April 13: Ween, "Chocolate And Cheese"

Artist: Ween
Album: Chocolate & Cheese
Year: 1994
Label: Elektra


In every aspect of creative work, the line between stupid and genius is extremely thin. While most fail, the ones who succeed are instant legends. When it comes to having the ability to laugh in the face of nearly every genre, and yet be vaulted to cult status, only one band fits the bill: Ween. Channeling the influences of legends like Frank Zappa and Tom Waits, Ween have been creating their own brand of music for nearly thirty years. Their entire catalog is worth owning, but their 1994 album, Chocolate & Cheese is nothing short of a masterpiece.

Challenging everything about music, from form to recording techniques, Chocolate & Cheese still resonates as fresh and innovate, nearly twenty years after its release. Running the gamut from funky and acoustic ("Freedom Of '76") to outright strange ("Candi") to creepily-semi-offensive ("Spinal Meningitis (Got Me Down)"), Ween craft undeniably amazing songs. Taking a non-traditional approach to every aspect of the music, parts of the vocals for "Candi" were notoriously recorded from the back of Dean Ween's car. Stylistically, the album covers nearly ever genre imaginable from pop to funk to rock and everything in between. Regardless of the style they are playing, Dean and Gene Ween prove that they are not only some of the smartest musicians ever, but they are also some of the most talented.

Musically, Ween are all over the board. The fact that the band seems comfortable in nearly every style of music, altering the conventional styles to meet their own, quirky sound, is what makes Ween the amazing band that they remain today. From drawn out, funk-inspired jams like "A Tear For Edie" (which is a tribute to funk pioneer Eddie Hazel) to amazingly catchy pop songs like "Roses Are Free," to country/western tunes like "Drifter In The Dark," Ween prove time and time again that, though they may not be serious, they are seriously talented. While they have a consistent lineup these days, the Chocolate & Cheese sessions were primarily entirely recorded by Dean and Gene Ween. A majority of the drums on the record are programmed, and nearly all of the guitar work was done in single takes by Dean. While "Drifter In The Dark" and the shockingly traditional "Joppa Road" can certainly be seen as the precursor to Ween's 1996 release, 12 Golden Country Greats, the fact that they are seamlessly presented alongside the rest of the songs on the record is a testament to the bands' confidence in their overall presentation.

The lyrics and vocals throughout Chocolate & Cheese are as brilliant and varied as the music itself. As previously mentioned, Ween gets outright creepy with the duo of "Spinal Meningitis (Got Me Down)" and "Drifter In The Dark," and the juxtaposition to the groovy, poppy "Voodoo Lady" is simply unparalleled. Ween present one of the most biting, yet unsuspecting "revenge" songs with the breakup song, "Baby Bitch." Pushing far into another direction, the band also offers what is nothing short of a classic spaghetti-Western tale in "Buenas Tardes Amigos." Singing through a variety of filters and voice modulators, it is stunning just how many different styles Ween tackles, all of them with unquestionable success. Dean and Gene have a knack for writing surprisingly beautiful harmonies throughout nearly all of their songs. Their voices blend together perfectly, and even when singing the most absurd lyrics, it further reinforces the fact that behind the insanity lies a pair of truly skilled musicians.

Bands who choose to write seemingly absurd or silly songs are far too often written off as "novelty" bands. Most of the time, it is simply because the band is so far ahead of its time, people simply fail to see the brilliance behind the music. For more than twenty years, Ween have been pushing the envelope on what can be accomplished musically by a single band. Taking the avant/absurdest approach of Frank Zappa, the band proves that, even when taking things in a light-hearted manner, amazing music can still be created. Though there is not a bad record in the Ween catalog, their 1994 release, Chocolate & Cheese is both a perfect introduction to the band as well as one of the most clever and delightful albums ever recorded.



Standout tracks: "Roses Are Free," "Voodoo Lady," and "Don't Shit Where You Eat."

April 12: Andrew Hill, "Point Of Departure"

Artist: Andrew Hill
Album: Point Of Departure
Year: 1964
Label: Blue Note


It is somewhat tragic, that due to the sheer number of experiential jazz musicians throughout the 1950's and 60's, many of the greatest simply got "lost" in the shuffle. Though he played with some of the biggest names in be-bop and jazz, Andrew Hill has never quite received the credit that he deserves for both his playing ability as well as his musical innovation. Releasing more than thirty albums over his career, perhaps his most amazing album was his 1964 release, the aptly named, Point Of Departure.

By the time Andrew Hill released Point Of Departure, he had already been recording for nearly a decade, and had released, among others, the equally impressive Black Fire (which I will review later this year). Andrew Hill uses Point Of Departure to further solidify his reputation as one of the most prolific jazz composers that has ever lived. Fusing the sounds of be-bop and constantly changing keys and time signatures, Andrew Hill created a sound like nothing else ever heard. The complex mixture of minor modes, flowing in and around majestic chord-based improvisations is nothing short of stunning. While a majority of jazz composers at the time preferred to let aleatoric theories shape their music, the base structures of Hill's compositions were purposefully constructed. Point Of Departure presents stunningly complex works, both in the sense of tempo, as well as the harmonic structure of each song. No single member of the quintet takes more space than they should, and it is this understanding that makes Point Of Departure a legendary record. Oh, and for the record, the ENTIRE album was recorded in a SINGLE session on March 31, 1964.

The lineup found on Point Of Departure is almost as impressive as the album itself. With jazz legends Eric Dolphy (who was in quartets with both Mingus and Coltrane) and Joe Henderson (who would go on to found Blood, Sweat, and Tears) sharing sax duties, it is puzzling that the album did not receive more notoriety. The duo of saxophone masters play wonderfully off of one another, taking the fundamentals of hard-bop, and reshaping them like never before. Dolphy and Henderson share the spotlight unselfishly, and each of them have shining moments, as they skillfully groove in, out, and around the others' playing. The rhythm section of Richard Davis and Tony Williams is not to be looked past either, as they perform flawlessly throughout, keeping pace with the jazz legends by which they are surrounded. Truth be told, the quintet featured on Point Of Departure, is one of the finest ever assembled, and it takes the record from "great" to "jazz classic."

From his initial solo, which leads off the albums' first track, it is clear that, while surrounded by amazing jazz musicians, Hill is still the best of the bunch. He seems to have the unique ability to play a brilliant solo with one hand, whilst using the other hand to have a "musical play" with his saxophone players (seriously, listen to the hand separation on the tune, it's amazing). Though Hill is superb throughout Point Of Departure, it is often the way in which he takes the lead that is stunning. Jumping to the forefront of compositions with lightning-fast improvisations, or seemingly chaotic augmentation of chord structures, Hill is constantly rewriting the books on free form jazz throughout the album. The key and harmonic structure of the songs somehow change mid-tune, yet the band follows Hill's lead, and often times, it almost sounds as if a new song has been created within the original. With Hill's direction, the tempos throughout Point Of Departure are constantly shifting, yet it is always clear that the band is in complete control, and there is a clear beauty in hearing the quintet dance on the edge of chaos.

Andrew Hill is, without a doubt, one of the most important composers in the history of jazz music. His innovations in the harmonic structure, as well as his complex rhythmic shifts helped to pave the way for jazz musicians for decades to come. Though never given the credit he richly deserves for his accomplishments, Hill's recordings remain today as some of the finest example of creativity found within the free form jazz style. Assembling an all star lineup, Andrew Hill managed to find a way to get each musician to check their ego at the door, and the shared musical space the quintet created is absolutely awe inspiring. Though Andrew Hill released many great jazz records throughout his career, his 1964 release, Point Of Departure, stands tall as one of the most phenomenal moments in jazz history, and should be revered and loved by all music fans.



Standout tracks: "Refuge," "New Monastery," and "Flight 19."

April 11: Patti Smith, "Horses"

Artist: Patti Smith
Album: Horses
Year: 1975
Label: Arista


When it comes to the most brilliant, recognizable opening lines, one stands far above all others in the entire history of recorded music. The lines "Jesus died for somebody's sins, but not mine..." belong to punk rock's poet-laureate, the incomparable, the often imitated, never duplicated, the legendary Patti Smith. Smith still stands today as an icon for female empowerment, and has earned the title or "rock legend." This haunting, blunt line opens her debut, which is largely regarded as one of the most influential records ever, 1975's Horses.

Everything about Horses is shocking and revolutionary in a myriad of ways. The opening line stated above begins a ruckus, yet amazing cover of Van Morrison's classic, "Gloria." The gender politics raised by Smith singing the song with its original subtext ruffled more than a few feathers upon its release. Smith's appearance on the cover (the photo was taken by Robert Mapplethorpe) of the record furthered this controversy of sexuality due to her male attire, as well as the faint mustache that can be seen. The fact that legendary producer and musician John Cale (Velvet Underground) produced Horses not only gave it "street cred" upon its release, but his ability to let Smith make the record how SHE wanted to can clearly be heard; something that is lacking on her later records. This is most obvious in the exceptionally loose feel to the music, which while the perfect platform for Smith's vocals, was no longer "in style" at the time, and again, Smith's later records are far more structured.

The music of Patti Smith has been lead for forty years by the simple, yet amazing guitar work of Lenny Kaye. The clever simplicity and anarchically-spirited mood of Kaye's guitar playing perfectly mirrors the approach that Smith takes to the vocals throughout Horses. Crunching chords and beautiful solos weave in and out under Patti's superb vocal delivery. Recorded in the legendary Electric Lady Studios, if you listen closely, you can hear guest vocals from both Tom Verlaine of Television, as well as Allen Lanier of Blue Oyster Cult. Keyboardist, Richard Sohl, best known for his work with The Stooges, was also an essential part of the lineup for the recording of Horses. The rest of the band, who would become a bit of "revolving door musicians" over the decades, understand their roles in the music, and while they are rarely featured, they all hold their own and clearly understand that it is the chemistry of Smith and Kaye that give the band their soul and sound.

When it comes to female lead singers, one would be hard pressed to find any other who was more influential than Patti Smith. Her uncompromising presence both in in the studio, as well as on stage, broke down countless barriers and proved that women could rock just as hard as their male counterparts. In both style and substance, Patti Smith's vocal delivery and lyrics were heavily influenced by Beat-era poetry, but as she puts her own mark on the style, it is almost necessary to define her sound as "post-Beat." Part Dylan, part Morrison, Patti Smith is nearly unequaled when it comes to combining insightful lyrics and honest, powerful vocal delivery. The connection to Morrison is almost completely true as the lyrics found on "Land" seem to pick up where The Doors classic, "The End" left off seven years earlier. Understanding the ethos behind punk rock as well as she does the literature of the French Renaissance, Smith's lyrics go well beyond the definition of "intelligent." So brilliant are her lyrics, that in 2005, she was awarded Orde des Arts des Lettres (French government's recognition for significant contribution to the arts).

Combining smart, sharp lyrics and an uncompromising presence both in and out of the studio, Patti Smith is a rock star of mythical proportion. Forming a more formal foundation for what would become "punk rock," Patti Smith has managed to gain worldwide acclaim, whilst never being much of a commercial success. From her countless followers, to the ingenious knock-off mockery of Gilda Radner, Smith remains one of the most highly respected and influential musicians in history. Taking influence form artists as wide ranging as Coltrane, Hendrix, Iggy Pop, and Alan Ginsberg, the sound and mood that Smith and her band create are truly like nothing else. While her entire recorded catalog is worth owning, her monumental 1975 debut, Horses, is without a doubt one of the most important records ever recorded.



Standout tracks: "Gloria," "Birdland," and "Land."

April 10: The Black Keys, "Rubber Factory"

Artist: The Black Keys
Album: Rubber Factory
Year: 2004
Label: Fat Possum


Though largely regarded as the state responsible for the birth of rock and roll, the state of Ohio has done little since to contribute to the longevity of the genre. Although not even one of the three largest cities in the state, the city of Akron remains as the only justifiable “hotbed” of music in Ohio. In the early 1980’s, the city produced seminal bands like Devo, Pere Ubu, and Zero Defex, all which helped influence a variety of genres. In 2000, a new Akron band burst onto the scene and remain one of the finest funk-rock acts on the planet. The Black Keys have released five albums since forming in late 2001, but their 2004 album, Rubber Factory is nothing short of stunning.

Traditionally, to make as much noise as they do, a full band is required. However, the duo of guitarist Dan Auerbach and drummer/producer Patrick Carney prove that they can hold their own with the finest and loudest bands in the land. Recorded in an abandoned warehouse in their hometown, the raw, lo-fi production on the record gives it a mood and sound similar to groups like The White Stripes. However, The Black Keys rise high above their peers in that it is clear that, not only do they know their music history, but they have a fine knowledge of what it is that makes a great rock record. From the production, to the tone of each instrument, to the overall soul behind the record, Rubber Factory has a wonderfully "classic" sound to it, yet is undeniably modern and hip simultaneously. Taking heavy influences from early 1970’s funk and psychedelia, The Black Keys infuse elements of blues, punk, metal, and hip hop to create a sound that is truly one of a kind.

Auerbach and Carney have an uncanny ability to write amazingly catchy hooks, both musically and lyrically. The gritty, energetic guitar tone provides a great combination of both modern, as well as classic sound to their music. Between the bluesy slide guitar, and the funkiest of riffs, the guitar work on Rubber Factory is nothing short of awe inspiring. When Auerbach isn't pumping out killer chords, his soulful, beautiful soloing supplies a potent juxtaposition to the grimy, rough sound over which he is playing. The true ability of Auerbach's gorgeous melodies are brought to the forefront on the mellow, winding, "The Lengths." The percussion of Carney is no "second place" in this band, as he is equally as impressive throughout the record. Seamlessly transitioning between slow, jazzy beats and crushing rock tempos, Carney provides a perfect backbeat groove on each and every song.

The vocals and lyrics on Rubber Factory are just as notable and varied as the music itself. Auerbach sings brilliantly whether in the most quiet and mellow songs, or outright rockers like "Grown So Ugly." He clearly understands how each mood is best presented, and his voice is never strained, expressing each song flawlessly. Auerbach is so well versed in how to properly approach each song, that he manages to sound completely natural even when covering the Kinks classic, "Act Nice And Gentle" (there is also a killer cover of "Summertime Blues" found on the Japanese release of the record). It is on Rubber Factory where Auerbach's talents as a writer finally reach their peak, and his universally accessible tales help take the album to the next level. From his writing, to his music, to his stellar voice, Dan Auerbach is unquestionably one of the most gifted people in music today, and is certainly well on his way to becoming one of the best in history.

The Black Keys fuse blues, soul, and rock better than nearly anyone in the history of music. Knowing and understanding their influences, and taking the best aspects of all of them, their sound is original, organic, and nothing short of phenomenal. The sound created by Dan Auerbach and Patrick Carney is transcendent to the point where the mood of the record becomes nearly intoxicating. The music and lyrics throughout Rubber Factory took the world by storm, and still today, songs from the record can be heard in a number of films, tv shows, and commercials. Clearly, The Black Keys have a long and bright future ahead of them, and their 2004 release, Rubber Factory, is a shining example of their abilities and is a refreshing addition to every music collection.



Standout tracks: "When The Lights Go Out," "Girl Is On My Mind," and "Stack Shot Billy."

April 9: Fugees, "The Score"

Artist: Fugees
Album: The Score
Year: 1996
Label: Ruffhouse


Much like rock "supergroups," when more than one "great" rapper is on a single track, the results are usually less than stellar, as the emcees are too busy competing with one another as opposed to working together to make a single great song. The rhymes are usually short and uninspired, and the song itself fades quickly into obscurity. Bucking this trend, the trio of outstanding emcees that made up Fugees work brilliantly with one another, and their second record, 1996's The Score still stands as one of the best hip-hop records in history

Yielding a pair of #1 singles and grabbing the 1997 Grammy Award for "Best Rap Record," The Score is nothing short of hip-hop perfection. Fugees consists of Pras Michel, Wyclef Jean, and Lauryn Hill, all of whom met whilst in high school in New Jersey. In retrospect, it is amazing that all of this talent co-existed in the same group at one point, as all three emcees achieved great solo success after Fugees broke up. However, Fugees are not about three individuals showing their personal skills. The Score shows that there is an undeniable chemistry between the trio, and they play brilliantly off of one anothers' rhymes and ideas.

A group that is musically eclectic as their lyrics, The Score pulls influences from blues and gospel to doo-wop to what is, in fact, a sample of new-age singer Enya. This wide range in influence reflects the group members and their personal tastes, yet their shared love for smooth, soulful moods, as well as their clear knowledge of their Haitian ancestry are apparent. Understanding their own history and paying homage to it are clear throughout The Score, most clearly in the fact that two of their biggest hits are older songs that they've re-worked with new lyrics. Presenting a dark tale of urban strife, Fugees brought their own view to Bob Marley's classic, "No Woman, no Cry." In a song that still stands as "classic" today, The Fugees garnered a second #1 single (the first being "Fu-Gee-La") with a brilliant revamp of Roberta Flack's disco hit, "Killing Me Softly."

It is impossible to discuss Fugees without taking a moment to speak specifically about the woman they call "L Boogie." Smart, strong, and fearless, Lauryn Hill is nothing short of a trailblazer, and she uses The Score to begin making her case as one of the greatest (if not THE greatest) female emcees in rap history. Though a handful of female rappers had found a decent amount of success, until Lauryn Hill came onto the scene, the reality is that female rappers simple were not given the respect of their male counterparts. Her ability to write a mind-blowing rhyme, as well as sing gracefully soulful melodies sets her high above all of her peers. Having experienced her solo masterpiece, the Grammy winning Miseducation of Lauryn Hill, it is now quite clear that The Score was a preview of the genius that lies within this phenomenal artist.

This is not to say that one can overlook the work and talent of the other two-thirds of Fugees. Wycelf has similarly achieved worldwide acclaim with a number of hits, as well as notable appearances with artists like Willie Nelson and Neil Young. Wyclef as written some of the most conscious party anthems and is constantly pushing the envelope on what can be considered hip-hop. The Bob Marley cover/rework, "No Woman, No Cry" can now clearly be seen as a preview of what Wyclef would gain notoriety for as a solo artist. Pras has made himself into one of the most highly sought after and respected producers in all of hip-hop, and has had a part in nearly a dozen chart topping songs. Again, it is mind-boggling that these three world-class talents were able to co-exist in the same group for so long, and more specifically, share the spotlight with one another.

Truthfully, not enough can be said about the rhymes found throughout The Score. Flipping some of the most complex, original, consciously minded rhymes ever heard, Fugees were a breath of fresh air in an era dominated by gangsta rap. All three emcees have undeniable skills in both their writing and delivery. In both content as well as delivery speed Fugees are among the best, proving that one can deliver quick, potent rhymes, WITHOUT sacrificing clarity or content. Name checking everyone from Connie Chung to Elliot Ness to Newt Gingrich to Nina Simone, making scathing observations about the state of world economies, and commenting on the pitfalls of the slums of New Jersey and New York, The Score is peerless when it comes to lyrical content.

A majority of the rap and hip-hop records released in the 1990's were "gangsta rap" releases, sharing similar themes and becoming increasingly boring over time. Presenting a wide range of styles and influences, Fugees were proud to stand out from the crowd, and their undeniable skills and top notch rhyming quickly catapulted them to the top of the music world. Bringing eclectic, original, fresh music and beats and topping them with clever, honest lyrics, Fugees remain unparalleled to this day. Though only releasing two albums before breaking up, their 1996 record, The Score, is, was, and will always be one of the finest records ever recorded and provides a flawless blueprint of how to make a hip hop masterpiece.



Standout tracks: "How Many Mics, " "Zealots," and "Family Business."

April 8: Goldfrapp, "Felt Mountain"

Artist: Goldfrapp
Album: Felt Mountain
Year: 2000
Label: Mute


Often times, so called "backing vocalists" find themselves persistently stuck in said role and never achieve individual success. The reality is, on many occasions, these backing vocalists have talent far superior to that of the main performer. Having contributed vocal work to artists like Tricky, Orbital, and many others, the brilliant voice of Allison Goldfrapp was well known in music circles. Known for creating almost cinematic musical works, her demos were well traveled in the U.K. electronic underground. Combining her voice and musical ideas with producer and arranger Will Gregory, the duo took on Allison's last name as the name of their collaboration. After a few months of work together, Goldfrapp released their debut, 2000's Felt Mountain; and it is nothing short of a sonic masterpiece.

As soon as she first appeared on records as a backing vocalist, Allison Goldfrapp began building an underground legion of fans. Having already worked as a singer and composer, Allison studied fine art at Middlesex University, and the people whom she met through the program would help her to worldwide fame. Her work with the groups mentioned above occurred whilst she was still a student, and after getting her degree, she toured the world with both Tricky and Orbital, exposing her sound to the masses. Her partner in Goldfrapp, Will Gregory, honed his skills throughout the 1980's with the likes of The Cure, Peter Gabirel, and Tears For Fears. Having already worked with Portishead and Tori Amos, his aptitude in creating lush, ambient landscapes, as well as perfecting production on female vocals meshed perfectly with Allison's skills and vision.

Pulling clear influences from everything ranging from pop to folk to electronic, Goldfrapp presents a brilliant array of musical textures throughout Felt Mountain. Combining live horns, strings, and drums with programmed beats and samples, the sonic landscape that Goldfrapp creates is nothing short of breathtaking. At times, the music sounds as if it were created for a sci-fi or spy movie ("Utopia" would fit perfectly in the Doctor Who episode of the same name), and the music is often as intriguing as Allison's vocal work. From whimsical instrumentals like "Oompa Radar" (which musically REALLLLLY sounds like an electronic version of Stone Temple Pilots' "Pretty Penny") to Felt Mountain's spacey, lush title track, the record shows a wonderful diversity, yet is a cohesive ambient record through and through.

Regardless of the music and programming on the tracks, there is little doubt that the most impressive aspect of Goldfrapp's music is Allison's voice. Terms like "gorgeous" and "smooth" simply do not do justice to how amazingly serene a voice she possesses. Truthfully, there are many points on Felt Mountain when the vocals that Allison delivers are nothing short of unearthly, in a good way. Able to run the entire musical range, she tends to stay in a sultry alto range, delivering vocals that range from sensual to jazzy to almost bewitching. Whether a mellow, bluesy song like "Pilots," belting out a song like "Human," or singing what is nearly a lullaby ("Deer Stop,") Allison's vocal talents rise far above any and all of her peers. Words honestly cannot describe how awe inspiring the vocal work is throughout Felt Mountain, and Allison Goldfrapp's voice must be experienced to be able to fully appreciate the grandeur and prowess that lies within.

Combining the sensational vocals with the flawless musical textures, the songs on Felt Mountain range from avant to romantic to somewhat eerie, showing the extraordinary creativeness that lives in the duo of Goldfrapp. While such diversity is often the downfall of bands within the "ambient/electronic" genre, Goldfrapp executes each style without fault, and the record remains a quintessential album for the genre. Perfectly pairing live and programmed instrumentation, and topping it off with the sensational vocals of Allison Goldfrapp, the duo have released four equally impressive albums since forming in the late 1990's. Though they have yet to make a "bad" record, their 2000 debut, Felt Mountain, is a showstopping introduction to their sound, and should be a part of every music collection.



Standout tracks: "Lovely Head," "Human," and "Horse Tears."

April 7: Thin Lizzy, "Jailbreak"

Artist: Thin Lizzy
Album: Jailbreak
Year: 1976
Label: Mercury


Naming great rock bands from the US and UK is not a tough task. However, once you move into other countries, the task becomes far more difficult. Though the country has had only a few musical acts of note, Ireland is responsible for one of the greatest rock bands to ever release a record. Brilliant rock songs, universally enjoyed lyrics, and a legendary lead singer earn Thin Lizzy the title of "Ireland's Finest Band." Though they found their potential on 1975's Fighting, it was their 1976 release, Jailbreak, where the band is in top form, and would stand as their greatest record.

Blending genres from the developing punk movement to country to Irish folk is one of the things that sets the music of Thin Lizzy apart from others. The steady, dexterous basswork of Phil Lynott, alongside the crisp drumming of Brian Downey provides the perfect backbeat for Thin Lizzy's signature sound. The dual lead guitar sound that has become one of the trademarks of Thin Lizzy was nothing short of pioneering. Playing along with one another, and almost dancing around one anothers' riffs, guitarists Scott Gorham and Brian Robertson give Jailbreak the "punch" and drive that makes it a hard rock classic. In what is certainly a sound that had a massive influence on the punk movement, the guitars give Thin Lizzy's music an edgier sound than a majority of their contemporaries.

One of the more amazing aspects of Thin Lizzy's sound comes in the form of the voice of Phil Lynott. With most hard rock/heavy metal bands, the singer has a shrill, ear splitting scream. However, Lynott has an almost gentle, softer approach to the vocals, yet it works perfectly. The full extent of Lynott's vocals are displayed on Jailbreak, from the rocked out title track to the crooning "Cowboy Song." Part poet, part storyteller, Lynott's lyrics are beautifully written, and his keen knowledge of Irish folklore is scattered throughout his writing. While Lynott had already written many great songs, Jailbreak is where he mastered his own technique, and every song is filled with brilliant phrasing and wonderful allusions. Many times, his lyrics make him sound like the Irish Bruce Springsteen as the band as a whole proudly carries the "working class" torch in their sound and lyrics.

Jailbreak is certainly best known for it's duo of now classic songs with the title track, as well as the now almost cliche, "The Boys Are Back In Town." "Jailbreak" as a song, personifies every idea of the word itself. The song busts the album wide open, and it's a fast paced rock classic that encapsulates the freedom and feeling that "is" rock music. "The Boys Are Back In Town," (which was originally to be about a Vietnam Vet), was a hit all across the globe, and remains one of the most recognizable songs to this day.It is also necessary to note that once again, Lynott always has a keen eye on the details of each of his songs. The "boys" in question aren't at any old bar, they are at "Dino's," and this attention to detail gives all of Thin Lizzy's songs a far more picturesque and "real" feeling.

It is almost tragic when an amazing band gets lost in the hype of a single song. Over the past 35 years, Thin Lizzy has become synonymous with "The Boys Are Back In Town." However, the reality is, there is FAR more to this Irish rock band than that lone song. The band can be seen as the innovators of the dual lead guitar sound that is found throughout rock music today, and the brilliant lyrics of Phil Lynott still resonate today. Lynott's more subdued approach to rock vocals has also been an inspiration for countless artists, and he proved that you don't need to scream to be an effective lead singer. A sensational combination of groundbreaking music and fantastic lyrics, Jailbreak stands today as one of the best rock records ever, and everyone should own and love the entire album.



Standout tracks: "Jailbreak," "Romeo And The Lonely Girl," and "Cowboy Song."