May 15: The Aggrolites, "Reggae Hit "L.A."

Artist: The Aggrolites
Album: Reggae Hit L.A.
Year: 2007
Label: Hellcat


Throughout the mid/late 1990's, the terms SKA and reggae were thrown about with pretty much any band that had any sort of "island" vibe in their music. Most of the time, it was a punk-based SKA (read as "mellow punk with horns"), and was about as far from the true island sound as one could get. The true sound and style of reggae rarely crosses over into mainstream music, and has not been heard from a U.S. based band in decades. Then, seemingly out of nowhere, came The Aggrolites and sensational their 2007 album, Reggae Hit L.A.

The Aggrolites, whose name pays tribute to The Skatalites, began in 2002 as a one-off backing band for reggae legend Derrick Morgan. The band, a combination of two southern California bands, felt a chemistry and decided to stay as a single unit following the Morgan gig. As the band honed their shops as a unit, they served as the backing band for artists like Prince Buster, Joseph Hill, and also were the backing band for Tim Armstrong's album, A Poet's Life. After these various backing gigs, guitarist Jesse Wagner took over vocal duties, and the band recorded a few EP's and a solo debut before releasing Reggae Hit L.A. The Aggrolites clearly understand all of the important founders of reggae, and their sound clearly infuses influences from everyone ranging from Lee "Scratch" Perry to Dave & Ansel Collins to Bob Marley. This diversity in influences helps to keep the album fresh throughout, as well as giving Reggae Hit L.A. amazing depth.

The band sticks close to the "classic" island sound, and often times, it is so authentic, that it is almost scary. Obviously, the unmistakable "SKA" riff is often present, but it is the mood behind the music that sets the band apart and gives them a truly genuine feel. Most bands of the modern era approach reggae music with a more watered down, lulling, or down-beat approach. However, The Aggrolites stick close to the early days of reggae, and the music is vibrant, bright, and light-hearted. The combination of J Bonner's bass and the rhythm guitar of Brian Dixon creates the perfect platform from which the rest of the band works. The organ and piano of Roger Rivas is brilliant throughout, as he clearly understands how to shape the mood of the music without being overbearing. Drummer Korey Horn is nothing short of stunning, flying around his kit and handling every form of reggae imaginable. The true brilliance of the band lays within their diversity of reggae styles. From the more classic sound on sounds like "Work It" to slower, more meandering songs like "Let's Pack Our Bags," to a funkier, more modern feel with the title track, the band is able to expand the genre without compromising the integrity of the music or genre.

The vocals from Wagner are a pure joy to experience. Bringing loads of soul, and a bit of grit at times, makes the music on Reggae Hit L.A. stunning. His abilities make it easy for the band to speed up the traditional reggae sound, and it is often his voice that keeps the band within the genre. Whether singing softly or getting up and into it, Wagner's voice shines brightly throughout the album, and is easily one of the finest aspects of the music of The Aggrolites. There are moments on Reggae Hit L.A. where the band presents beautiful group harmonies, a skill that has not been heard in years, and it helps to make a great record even better. Lyrically, The Aggrolites stick to the basic themes of reggae: hard work, relaxation, and love. Sticking to these time-honored themes again helps to keep the authenticity within the sound of The Aggrolites, and the universally-relatable lyrics help to ensure the wide-reaching appeal of their music.

In modern times, when bands attempt to revive an old style, it is usually so watered down that it is a far cry from the original sound. Throughout the 1990's, countless bands claimed an "island" sound, yet they were no more than cleaner "punk" with horn sections. With a clear understanding of the roots of the genre, Los Angeles based group, The Aggrolites, are a refreshing return to the early days of the reggae scene. Bringing a pure, bright sound and exhibiting everything that made early reggae great, The Aggrolites prove that often times, the old sounds are still the best. Presenting simple, relatable lyrics, Reggae Hit L.A. is a collection of bouncing, refreshing reggae tunes that will be enjoyed by all. With a new album expected later this year, The Aggrolites and their phenomenal 2007 release, Reggae Hit L.A. are truly a band that are not to be missed.



Standout tracks: "Reggae Hit L.A.," "Lucky Stream," and "Baldhead Rooster."

May 14: Type O Negative, "Bloody Kisses"

Artist: Type O Negative
Album: Bloody Kisses
Year: 1993
Label: Roadrunner


As the sparse, dark post-punk movement began to fade away, it was replaced by a movement that remains to this day. Taking the gloomy, heartbreak-ridden themes and splintering it into countless musical directions, the early 1990's marked the explosion of a strange genre usually referred to as "goth." While most of the bands in this genre would now be seen as "emo," there are a number of bands who took this "goth" aesthetic and fused it with more aggressive elements of music. Combining dark imagery with crushing metal music, Type O Negative remain one of the most beautiful, yet musically pulverizing bands in history. At the beginning of a string of five sensational albums stands the bands' breakthrough record, their stunning 1993 release, Bloody Kisses.

A quartet for metalheads from Brooklyn, NY, Type O Negative preferred a slower, more melodic style of thrash metal, and topped it off with a decent dose of sarcasm. This need for a sense of humor is most evident on tracks like the pairing of "Fay Wray Come Out And Play" and "Kill All The White People." Though songs like these were present throughout their career, Bloody Kisses marks a clear turning point for Type O Negative, as they clearly hit their musical maturity, and their songs benefit in every sense of the word. The musical construction of the songs is far superior to their two previous efforts, and it is clear that the band has found their lyrical voice as well. The band takes a moment for a quick cover song, as they put an amazingly unique and stunning spin on the Seals and Crofts classic, "Summer Breeze."

At their core, Type O Negative is a sensational heavy metal band. With crushing, majestic guitar work from Kenney Hickey, the band presented a type of "loud music" that had never before been heard. Drummer Sal Abruscato plays sensationally throughout the album, yet Bloody Kisses would serve as his final body of work with the band, leaving shortly after the subsequent tour ended. The varied sound effects and synthesizer work of Josh Silver provides a dimension to the music that makes the band even more unique. Much of the time, it is Silver's synthesizer work that helps to alter the mood of the songs from "metal" to "goth." This mood is further enforced by the presence of a pair of philharmonic orchestras on the album, and the string arrangements are yet another way in which Type O Negative separated themselves from their peers.

The deep, strong voice of Peter Steele is what truly makes the music of Type O Negative sensational. His voice is nothing short of remarkable, and when he "let's loose" on the vocals, it is absolutely awe-inspiring. Steele, a musical giant in every sense of the word (he is 6'7"), possesses one of the most jaw-droppingly remarkable voices ever, and his unmistakable, seductive bass vocals remain unmatched to this day. On Bloody Kisses, Steele pens some of his most amazing songs of heartbreak, love, and loss, yet one can read far deeper into the songs. If you explore the lyrical content of Bloody Kisses, it becomes clear that Steele is, in fact, satirizing the emotional excess not only of his own songs, but of the entire "goth" genre as well. This underlying commentary is amusing at times, yet pinpoint accurate the entire time. This jesting is perhaps most prominent when Steele sings an unforgiving mocking of the "goth girl" stereotype with the brilliant, "Black No. 1 (Little Miss Scare-All)." It is this ability to criticize those who buy their records and share stages with them, yet somehow not deter these people, that makes Type O Negative the brilliant band that they remain to this day.

Due to their excessively long songs (which are also part of their mockery of their genre), and the subject matter therein, it is easy to write off Type O Negative as "just another goth or metal band." However, both musically and lyrically, there is truly no other band in history that come close the the sound they create. Very self-aware, the band constantly take shots at the silliness of their genre-mates and fan base, penning clever, scathing critiques and fusing them into their majestic musical landscapes. Led by the unmistakably spectacular voice of Peter Steele, Type O Negative have been releasing unique, sensational albums for over twenty years. In 1993, the band finally found the perfect way to present their style of music, and the result was the stunning album, Bloody Kisses.



Standout tracks: "Christian Woman," "Black No. 1 (Little Miss Scare-All)," and "Too Late: Frozen."

May 13: John Lee Hooker, "I'm John Lee Hooker"

Artist: John Lee Hooker
Album: I'm John Lee Hooker
Year: 1959
Label: Vee Jay


There are certain artists who are simply inseparable from their musical genre. These artists have shaped the genre in ways that no other had even dreamed. Since the days of Robert Johnson, the blues had been a very simply genre. You either played slow blues, or fast blues, there was little other variation. Then, John Lee Hooker came along and brought the boogie to the blues. Having recorded under dozens of aliases throughout the late 1940's and 1950's, the best way to enjoy the early work of John Lee Hooker is via one of the many collections of his recordings. High atop the countless "best of" CD's is the finest of the bunch, the stellar 1959 album, I'm John Lee Hooker.

An overwhelming majority of the songs on I'm John Lee Hooker were recorded during the early 1950's at Los Angeles' Modern Records studio. At the time, the Mississippi native was recording under the name "The Hook." These recordings represent "authentic" blues as well as anything out there and do not suffer from the "diluting" that plagued the genre following the "British Invasion." I'm John Lee Hooker presents Hooker playing a still primitive combination between Detroit and Chicago style blues. To call the sound "straight forward" is an understatement, as there is truly nothing else on the recording but pure blues bliss. Hooker's legacy is almost immeasurable, and his songs have been covered from everyone from The Doors to Elvis Costello to Ray Charles. Hooker's style, and many of the songs found on the record formed the base for later bands like The Animals and the Allman Brothers Band.

The sound of John Lee Hooker is unmistakable across any musical genre. The steady strumming of his guitar, with only minimal backing instrumentation makes his recordings instantly recognizable. Hooker's guitar rarely gets anywhere in the neighborhood of "loud" and he rarely solos, sticking to simple, blues rhythm. A majority of the percussion on the recordings comes from Hooker tapping out the rhythm on his guitar or with his own foot, further solidifying the mood of "true" blues. On songs like "Crawlin' King Snake" (which Big Joe Williams recorded decades earlier), Hooker is almost whispering, with soft guitar and a slow tapping, the songs' intimacy is nothing short of stunning. Later recordings of the songs, as with many songs found on I'm John Lee Hooker were over produced, and the simple beauty of many of the songs became lost.

The voice of John Lee Hooker is soulful, strong, and just a bit gritty; everything one could want in a blues singer. Singing clearly, so every line can be felt, Hooker's blues are often a bit ironic as the upbeat, bouncing boogie sound plays contrast to the standard blues-style lyrics. Mostly songs of love, lust, and loss, Hooker sings of the most universal blues, and this helps to draw the listener in further to the music. There are countless points on the record where the music is so pure and simple that it feels like you are sitting in a small bar listening to Hooker perform. I'm John Lee Hooker features some of Hooker's most famous songs, including classics like "Dimples" and "Boogie Chillun'." The latter of these songs was famous featured (as well as Hooker himself) in the cult classic film, "The Blues Brothers."

The name John Lee Hooker is almost synonymous with the word blues and the entire genre. His fusion of "boogie" into the blues genre changed the form forever and his influences are still felt to this day. Hooker's recorded catalog is truly like no other, recording over 100 albums up until his death in 2001. His early recordings, from the 1940's and 1950's represent his finest work, as he had yet to be led in other directions by record labels and producers. There are literally hundreds of recordings from his era, and they have been preserved on countless collections over the years. Without a doubt, the finest of these collections is the 1959 release, I'm John Lee Hooker, and it is an absolute essential record for every collection.



Standout tracks: "Boogie Chillun," "I'm In The Mood," and "Crawlin' King Snake."

May 12: Devo, "Duty Now For The Future"

Artist: Devo
Album: Duty Now For The Future
Year: 1979
Label: Warner Bros.


There was a time, long ago, when Northeast Ohio, particularly the city of Akron, was a hotbed of music. Bands like Zero Defex, The Pretenders (or at least Chrissy Hynde), and Pere Ubu were re-writing the rules of rock music and garnering great success in the process. Along with these artists were one of the most brilliantly original bands that the world has ever seen: Devo. Though they are certainly best known for their 1980 mega-single, “Whip It,” the song is not very representative of their overall body of work. Mixing pop, punk, and well, pure madness, Devo possesses an unrivaled musical catalog. A perfect representation of everything that makes Devo great, and arguably their best album, is their 1979 release, Duty Now For The Future.

Part Talking Heads, part Bad Brains, and part something indescribable, Devo remain one of the most amazingly unique bands in history. Definitely delving into what one might consider “nerd rock,” the band have that geeky sound, yet they are rockers through and through. Setting it apart from their debut, Devo move their trademark synthesizers to the forefront of the music on Duty Now For The Future. Making the synth more prominent began the shift that would remain for the rest of Devo’s career. The band enters into strangely cheerful, if not somewhat eerie territory on oddball track, “The Day My Baby Gave Me A Surprise.” The band also shows off nothings short of pure genius on the quirky, “Smart Patrol/Mr. DNA.” It is as close to organized “rock” as Devo gets, and it is easily one of the finest tracks the band has ever recorded.

The music of Devo rewrote the rules of music each time they released an album, and it is absolutely the case on Duty Now For The Future. If you look past the sound bytes and synthesizers, Devo is very much a “standard” guitar & drums type of rock band. However, it is their addition and use of these new “technologies” that makes Devo the band that they are. Pioneering a wide range of approaches to the still-new synthesizer, much of the music of Devo has a bit of “80’s charm.” However, the synthesizer included, the music itself is far more aggressive in nature than most of their counterparts, and it is this pace and intensity that makes Devo great. The basswork of Gerald Casale is absolutely brilliant, switching keys and tempos, as is highlighted on “S.I.B. (Swelling Itching Brain).” The band even takes a moment to put their own spin on the classic, “Secret Agent Man.”

The vocals on Duty Now For the Future, delivered by Mark Mothersbaugh, are very reminiscent of a higher pitched David Byrne. Singing in a rather halting, near spoken, smart manner, the vocals pair perfectly with the jarring music in the background. The diversity in subject matter is so varied that it almost becomes lost within the perfectly measured, consistent manner in which Mothersbaugh delivers. Slyly critiquing things like fascism with a playful, almost silly sound, “Triumph Of The Will” is an absolute masterpiece. One of the most amazing things about this song is that, even though it seems mocking, the song itself sets no clear “opinion” on the subject. From serious philosophical issues to pure idiocy, Duty Now For The Future has songs that truly represent everything that makes Devo the amazing band they are.

Devo will forever remain one of the most talented, yet strange bands that the world has ever seen. With their trademark “geek” rock and unmistakable vocals, they pushed the boundaries of music throughout their entire career. Taking the “standard” band configuration and pushing the synthesizer to the front, they redefined what could be considered rock music. Jerky, almost space-age sounds, combined with lyrical delivery to match, Devo often appears as a more modern version of the Talking Heads. Though their entire catalog is nothing short of brilliant, their 1979 release, Duty Now For the Future is one of their finest recordings and serves as a foreshadowing of the amazing things the band would do later in their career.




Standout tracks: “Blockhead,” “S.I.B. (Swelling Itching Brain),” and “Smart Patrol/Mr. DNA.”

May 11: David Bowie, "The Rise And Fall Of Ziggy Stardust And The Spiders From Mars"

Artist: David Bowie
Album: The Rise And Fall Of Ziggy Stardust And The Spiders From Mars
Year: 1972
Label: Virgin


When it comes to the greatest rockers in the history of the United Kingdom, there are very few names that are higher on the list than the one and only David Bowie. An icon in fashion as much as music, Bowie is easily one of the most influential musicians of all time. From his work with artists like Mick Jagger and Iggy Pop to his unforgettable role in the movie Labyrinth, David Bowie is truly an artist of the highest caliber. His albums have run the gamut from acoustic to outright rock and roll to some extremely avant experiments. As this is my last day in his home country (did you notice the last few blogs?), I felt it only fitting that I review his finest record, which also happens to be one of my all-time favorite albums. From the character he created to the brilliant music to the amazing lyrics, 1972’s The Rise And Fall Of Ziggy Stardust And The Spiders From Mars remains one of the greatest albums ever recorded.

A loose concept record, the album title itself is pretty much self-explanatory. The album follows the central character, an androgynous guitarist/singer named Ziggy Stardust as he achieves and loses rock and roll fame. It is very much the age old tale of the single artist becoming bigger than the band, alienating said band, and then attempting (and failing) at a solo career. Clearly, much of the lyrical content can be assumed to have been drawn from Bowie’s own rise to success. Furthering that idea, Bowie infamously took on the persona of Stardust (in costume and personality) throughout the entire supporting tour, and the psychological toll it took on him as been well documented. As good as all of Ziggy Stardust is, the truth is, it is the second side of Ziggy Stardust where the true brilliance of the album lays. The closing trio of songs on the album rival any other song combination in history.

Musically, Ziggy Stardust presents nearly everything Bowie had accomplished to that point. From the horn-laden, acoustic based “Soul Love” to the classic, rocking sound of “Suffragette City,” few albums show such well executed musical diversity. The guitar work of Bowie, and moreso that of guitar legend, Mick Ronson, is absolutely stellar, most notably during the solo on “Moonage Daydream.” Bowie’s backing band is amazingly tight, not a note is dropped, and Bowie’s perfect use of everything from keyboards to saxophones completes the brilliant sound throughout Ziggy Stardust. The fast-paced, manic mood of the classic rock staple, “Suffragette City” plays an amazing contrast to the morose, acoustic to electric beauty of “Rock And Roll Suicide.” Truly, Ziggy Stardust is a musical tour de force, and it presents everything that makes David Bowie the music legend that he remains to this day.

David Bowie lays claim to one of the most awe-inspiring and unmistakable voices that the world has ever known. The tone in which bowie delivers the lyrics is as varied as it has been his entire career. From elegant crooning, to high-toned whispering, to belting out with his legendary pipes, the versatility in his voice enables the album to reach another level of greatness. The lyrics on the album, from the perspectives of “Ziggy’s” fans, his girlfriend, the mass media, his band mates, and even Ziggy himself give the album decent rage, as well as obvious cohesion. The title song is easily one of the most brilliant lyrics ever penned. A clear, enthralling tale of the final days of Ziggy Stardust And The Spiders From Mars, Bowie perfectly captures the moment when the band is so fed up with Stardusts’ antics, they don’t even show up for a gig.

The name David Bowie demands respect across the globe. His seemingly endless artistic talent and intoxicating personality make him a true legend. Though he has achieved success in other artistic ventures, music has always been his first love, and the area in which he excels the most. Having released more than thirty since the late 1960’s, his catalog is as distinguished and varied as any artist in history. Whether he was covering Motown classics or partnering with Trent Reznor (Nine Inch Nails), Bowie has constantly redefined himself over the decades and this has enabled him to stay relevant regardless of the changes in pop music. Though Bowie has recorded many albums that one should own, his 1972 release, The Rise And Fall Of Ziggy Stardust And The Spiders From Mars, is his true masterpiece, and it is a true joy to experience time and time again.



Standout tracks: “Ziggy Stardust,” “Suffragette City,” and “Rock And Roll Suicide.”

May 10: The Streets, "Original Pirate Material"

Artist: The Streets
Album: Original Pirate Material
Year: 2002
Label: Atlantic


The genres of hip hop and dance club music are usually quite far apart. One tends to live in the roughest cities in the U.S., while the other finds a comfortable home in Euro-discothèques. Rarely is one genre done well in the other territory, leading to little U.S. based club music, and even less rap coming out of Europe. Somehow weaving both genres together, Mike Skinner and Kevin Mark Trail, better known as U.K. rap group, The Streets, present a sound and vibe that has never before been heard in either genre. Taking dance-hall tempo and style in the music, and putting undeniably “hip hop” lyrics over it, The Streets create somewhat of a new genre, and it is a VERY good thing. After circulating various tracks on countless mixtapes, the label debut record from The Streets, 2002’s Original Pirate Material proves to be nothing short of brilliant, and well worth the wait.

A true underground effort through and through, when it comes to "street cred," these two Brits have more than anyone needs. Truth be told, Original Pirate Material is very much what its name says. The album was recorded in Skinner's garage, and there are moments throughout the record where one can tell this fact. Even when there are random sounds and drums, they end up giving the album even more authenticity. Though there are no elements of "gangsta" rap on this record, it is in many ways more "real" due to the fact that everything in the lyrics is something with which anyone can relate. The duo work brilliantly together, forming a perfect fusion and bringing a fresh, new sound to the world of dance, as well as hip hop.

From ambient piano loops to bright horn tracks to car-bumping beats, Original Pirate Material is a refreshing take on the hip hop genre. The beats and sounds backing the tracks on Original Pirate Material are easily the most original in the rap game, mostly due to the fact that they are based on dance club energy. This is very much due to Mike Skinner and his club/rave DJ background. Skinner mixes in roots from electronica and techno and fuses them together with hip hop roots, producing a sound that is nothing short of amazing. However, if you think that Original Pirate Material is a dance record, you couldn’t be further from this truth. The album has everything one can want in hip-hop: brilliant lyrics, original beats, and all the attitude you can handle.

The lyrics spit by Kevin Mark Trail are as clever as those of any rapper in the world. With true street grit, and yet a wonderfully snarky sense of humor, shots like “…my crew laughs at your rhubarb and custard verses…” are sprinkled throughout Original Pirate Material. Trail isn’t rapping about selling drugs or killing people, he prefers to explore the far more relateable plights of the hard working, underpaid, “upper lower class” of society. Tales of women, fights, drinking, and getting the short end of the stick in life pretty much covers every lyric on the album. On the track, “The Irony Of It All,” The Streets presents what can only be described as lyrical schizophrenia. Two voices battling (Skinner grabs a mic on this track), one being a drop-out stoner, the other up and trying to solve problems of the world play brilliantly against one another.

Two of the biggest problems many people have with rap music is that it all sounds the same, and most of it isn’t danceable. Simply put, over-done bass levels and impossible to understand lyrics are (thankfully) quickly losing their charm. With innovative artists like Outkast, Kanye West, and a host of “conscious’ rappers, the rap genre is slowly returning to a true talent. Becoming a successful rapper if you don’t hail from the United States remains an extremely difficult task. Taking the energy of London dance clubs, and spitting as “real” a set of lyrics as one will find anywhere, British rappers, The Streets, are truly a treat to experience. Their 2002 debut record, Original Pirate Material is a refreshing take on the hip hop genre and has a true cross-genre appeal.



Standout tracks: “Has It Come To this,” “The Irony Of It All,” and “Who Dares Wins.”

May 9: Brigette Fontaine, "Comme a la Radio"

Artist: Brigitte Fontaine
Album: Comme a la Radio
Year: 1971
Label: Saravah


France, though an undoubtedly beautiful country, is certainly more well known for its contributions to the culinary arts over the musical arts. Though countless jazz musicians (and Jim Morrison…and Jerry Lee Lewis) made their homes in France over the years, the “essential” music that has been exported over the decades has been rather minimal. However, one French musician that simply cannot be ignored is the amazingly experimental, and undeniably talented Brigitte Fontaine. Though she did not achieve much worldwide recognition, her albums remain some of the most innovative and original works of music to this day. Though it is hard to choose her finest work, perhaps her most “accessible” album is her 1971 release, Comme a la Radio.

To be avant or progressive in 1971 was not all that uncommon, but the way in which Brigette Fontaine went about it, she was truly the “bleeding edge” of “experimental” music. The album is a bit different from the rest of the work of Brigitte Fontaine in that is a true collaboration with her writing partner, Areski, as well as the Art Ensemble of Chicago. This combination of artists who loved nothing more than pushing the boundaries of what “was” music, blend perfectly on every song, and it is clear that they are constantly trying to push the others deeper into the experiment. Even the way in which the music is mixed pushes the common notions of “how” music should sound. On Comme a la Radio, the myriad of percussive instruments are very far forward in the mix, while the horns and strings are pushed well into the background. This complete reversal of “normal” recording practices further makes the album something that truly must be experienced to be appreciated.

Musically, Comme a la Radio is all over the place. With songs ranging from AfroBeat inspired chants to nearly acoustic songs, which let Fontaine fully display her amazing voice, the album is truly as eclectic as one will find anywhere. The Art Ensemble of Chicago provide the album with a gorgeous, often ethereal mood, and their own experimentation melds perfectly with that of Fontaine. The Ensemble brings everything but the kitchen sink to the record, from a chorus of muted trumpets, to dueling saxophones, and even an appearance from a bouzouki (go ahead and google that). Jumping from hard-bop to modal jazz and everything in between, the music is almost constantly bordering on chaotic, and it often leaves a rather eerie mood in its wake. This brass madness, combined with the cavalcade of percussion and sounds supplied by Areski, Comme a la Radio is a sonic explosion like no other ever recorded.

Though there are many, the true gem of Comme a la Radio, as is the case with her entire catalog, is the stunning voice of Brigette Fontaine. From whispers to belting out perfect pitches, the range and power of Fontaine’s vocals remain largely unmatched. Often times, Fontaine’s voice tip-toes over the music, creating something that can only be described as an avant lullaby. There are even tracks, like “Lettre à Monsieur le Chef de Gare de la Tour de Carol,” where Fontaine delivers a calming, somewhat erratic spoken word performance over music reminiscent of the sounds of India. Regardless of how she is approaching the vocals, Brigette Fontaine delivers stunning performances on every track on Comme a la Radio.

Being “experimental” in the music scene of 1971 was something that hordes of musicians claimed. At the front of those who truly were pushing the boundaries of what was “popular music” or “music” in general was French songbird, Brigette Fontaine. Releasing a number of impressive, truly avant records throughout the 1970’s, on Comme a la Radio, she enlisted the help of song-writing partner Areski, as well as the equally exploratory Art Ensemble of Chicago. Combining the unquestionable talents of the three parties results in some of the most original and unsurpassed musical experimentation ever recorded. Though the album varies in style, at the core is truly stunning as well as the sensational vocals of Fontaine. To experience something like no other, and yet something that is a true joy to experience, find a copy of Brigette Fontaine’s brilliant 1971 release, Comme a la Radio.



Standout tracks: “Tanka I & II,” “J’ai 26 Ans,” and “Le Noir Cest Mieux Choisi.”