanois are essential to making the overall work hit as hard as it does, the mastermind behind the entirety of the project is clearly Harold Budd, and his work across the record on piano is rarely anything short of breathtaking.  There may be no other performance in history that so perfectly defines the idea of the importance of "where you don't play notes," as the vast open spaces that he creates on piano often have an even greater impact than the notes he does play.  There is a strangely warm, yet somehow unsettling feel to many of the passages he creates, and it is this juxtaposition in tone that makes The Pearl all the more intriguing.  There are a number of pieces on the album that would work perfectly behind a variety of cinematic visuals, and yet it is the images that are inevitably created within the mind of the listener that are the most rewarding.  However, this is also one of the most distinctive aspects of The Pearl, as it is the sort of record that can be listened to countless times, with new feelings and images coming forth each time the record is played.  This ability to constantly reinvent itself is almost impossible to find elsewhere in music history, and it shows the true genius that lives within the compositions and playing style of Harold Budd.

Perhaps due to the completely unorthodox way in which the sounds are presented all across the album, it is virtually impossible to categorize The Pearl.  At some points the album is most akin to ambient electronica, while others might label it as "new age," and there are further passages on the record that delve into outright avant territory, as well as parts that one might see as being classical or even on the "indie rock" path.  It is this massive range in sound and creative energy that makes The Pearl such a vital part of the progression of music, as all of those genres and others can certainly point to the album as a key turning point in the development of that style.  Along with this, The Pearl is one of the rare albums that can function as both a centerpiece, as well as a background, and even when one has closely studied every nuance of the album, it can still be enjoyed as little more than simple sounds set in place to relax the mind.  To some, this ability to have importance when wanted is the most significant contribution and distinction that the album has, while others will point to its massive range in sonic diversity.  However, the truth of the matter is that it is perhaps the combination of both of these realities, along with the phenomenal performances throughout that make Harold Budd's 1984 collaboration with Brian Eno, The Pearl, one of the most outright masterful works ever captured on tape.

July 27: Daily Guru, "Music News: (July 22 - July 28): AC/DC In Iran, Pussy Riots, Sex Pistols and more"

Pussy Riot jailed, a Sex Pistols sellout, Reggae Snoop and more, all in today's music news video. Share and enjoy.

July 26: Daily Guru, "Music Myths #18: Pink Floyd"

In today's video, I explore some myths behind one of the most storied bands in history: Pink Floyd. Share and enjoy.

July 25: Daily Guru, "Episode #200: Defend Your Music & Spot The Posers"

Today is my 200th video, and in honor of that, I took some time to set a few things straight. Share and enjoy.

July 24: Daily Guru, "Music School: The Moog Organ"

In today's video, I take a look at the history of one of the most important musical inventions ever: The Moog Organ. Share and enjoy.

July 24: Daily Guru, "Gurucast #134"

CLICK HERE TO LISTEN (will open in new tab)


(Left Click (PC) or Command-Click (Mac) to save it to your desktop...it's about 75MB)

One hour of amazing music and commentary from "The Guru" himself. Tracklist will be added to THIS post on Thursday.

July 23: Daily Guru, "Something Old, Something New #83"

In today's video, I review a brilliantly dark classic, as well as check out the new album from Jimmy Cliff. Share and enjoy.

July 22: Daily Guru, "The Playlist #13: Janis At Monterey Pop '67"

In today's edition of the playlist, we discuss one of the single most important performances ever. Share and enjoy.

July 22: Indigo Girls, "Closer To Fine"

Artist: Indigo Girls
Song: "Closer To Fine"
Album: Indigo Girls
Year: 1989


Perhaps the most dangerous and short-sighted thing one can do within the world of music is to write-off a a bands' entire catalog due to their persona or perhaps a singular incident.  No artist or performer is perfect, and each have their own list of unique realities that often define them as a band.  However, as long as their has been music, there have been imaginary lines drawn that attempt to convince listeners that if they enjoy a certain type of music, it is "wrong" of them to like another that may seem to be on the opposite side of the spectrum.  Whether this is the separation between hip-hop and country, punk rock and pop, or any other pairing that society likes to keep apart from one another, they are simply untrue, and those who appreciate music as an art spend ample time in all forms of musical creation.  Yet it is exactly this stereotype that has kept many from the catalog of the duo calling themselves Indigo Girls, and the reality remains that due to their harmonies and brilliant lyrics, along with their longevity in a style that as shown an extraordinary turnover of performers, they remain one of the most important groups of their entire generation.  Though their entire catalog is well worth exploring, and their live releases are certainly on par with their studio efforts, there are few songs that have become as outright definitive of a generation and movement as one can hear in Indigo Girls' superb 1989 single, "Closer To Fine."

Coming during an era when excessive volume and outlandish musical arrangements were very much the accepted norm, one can see the sounds on "Closer To Fine" as a clear sign of the musical trends that were to come over the next few years.  The core of the song revolves around the intertwined acoustic guitars from Amy Ray and Emily Saliers, and it is the way that the pair are able to build such a fantastic mood and energy with this rather simplistic arrangement that makes the song so uniquely engaging.  However, it is also the wide range of more subtle instrumentation across the track that vault "Closer To Fine" to such greatness, as they employ everything from a tin whistle to an Irish bodhrán to slight traces of other percussion on the song.  The combination of all of these sounds quickly envelops the listener, and there is an uplifting, yet somehow curious tone that persists throughout the entire track.  It is the way that the sounds swell and softly sway that would serve as the inspiration for countless artists that would begin performing in their wake, as the team of Ray and Saliers managed to find a new way to present a folk sound within a modern context.  Furthermore, there is an edge and presence to "Closer To Fine" that gives it almost a rock feel, and the fact that they were able to create such a phenomenal sense of mood and tone serves as a testament to their exceptional talents.

Along with their distinctive and refreshing approach to the musical arrangements on "Closer To Fine," there was a similar focus on the shared vocals between Amy Ray and Emily Saliers.  This attempt is made all the better due to the fact that while they each have a superb voice in their own right, when they are combined it quickly becomes far greater than the sum of its parts.  There is an ease and beauty to the way that their voices blend together, and the combined presence of their singing has inspired a long list of imitators, yet never been equaled.  In some ways, one can see the way that the vocals are presented on "Closer To Fine" as almost jazz-line in the way that they seamlessly transition from leads to harmonies, and this also again gives a nod to the folk roots of the band.  However, "Closer To Fine" rises above the rest of the catalog of Indigo Girls due to the extraordinary lyrics that Saliers provided, and there are few songs of the era that can compete on this level.  While many have pondered the "great questions of life" through song, it is the beautiful phrasing here that makes this such a special moment, as Saliers takes on a number of different ways to gain enlightenment, ultimately finding herself more confused than when she began.  This idea to which all can relate is made all the better when she suggests that it is the act of living life that provides all the answers, and those who spend their lives seeking an answer are "missing the point."  It is the way that she wrote these words, as well as the exceptional vocal performance that places "Closer To Fine" so far beyond other songs in the history of recorded music.

Even in an era when there is easy access to a wide range of music, it is perhaps a bit disheartening that listeners still avoid artists and genres based on what the media or their friends or society tells them about the performer in question.  There is nothing wrong with punk rockers listening to classical music or jazz-heads exploring the world of heavy metal; though one can easily make the case that the world of folk has been one of the most negatively portrayed to youth over the past three decades.  Proving that there was far more to the genre than just "a guy and his guitar," Indigo Girls pulled from a massive range of influences, forming them into a style and sound that remains completely unique to this day.  Furthermore, even after more than twenty years since their first album, the duo still stand high atop their subgenre, and this alone is a testament to their talent, as scores of other performers have come and gone in that time.  This is likely due to the completely honest and artistically unique way that they continue to create, and one can easily see their self-titled debut as a pivotal moment in the progression of modern music.  While the team of Amy Ray and Emily Saliers have released a number of excellent albums and singles, there may be no other in their catalog that remains as powerful and outright brilliant as their 1989 single, "Closer To Fine."

July 21: Daily Guru, "Saturday Smorgasbord: How To Hate A Band...Properly"

In today's video, I discuss the proper way to hate a band. Share and enjoy.

July 21: X, "Under The Big Black Sun"

Artist: X
Album: Under The Big Black Sun
Label: Elektra
Year: 1982


While many like to point to a "first" band of a particular style as the most important in the history of the genre in question, the fact of the matter is that in many cases, it is a later group that truly served as the pivotal band for that sound.  Whether it was due to a certain approach or lucky break or any other of a wide range of factors, one can find many cases where even a number of years after a specific style had been "founded," a band emerges that brings it to the masses.  Among many situations such as this, one can point to the various smaller "schools" of the punk and hardcore movement as a perfect example, as while punk itself had been heard it its more modern sense since the early 1970's, even into the next decade, new ground was still being broken.  This is perhaps easiest to see when one looks at the various styles of punk that emerged from Los Angeles throughout the late 1970's and early 1980's, as bands like Black Flag, The Germs, Hüsker Dü and many others all presented unique approaches to the overall punk ethos.  However, even with groups such as these, there was one band that can be seen as "the" group that really put the city on the map for the punk sound: X.  Bringing a brand of the punk style that was unlike any of their peers in a number of ways, the bands' first three records are absolutely flawless, and one can easily argue that it is X's 1982 album, Under The Big Black Sun, that is their finest effort.

Moreso than almost any other band under the umbrella of punk rock, X has an extraordinary range in the overall musical structures they play.  From heavy, to the point arrangements that are far more akin to the "standard" sound of punk, to slower, more melodic passages, to songs almost reminiscent of early 1950's rock, Under The Big Black Sun in many ways seems more like a rock album, and less of a punk statement.  This sonic diversity is led by the brilliant guitar work of Billy Zoom, and it is his sound and presence on this record that sets the album aside from the bands' other work.  He sounds more focused and has a much cleaner sound that the group's previous releases, and it is this slight change that allowed the album to have a far wider range of appeal.  Adding to this sound is the bass of the legendary John Doe, and there is no question that he remains to this day one of the most important figures in the entire Los Angeles punk scene.  There is an attitude and perhaps even a sense of mystery to the sounds he deploys, and it is the fact that he is able to get so much personality from his bass that allows the songs to achieve so much more than the music of their peers.  Rounding out the band musically is drummer DJ Bonebrake, and it is his similar range in performance that pushes Under The Big Black Sun into some category beyond "just punk."

However, while there is no overlooking the importance of the musical arrangements across this album, one would be hard pressed to find a vocal pairing from any point in punk history that is even remotely close to that of John Doe and Exene Cervenka.  Though other groups had dabbled here and there with harmonies and actually giving the vocals some form and melody within the punk style, it is the way that these two voices blend and trade the vocals that would set a new standard.  To this end, one can easily make the case that the team of Doe and Cervenka are actually the ONLY pairing of vocalists that have ever properly deployed harmony within the world of punk, and there is no question that this reality played a large role in the albums' overall appeal.  Yet at the same time, there is no getting past the fact that the lyrics all across Under The Big Black Sun are some of the most captivating and moving ever written, and this is understandable once one learns the reality behind the record.  Shortly before recording on their new album began, Cervenka's sister, Mary, was killed by a drunk driver.  The band made a conscious effort to explore and express their struggles and grief over this situation within the music of the album, and a number of the songs, specifically "Riding With Mary" and "Come Back To Me," speak directly to this truth.  Yet even without these stunning lyrics, the vocals from Doe and Cervenka are simply beyond almost anything previously heard in the genre, setting a new standard for the punk sound.

Though one cannot take anything away from the brilliant musical, vocal, and lyrical performances found on every second of Under The Big Black Sun, it is also impossible to overlook the fact that the group also had the benefit of a rather unexpected producer.  The fact of the matter is, this was the band's first album after being signed to Elektra Records, and they found themselves working with the man who had helped them on their first record, none other than former Doors member, Ray Manzarek.  Though some may see this combination as a bit strange, once one experiences the music throughout all of the catalog of X, it makes more sense as there is a darker, completely unique sting and presence to their music.  Manzarek clearly gives the band a bit more form, helping to keep them far more musically focused than almost any of their peers, and this is yet another element which sets their music so far apart from other similar bands.  Whether one is looking at Under The Big Black Sun from a musical perspective, a lyrical perspective, or simply listening to the attitude, the album succeeds with flying colors in every possible manner.  There is not a single missed note or piece out of place anywhere, and when it comes to albums that helped push beyond "just" a label of punk, few stand as pivotal as X's superb 1982 release, Under The Big Black Sun.

July 20: Daily Guru, "Music News (July 15 - July 21): Muted Mics, Fake Wills, And The Worst Lyrics EVER"

Muted mics, fake wills, and the worst lyrics in history…all in today's music news. Share and enjoy.

July 19: Daily Guru, "Music Myths #17"

In today's video, I look into myths surrounding The Eagles, Bjork, and James Brown's diplomatic immunity. Share and enjoy.

July 18: Daily Guru, "Get Over Yourself: Karaoke Superstar"

In today's video, I take aim at someone we all know: the friend who takes karaoke WAY too seriously! Share and enjoy.

July 17: Daily Guru, "Music School: Who Is Buckethead?"

Today I take the bucket off of one of the most recognizable oddities in music: Buckethead. Share and enjoy.

July 17: Daily Guru, "Gurucast #133"

CLICK HERE TO LISTEN (will open in new tab)


(Left Click (PC) or Command-Click (Mac) to save it to your desktop...it's about 75MB)

One hour of amazing music and commentary from "The Guru" himself. Tracklist will be added to THIS post on Thursday.

July 16: Daily Guru, "Something Old, Something New #82"

In today's video, I remind you about a true ska classic, as well as give my thoughts on a highly anticipated new album. Share and enjoy.

July 15: Daily Guru, "The Playlist #12: Soulful Bullies & Negative Wood"

Today's suggestions include some soulful bullies and negative wood. Share and enjoy.

July 15: Mary Wells, "My Guy"

Artist: Mary Wells
Song: "My Guy"
Album: My Guy (single)
Year: 1964


All throughout the course of music history, there have been visionaries and icons, all of which are up to debate in terms of worthiness of such a title.  However, there are a handful of performers who hold certain distinctions due to sheer historical fact, and one of the most important is often overlooked for her significance, as well as her unquestionable talent.  The truth of the matter is, when it comes to the first female performer to break through as a solo performer, the woman who earned that honor is none other than Mary Wells, and in many ways, it was her sound and style that shaped much of the labels' female sound.  It was her combination of soft, seductive sounds, with a bit of spunk and sheer beauty within her voice that quickly set her aside from other female singers, and having the backing team of The Funk Brothers in terms of music, and the legendary Smokey Robinson penning a number of her songs, it is little surprise that she was able to achieve such success.  Throughout the 1960's, Mary Wells had a number of singles that stand today as absolute standards, and some of these same songs have become even more popular after various covers and uses within other forms of popular culture.  Though there are many to choose from, one would be hard pressed to find a more definitive or outright important song in her catalog than Mary Wells' iconic 1964 single, "My Guy."

The moment that "My Guy" begins, it is completely distinctive for both the musical era, as well as within the massive recorded history of The Funk Brothers, as the horn opening is not found anywhere else in even a remotely similar manner.  After this brief note, the legendary Benny Benjamin takes control of the song with a quick sting on the drums, and it is largely his sound that leads the song in terms of both pace and emotion.  Though it often goes overlooked, it is the sharp hit he gives on "the four" of each measure, which is further emphasized by a hand clap, that really gives "My Guy" its sway and swing, and this technique can be found across countless later recordings from Motown Records.  The other aspect of the musical arrangement on this song that is often missed is the "second vocal" that comes from pianist Johnny Griffith.  The way his sound bounces behind Wells' voice on the bridge section, before moving behind it during the verses gives her sound even more power and presence, and it is these more subtle musical choices that make the song so superb.  At the same time, the rhythm and melody are held in place by James Jameson, and this is without question one of his most exceptional deployments of his "walking" basslines.  The organ from Earl Van Dyke and additional horns round out the overall sound, and yet it is the balance between all of the instrumentation that has vaulted "My Guy" to its iconic status.

Yet even whilst being backed by what is without question the most accomplished band in the entire history of recorded music, Mary Wells gives a stunning performance across the song, and she quickly cements her place as one of the most outright talented singers ever captured on tape.  It is the fact that she never seems to be pushing her vocals very much, allowing them to effortlessly flow from her, that is so significant; and the almost whispered tones that sit underneath each breath she takes is a style that has been copied countless times over the decades.  Furthermore, Wells shows an exceptional command of her vocal range throughout, as she slides across the vocal scale, never allowing the overall impact of her sound or emotion to drop in the least.  But it is also the fact that Smokey Robinson provided her with an amazing set of lyrics to sing that makes "My Guy" so memorable; and yet most people completely miss the true meaning and outright genius of his words.  While there is no question that the song is a send-up to a man that has truly captured her heart, when one reads deeper into the actual words, it is clear that Robinson wrote these words to refer to a rather common, if not "less than average" man.  Lines like, "...no muscle bound man could take my hand from my guy, no handsome face could ever take the place of my guy..." suggest that there are "flaws" in the man in question, and yet Wells prefers this to the "ideal" that society has set.

In many ways, it is this more realistic and accepting personality of the song that makes it such a classic, as it is a return to simpler times when adoration was not centered around material or superficial matters.  Yet at the same time, one can argue that it is the voice of Mary Wells and the brilliant musical backing from The Funk Brothers that truly make "My Guy" such a special song, as there is a clear chemistry between the performers that is rarely heard elsewhere.  To this end, almost instantly upon release, "My Guy" shot up the charts, topping them for nearly two months in the United States, and cracking the top five in the UK.  This massive success and the overall mood and sound of the song quickly made it nothing short of a cultural institution, and it has become one of the most recognizable and referenced songs in all of music history.  Artists like Aretha Franklin and The Supremes have recorded their own renditions of the song, and only a few years ago, the experimental rock group Warpaint included their own take on the song on their Exquisite Corpse EP.  "My Guy" also took a rather unexpected turn in the 1992 film Sister Act, as it was turned into a gospel number and changed to "My God" to fit with the movie's plot.  Yet even with all of these other versions, there is no arguing that it is the Mary Wells original that remains definitive, and few songs in history hold as special a place as her 1964 hit.

July 14: Daily Guru, "An Open Letter To: Red Hot Chili Peppers"

Today I present an open video-letter to Red Hot Chili Peppers. Share and enjoy.

July 14: Lenny Kravitz, "Are You Gonna Go My Way?"

Artist: Lenny Kravitz
Album: Are You Gonna Go My Way
Year: 1993
Label: Virgin


Looking at the overall history of recorded music, one of the stranger reoccurring themes is when "modern" critics attempt to place a new title on a sound that has been around for decades.  For whatever reason, even when a new band is clearly playing a style of music that is not new, the critics of that day feel it necessary to hail them as pioneers and slap a new, hip name on the sound.  There was no more clear an example than when critics decided to invent the idea of "grunge music," when in reality, those albums were as punk rock as any from 1977.  During that same period (the early 1990's), there was an artist who had been around for a few years, and when he released a record in 1993, it was termed "retro," when there was no arguing that it was nothing more than a mind-blowingly refreshing rock and rock album.  Though his image may have implied otherwise, the spirit of rock and roll was revived with Lenny Kravitz's 1993 opus, Are You Gonna Go My Way.  Taking a far more aggressive path than his first two records, it was this album that almost instantly solidified Kravitz as one of the most elite musicians of the time, and his style and skill influenced an entire generation of musicians.  Shooting up the charts in more than a dozen countries, the album brought together everything he had done previously, then redefined the rock sound, and there are few records in history on par with Are You Gonna Go My Way.

The instant the song "Are You Gonna Go My Way" begins, it becomes an unforgettable track, as the blaring riff put forth by Kravtiz's guitar is nothing short of anthemic.  Yet it is not Kravtiz alone that makes the guitar work so memorable, as he has a second guitar being played by Craig Ross, and it is this combination that makes the sound so robust and crushing.  In retrospect, the riffs all across the album are powerful and memorable, and there's no question they are some of the defining riffs of the decade, perfectly capturing the upbeat energy that was present in the music of the first half of the 1990's.  This unrestrained "party" vibe that runs throughout many of the songs remains largely unparalleled to this day, as even in the somewhat experimental breakdown sections, there is a fantastic energy, which is why the songs still appear as "fresh" nearly twenty years after their initial release.  Alongside Lenny Kravitz is one of the finest rhythm sections of the decade, composed of bassist Tony Breit and drummer Cindy Blackman.  The drums are some of the most aggressively played of the era, and Blackman was, for a time, the "face" of "women who rock," and her signature afro made Kravtiz and his band one of the most unmistakable rock outfits on the planet.  The entire band moves as a single, stunning unit, and it is during the spaced-out breakdown section where the group injects the only signs of "retro" to be found, and yet they are clearly more psychedelic than anything else.  Regardless of the classification, few albums of the day rocked harder than Are You Gonna Go My Way.

Pushing the overall energy of the song even higher, Lenny Kravitz holds nothing back on his vocas, and the sheer delight and exhilaration in his voice remain as unmatched as the music over which he sings.  The fantastic swagger and power with which Kravtiz sings is nothing short of infectious, and if the music somehow failed to get the listener moving, his vocal work certainly does the trick every time.  Whether it is his strangely confident spoken breakdown sections or the unrestrained liveliness on the verses and chorus, or even the more somber, melodic tracks, few vocal performances are as truly enjoyable from start to finish as one finds from end to end on this album.  It is the fact that Kravitz can be as wild and unrestrained as he appears on some songs, yet pull it all back into a tight, beautiful sound like on "Believe" that quickly made him a star across the world, and yet taking all this into account, one can read several meanings behind the lyrics to many of the songs on the album.  From what appears to be commentary on racism to the fragile state of the world on many levels, to refusing to sell yourself short, Lenny Kravitz takes on a wide range of themes throughout Are You Gonna Go My Way, and it is this added diversity that serves as the ideal finishing touch to the album.

Strangely enough, behind all of Kravitz's devastating performances, he manages to give a nod to a number of his own influences all across Are You Gonna Go My Way.  Within "Are You Gonna Go My Way," one can easily hear remnants of Bo Diddley's take on "Not Fade Away," as well as directly borrowing the breakdown riff from The Kinks, "You Really Got Me."  Furthermore, upon digging deeper, the vocal pattern seems to have been taken from French singer Jean-Jacques Goldman's song, "Quand la Musique est Bonne."  Even taking this slight "biting" into account, clearly none of these other artists were able to blend the sounds together and inject them with the fury and happiness that one finds on every moment of Are You Gonna Go My Way, and it is this talent for bridging so many styles that makes Lenny Kravtiz such a dynamic artist.  Though often written off as "retro" or "neo-psychedelia," it is hard to argue that this album is anything other than pure, unrestrained rock and roll, and one can easily argue that these other titles were simply nothing more than music critics attempting to claim that something "new" was happening in the world of music.  From the unforgettable guitar riffs to the pummeling drums to the exuberant vocal work, to the softer beauty he creates, there are few records  that are as perfectly display the meaning of the word "musical perfection" as one will find in Lenny Kravitz's iconic 1993 album, Are You Gonna Go My Way.

July 13: Daily Guru, "Music News (July 8 - July 14): Nicki Freaks, Greed Stinks, And Some BIG Sticks"

In today's video, I discuss news about excessive grass, some big sticks, a tour, and oh yeah, Gaga…share and enjoy.

July 12: Daily Guru, "Music Myths #16"

In today's video, I explore myths about a possible dancer turned rapper, an extra drummer, and a girl named god. Share and enjoy.

July 11: Daily Guru, "Ask The Guru #09"

In today's video, I discuss murder, axes, and sweet memories…you know you're intrigued. Share and enjoy.

July 10: Daily Guru, "Music School: MP3's"

In today's video, I explain exactly what mp3's are, as well as why they might or might not detract from your listening experience. Share and enjoy.

July 10: Daily Guru, "Gurucast #132"

CLICK HERE TO LISTEN (will open in new tab)


(Left Click (PC) or Command-Click (Mac) to save it to your desktop...it's about 75MB)

One hour of amazing music and commentary from "The Guru" himself. Tracklist will be added to THIS post on Thursday.

July 9: Daily Guru, "Something Old, Something New #81"

In today's video, I check out a classic metal masterpiece, and a new release you need to check out. Share and enjoy.

July 8: Daily Guru, "The Playlist #11"

In today's playlist, I suggest some good tunes you MUST check out! Share and enjoy.

July 8: Big Bad Voodoo Daddy, "Mr. Pinstripe Suit"

Artist: Big Bad Voodoo Daddy
Song: "Mr. Pinstripe Suit"
Album: Big Bad Voodoo Daddy
Year: 1994


While many wish to overlook the reality due to the rise of the so-called "grunge" scene, as well as the dominance of the "gangsta rap" sound, the fact of the matter is that the first half of the 1990's were some of the most musically creative in terms of what the buying public pressed to hear.  Everything from new-age hip-hop and dance music to a ska/punk revival to heavy metal to "jam band" tunes could be found within the mainstream along with more "standard" strains of rock music; and it seemed that if your band had energy and originality, there was an open market for your success.  Along with this massive range in popular sounds, for a brief period, the swing-based "big band" sound found a revival, and one of the most well-known and accomplished groups of this rebirth were Ventura, California's own Big Bad Voodoo Daddy.  Managing to take all the energy of the swing-era, and also find ways to make their songs softer and slower from time to time, the group quickly proved that even though it was an "older" sound, it had just as much appeal and power as the most recent developments in music.  All across their 1994 debut, the band swings and sways, deploying an extraordinary amount of energy and outright fun, and there are few songs that better show the bands' brilliance than the track, "Mr. Pinstripe Suit."

From the moment that "Mr. Pinstripe Suit" begins, the listener is completely captivated by the song, as the opening rhythm from drummer Kurt Sodergen is outright infectious.  His playing brings a swift bounce and skip that quickly inject an upbeat mood into the track, and yet at the same time it is his performance which gives the song a bit of a smoky, "old school" feel.  As the horn section joins the mix, the descending scale they play creates the ideal lead-in moment for dancers, and at the same time it is a great "set up" for those just listening.  It is the almost "formal" sense that one can hear within the orchestration that becomes so unique, and it is also the fact that this is one of Big Bad Voodoo Daddy's somewhat slower-paced tracks that allows it to appeal to a far wider audience.  Trumpet player Ralph Votrian creates almost a second vocal line all across the song, and it is the way he uses his mute from time to time, as well as the "cry" he creates that further engages the listener.  It is also the contributions on saxophone from Andy Rowley that gives "Mr. Pinstripe Suit" a very full sound, and the additional horns from Stan Middleton and Bob Ayer create the ideal "throwback" sound.  However, it is also the way that the guitar from Scotty Morris and bassist Dirk Shumaker work in perfect harmony with the horns that gives "Mr. Pinstripe Suit" such excellent musical presence, and there's no question it's the highlight of the album.

Along with his guitar work, Scotty Morris handles the vocals throughout a majority of the music of Big Bad Voodoo Daddy, and in both his sound and image, he became one of the icons for the resurgence of swing-style music.  There is a slight grit in his singing that makes it outright perfect for the style, and one can easily hear these songs ringing out of a nightclub on a hot summer night, as the dance-floor is filled with spins and throws.  It is the attitude one can hear in Morris' voice that is so intriguing, as there is a sense of mystery or mischief that one can detect, and yet at the same time there is no question that the entire band is having a great deal of fun creating this song.  Furthermore, the idea of "Mr. Pinstripe Suit" plays perfectly into the bands' musical image and sound, as one can see this character as the ideal person to be at one of their shows.  As Morris sings, "Mr. Pinstripe Suit" takes on his own persona, bringing within him a certain stride and swagger, and there is no question that the person about which he sings is the very essence of "cool."  It is the fact that the protagonist is so clearly described, yet can be seen as virtually any person who would be a fan of Big Bad Voodoo Daddy that makes the song work so well, and Morris' persona and vocal style serves as the ideal delivery system for this upbeat, exuberant track.

Looking back at the way that various musical forms have found their way into the mainstream sound, it was beyond impossible to predict that the swing-sound would have found a resurgence after nearly half a decade out of the spotlight.  However, perhaps due to the overall attitude of society, many bands found success with this sound in the first half of the 1990's, and the truth of the matter is that an overwhelming majority of the songs and albums made during that time still manage to hold up just as well to this day.  Among the most impressive of this new wave of bands was Big Bad Voodoo Daddy, and their self-titled major-label debut is an exceptional continuation of the work they'd done on their previous releases.  The "trick" behind this band was their ability to capture their live sound and energy within a studio environment, and this not only set them aside from a majority of their peers, but also from most bands from any other genre.  The songs all across Big Bad Voodoo Daddy simply jump off of the record, almost commanding you to dance along, as the rhythms and melodies are both captivating and invigorating.  It is in this reality where the reality can be seen that the "big band" sound has perhaps a wider appeal than any other genre in history, and there may be no better modern representation of the sound than what one can hear in Big Bad Voodoo Daddy's superb 1994 track, "Mr. Pinstripe Suit."

July 7: Daily Guru, "Saturday Smorgasbord: Unexpected Guru Tunes"

In today's video, I take a look at the music you might not expect to be on my ipod. Share and enjoy.

July 7: Crosby, Stills, Nash & Young, "Déjá Vu"

Artist: Crosby, Stills, Nash & Young
Album: Deja Vu
Year: 1970
Label: Atlantic


There are a handful of performers throughout music history who truly seem to be able to take any configuration of musicians and achieve superb musical results.  Whether their groups are referred to as "supergroups," or they simply each carve out their own, unique space in music history, in retrospect, the talent and impact of such musicians is impossible to deny.  Though they are perhaps the most rare breed of musician, there is no question that amongst the most accomplished and outright talented is the trio of David Crosby, Stephen Stills, and Graham Nash.  Having already achieved massive success with their self-titled debut, the band felt that there was a need for a fourth musician, and though most are unaware, they initially approached Steve Winwood, though he was already working with the project that would become Blind Faith.  It was at the suggestion of Atlantic Records head Ahmet Ertegun that the trio were pointed in the direction of Neil Young, through Stephen Stills was a bit hesitant due to their interactions within the band Buffalo Springfield.  Yet after a great deal of discussions and debate, the quartet was formed, and their 1970 album, Déjá Vu, remains today one of the most phenomenal achievements in the entire history of recorded music.

On many levels, Déjá Vu picks up right were the self-titled release from Crosby, Stills, and Nash left off; as the harmonies are amazingly tight, mostly backed by large guitar parts.  However, it is quickly clear that there is more of a "rock" feel to Déjá Vu than its predecessor, and one can see this as a direct result of Neil Young's involvement in the group, as well as the overall direction that music as a whole was headed.  Especially on songs like "Woodstock," the true appearance of the bands' ability to write more rock-style music is apparent, and yet their core of blissful folk is certainly present throughout the entire album.  Along with the now-quartet of guitars from the bands' namesakes, the group also enlisted a handful of equally amazing musicians to fill out the sound throughout the record, as John Sebastian plays harmonica on the records' title track, and none other than Jerry Garcia lends his pedal-steel to the iconic song, "Teach Your Children."  Greg Reeves returns on bass, though he would not last much longer in the band, and the light drumming of Dallas Taylor serves as an ideal finishing touch to each song.  It is the fact that there is so much sonic diversity throughout the album that makes Déjá Vu such a superb musical work, and it has rarely been equaled in any form to this day.

As one might expect, the addition of Neil Young to the Crosby, Stills, and Nash vocal style only makes it better, as his high range, and amazing level of emotion gives a number of these songs an unthinkable level of depth.  Yet at the same time, the four voices blend perfectly, and while the focus is not as much on the vocals as it was when the group was a trio, there is no question that the singing here is easily on par with that of any of their peers.  While one cannot overlook the blissful vocals, both solo and group that one can find throughout Déjá Vu, the reality remains that the lyrics found all across the album represent some of the finest any of these four have ever written, encompassing a wide range of emotions and themes.  There may be no more iconic a song from the entire era than the Nash-penned "Teach Your Children," as he takes aim at the way parents explain various aspects of society to their kin.  Nash also lent his words for "Our House" on this album, and both the peaceful nature of the melody, as well as the song itself have become something beyond timeless.  However, it is perhaps Neil Young's "Helpless" that refocuses the album, as well as showing just how much the band has broadened their musical styles.  It is the fact that so many feelings and sounds are explored through the vocals that pushes Déjá Vu even beyond the previous "trio effort," cementing its place as one of the truly amazing recordings in history.

Strangely enough, the song that is perhaps the most "famous" in terms of musical and social importance from this album was actually NOT written by any of the bands' namesakes.  "Woodstock" was in fact penned by Graham Nash's girlfriend, one Joni Mitchell, and the words came from his description of the event, as well as what she was seeing on the news.  Mitchell had been invited to perform, but her management thought that it would be better for her to make a television appearance instead of playing what was expected to be a rather inconsequential festival.  However, the truth of the matter is, almost every song from Déjá Vu has achieved an iconic status, and there is not a moment on the album that is anything less than superb.  From the flawless musical performances across a wide range of approaches and orchestrations to the equally powerful and enjoyable vocals, the song perfectly represents the transition from the folk sound to the rock sound, and even more than four decades later, each song remains just as engaging.  Due to this reality, any person can take their own "favorite moment" from the album, and this in many ways is the most obvious way that the group WITH Neil Young separates itself from the previous incarnation.  Whether it is the band members, the album title, or the songs therein, there is not a single aspect of Crosby, Stills, Nash & Young's 1970 record, Déjá Vu, that is anything less than legendary, and it deserves every accolade it has ever received.

July 6: Daily Guru, "Music News: July 1 - July 7"

In today's video, I recap some of the biggest music stories of the week. Share and enjoy.

July 5: Daily Guru, "Music Myths #15"

In today's video, I explore the truth beyond myths about two famous songs and a vinyl anomaly. Share and enjoy.

July 4: Daily Guru, "Guru Soapbox: Bob Marley"

In today's video, I set the record straight on the music of Bob Marley. Share and enjoy.

July 3: Daily Guru, "Music School: AC/DC"

In today's video, I take a condensed look at the fascinating history of AC/DC. Share and enjoy.

July 3: Daily Guru, "Gurucast #131"

CLICK HERE TO LISTEN (will open in new tab)


(Left Click (PC) or Command-Click (Mac) to save it to your desktop...it's about 75MB)

One hour of amazing music and commentary from "The Guru" himself. Tracklist will be added to THIS post on Thursday.

July 2: Daily Guru, "Something Old, Something New #80"

It’s Monday, and that means another edition of “Something Old, Something New.” Share and enjoy.

July 1: Daily Guru, "The Playlist #10"

In today's playlist, I suggest some good tunes you MUST check out! Share and enjoy.

July 1: The Les Claypool Frog Brigade, "Up On The Roof"

Artist: The Les Claypool Frog Bridage
Song: "Buzzards Of Green Hill"
Album: Purple Onion
Year: 2002


At a time when Primus were on an indefinite hiatus, and Oysterhead was long behind him, Les Claypool found himself without a band in early 2002. Looking to remedy this situation, Claypool pulled together some of the finest musicians in the land, and perhaps due to his recent work with the more "jam-oriented" Oysterhead, he and his band quickly became a fixture within the "jam band" scene. Though Primus was certainly known for their musical expertise, it was this later band, combined with Claypool's signature quirkiness that made them one of the most exciting and popular bands of the "Phishless" jam community. It was also with his new band, initially dubbed "Colonel Claypool's Fearless Flying Frog Brigade," where Claypool composed some of his finest post-Primus music, and it also represents some of the most complex and "complete" songs on his career. It is during his work with The Frog Brigade that one can hear the power and depth of his music finally catching up with his legendary songwriting, and the live performances of this era were unquestionably some of the most stunning of Claypool's career. Backed by one of the most impressive and talented bands of the day, the group released a pair of live records before unleashing their phenomenal studio debut, the absolutely magnificent 2002 album, Purple Onion, with the track, "Up On The Roof" displaying everything that made the band so fantastic.

From the moment that "Up On The Roof" begins, there is a sliding, slinky groove that runs throughout the entire song, and in many ways, it is this aspect of the music that makes it instantly identifiable as a work of Les Claypool.  It is the way that he moves all across his bass, seeming to make it bend in completely new ways that gives the song its distinct tone.  This is perfectly complimented by the rhythm second of drummer Jay Lane and percussionist Mike Dillon.  The way that they throw a wide range of tempos and instruments they bring lends the song a slightly quirky, yet somehow looming and dark feeling.  It is also from the work of the entire rhythm section that "Up On The Roof" gives the entire album an attitude and one can see a close connection to Primus within the song.  However, it is also the fuzzed-out guitar from Eenor, as he has his own sound and tone with the instrument.  Whether he is dropping a heavy rhythm part or ripping off a quick solo, the man shows an amazing chemistry with Claypool, giving the entire band their own sound.  Yet it is also the way that saxophone master, Skerik works in the mix, as the blurting and blaring of his instrument give "Up On The Roof" a texture unlike any other.  It is in the moments where he quickly passes the lead back and forth with Dillon where the song reaches its apex, and it is the sort of song that just gets better with each listen.


Along with the brilliant musical arrangement he created for "Up On The Roof," Les Claypool also brings his unquestionably distinctive voice to the song, and it is easily one of the finest performances of his entire career.  While his vocals here certainly fall into "standard fare" when compared to his work with his other bands, the fact remains that it is the odd tone with which he sings that serves as the ideal finishing touch to this track.  It is the strange combination of a sinister tone, yet somehow a grinning joy that one can hear which makes Claypool's sound so unique, and it has rarely been as perfectly deployed as one finds here.  Yet there is a sense of restraint that one can hear in his singing on "Up On The Roof," as the tension seems to build to a point and then plateau, allowing the music to become the primary element as the song crashes down with an amazing release.  But while his singing is certainly fantastic, the fact of the matter is that when writers look back on the music scene of the 1980's and 1990's, there is little doubt that one of the key names that will be brought up again and again will be that of Les Claypool. Without question, Claypool stands as the most innovative and musically fearless player of his generation, and there has simply never been another musician quite like him.  The lyrics he drops here are some of his best, as his ability to turn a phrase and create amazing lyrical wordplay is second to none, and "Up On The Roof" reveals more and more with each listening.

In an era when music was already disgustingly artificial and frustratingly tame and predictable, Les Claypool unleashed what may very well be his most musically exciting and innovative record of his career in the form of Purple Onion. Surrounded by some of the most talented musicians on the planet, the group tears through a dozen new Claypool compositions, and the songs never fail to be stunningly powerful in every aspect. The addition of the percussive expertise of Mike Dillon proves to be one of the key elements in Claypool taking his sound to "the next level," and it also provides a great deal of diversity in the styles that are presented throughout the record. With Eenor providing all the guitar mastery that Claypool could ever need, the chemistry between the two is clear, and they play off one another in brilliant fashion on every track.  Every song on the album has its own unique feel, and yet to experience each member at their peak, one need look no further than "Up On The Roof."  The unique chemistry shared by the group members is impossible to deny, as they almost take on a jazz feel with the way that the lead is passed around, each member taking it and finding their own path.  It is this "sum of its parts" reality that proves to be the magic behind Purple Onion, and few songs are as outright brilliant as The Les Claypool's Frog Brigade's 2002 track, "Up On The Roof."