June 16: Einstürzende Neubauten, "Kollaps"

Artist: Einstürzende Neubauten
Album: Kollaps
Year: 1981
Label: ZickZack


Often times, "artsy" albums are revolutionary upon their debut, but the "edge" and mystique around the album fade over time as the rest of the world catches up. For example, Elvis' infamous dancing in the 1950's was well beyond "lewd," yet it is almost comical in modern times. However, even to a generation raised with bands like Nine Inch Nails and KMFDM, the noise-rock of German legends, Einstürzende Neubauten, is still both stunning and startling. Creating some of the most harsh and original music ever heard, some of which borders on "unlistenable," the music of Einstürzende Neubauten has helped to shape many aspects of the modern music scene. While their later albums incorporated far more mainstream aesthetics, their 1981 debut album, Kollaps, reveals the band in their finest, purest form.

Einstürzende Neubauten are undoubtedly the architects for what is now known as both "noise rock" as well as the entire "industrial" music scene. Taking influence from groups like Suicide, Gang Of Four, and Can among others, the sound that the group produces once again opened the issue of "what" is music. With fierce, often unintelligible lyrics and music that is, in every way, the definition of mayhem, there has never been a band that even remotely resembles the sound of Einstürzende Neubauten. Loud, chaotic, and avant music; they are all there in large quantities throughout the entire album. The sound is has a hauntingly futuristic feel to it, yet at the same time, it is staggeringly primitive. Even the bands' logo (featured on the cover) is taken from an ancient cave drawing. Reflecting further on this idea, the band is made up of musicians who are primarily percussionists, with drumming being the earliest known musical form. The man responsible for a majority of the percussion is N.U. Unruh (real name Andrew Chudy), and it is he who also built a number of the instruments used on Kollaps.

Einstürzende Neubauten truly take anything and everything as a possible musical instrument. From banging on railings . A majority of the time, the band is playing instruments that they themselves made, primarily made of scrap metal and random tools (the drill on "Steh Auf Berlin" is particularly awesome.) Alongside these mutants of instruments, the band also plays more traditional instruments with guitars and standard drums finding their way onto many of the tracks on Kollaps. The band showcases and proves that they are truly masters of percussion with the blisteringly fast, polyrhymic masterpiece, "Steh Auf Berlin." While there are seemingly disordered songs like "Tanz Debil," there are also signs of the more mainstream style they would later incorporate with songs like the title track. The song "Kollaps" runs over eight minutes, and perfectly personifies the band, with a looping guitar piece, overlain with random percussion and seemingly disjointed singing. The band creates one of their most haunting pieces in the piano led, and organ infused "Sehnsucht." Though not even ninety seconds long, it is a brilliant bit of musical exploration, and is just as creepy as songs double and triple the length. It is this ability to turn the minimal, both in instrument type and usage, into fantastic musical works that makes Einstürzende Neubauten so extraordinary.

The one constant throughout the entire thirty year career of Einstürzende Neubauten is founder and frontman, Blixa Bargeld. His name alone contains a small reference to a large influence behind his music and his band; that being his "chosen" last name is a reference to German Dada artist, Johannes Theodor Baargeld. Along with his singing for Einstürzende Neubauten, Blixa is also well known for his poetry, as well as being one of the original "Bad Seeds" in Nick Cave & The Bad Seeds. Though he occasionally approaches something that one might consider "singing," a majority of the time Bilxa is speaking, shouting, or just making noise. Yet, the manner in which he delivers his vocals are a perfect fit for the music over which he sings. Working with different volumes, degrees of force, and rhythms of speech, Blixa makes his vocal delivery just as experimental and varied as the bands' music. Even upon translation (as much as one can), it is clear that the lyrics rarely have any direct connection to the music, or even to themselves, and it solidifies the idea that Bargeld sees his vocals as "just another instrument" on the album.

Few bands have created such astounding and unorthodox debut records as one will find in Einstürzende Neubauten's Kollaps. Doing away with nearly every previously held notion as to "what" constituted music, the band presented the world with music the likes of which had never even been dreamed. Truly the beginning of what is now called "industrial" and "noise rock," the music is somehow post-modern, while simultaneously starkly primitive. Basing their sounds around a myriad of percussive instruments and the chaotic vocals of Blixa Bargeld, each song on Kollaps is furious, paradigm shattering, explosive work of art. Whether it is the minimalist approach on "U-Haft Muza," the indescribable, "Hirnsäge" or the massive sound of "Steh Auf Berlin," the record is a genuinely fascinating musical experience. Though later albums would present far more mainstream musical concepts, Einstürzende Neubauten's 1981 debut album, Kollaps, presents the band at the most undiluted, and truly genius point in their career.



Standout tracks: "Steh Auf Berlin," "Negativ Nein," and "Kollaps."

June 15: X-Ray Spex, "Germ Free Adolescents"

Artist: X-Ray Spex
Album: Germ Free Adolescents
Year: 1978
Label: EMI


Every band in history has a few faults to their name. Frustratingly, there are a number of cases where the worst thing the band did was simply not make ENOUGH music! It seems that the bands you want less of will never go away, yet the most brilliant bands seem to have the shortest careers. Another way of saying it is, "Why is Joe Strummer dead, yet that #*&^@! from Nickelback is still making music?!?" Bringing it back to the point, one of the many bands who seem to get constantly overlooked within the 1970's UK punk explosion were the female-led band, X-Ray Spex. With as much energy and angst as their contemporaries, they are truly one of the most brilliant bands that few people have ever experienced. Amazingly, and frustratingly, they only have one record released by the original lineup. The group's sensational 1978's release, Germ Free Adolescents, gives a peek into a "group that could have been."

X-Ray Spex, formed by schoolmates Poly Styrene (Marion Elliot) and Lora Logic (Susan Whitby), the group proved to be worthy of being spoken in the same breath as U.K. legends like The Clash and Sex Pistols. The songs have the same forceful delivery, both musically and lyrically, along with a strong message underneath each track. Serving as the archetype for bands like Vice Squad and Vivian Girls, in many ways, Styrene was the link from Patti Smith to later "female empowerment" performers. It was also within their lyrics where the group separated themselves from their peers, taking a far more proactive approach and calling for action instead of "dropping out" as was encouraged by many of their peers. Soon after their formation, their live shows became some of the most popular shows in London, and they shared bills with the likes of Wire, The Buzzcocks, The Clash, and many other seminal U.K. punk bands. X-Ray Specs were also invited to participate in a "Peel Session" with legendary producer, John Peel. Accomplishing all of these feats in just under three years is further testament to just how extraordinary a band there was in X-Ray Specs.

Easily the most significant aspect of the music of X-Ray Spex is the tenor saxophone of Rudi Thompson (who replaced Lora Logic before the album was recorded). Its presence alone sets the band aside from anything else at the time, and such a prominent saxophone on a punk record had not been heard since the days of The Stooges. Guitarist Jak Airport (Jack Stafford) is every bit as capable as the other band members, and whether it is crushing chords or stunning solos, he can clearly hold his own with any other punk guitarist on the planet. The rhythm section of Paul Dean on bass and drummer BP Hurdling are equally impressive, and with just a few minutes of listening, it is evident that X-Ray Specs were poised to be one of the most amazing bands in the world. Truly, X-Ray Specs were a bit ahead of their time, as they took the punk aesthetic and presented it in such a mature manner that most people in the scene simply couldn't wrap their heads around the sound. The songs had far more structure and melody than those of The Sex Pistols, yet even with these more mature compositions, the music retained the spirit of the scene.

The true genius behind X-Ray Specs is founder and front-woman, Poly Styrene. Throughout Germ Free Adolescents, her voice is nothing short of mesmerizing, in both how she sings, as well as what she sings. Even on the few songs with a more relaxed tempo, Styrene's voice remains nothing short of a rallying cry, she demands change, and her delivery has often been described as "effervescently discordant." With more energy and attitude than nearly any of her peers, Styrene is unrelenting throughout the entire album, and her unmistakable singing and yelling is almost intoxicating. As she was responsible for writing all of the lyrics and music found on Germ Free Adolescents, the lyrics revolve around themes of Styrene's general distaste for the "artificial" society she saw around her. Taking a stand against corporations that wanted nothing to do with "normal" people, many of the songs are rather feminist in nature, as again, they are all from her own point of view. One of the most stunning moments is on the song, "Identity," when she sings, "When you look in the mirror, do you see yourself? Do you see yourself on the T.V. screen? Do you see yourself in the magazine? When you see yourself, does it make you scream?" Even more than twenty years after its release, one would be hard pressed to find more relevant lyrics.

From the objectification of women to "poseurs" within the punk scene, nobody is safe from the pen of Poly Styrene. Unrelentingly blunt, yet undeniably talented, it is her music and lyrics that helped to make X-Ray Specs one of the most talked about and legendary acts in the blossoming U.K. punk scene. Bringing an intensity equal to that of any other band, yet presenting a far more crafted and mature sound, there has truly never been another band like X-Ray Specs. The group further distanced themselves from their peers by the fantastic, full incorporation of a saxophone into the groups' sound. This adds another dynamic to the groups' music, yet the basic elements of screaming guitars and a pulverizing rhythm section enabled the group to keep their appeal to the "punk" scene. However, at the end of the day, everything great about X-Ray Specs comes back to the phenomenal vocal work of Poly Styrene. Captivating and crushing, her voice is truly beautiful, yet so powerful and pointed that she demands respect and action with every word. Sadly one of the most overlooked groups, mostly due to their short career, X-Ray Specs and their 1978 album, Germ Free Adolescents, remain one of the most important and impressive bands of the early U.K. punk scene.



Standout tracks: "Art-I-Ficial," "Identity," and "Germ Free Adolescents."

June 14: Allman Brothers Band, "Eat A Peach"

Artist: Allman Brothers Band
Album: Eat A Peach
Year: 1972
Label: Polydor


Few bands have suffered great tragedies in both the number and severity that can compare to those suffered by southern rock legends, The Allman Brothers Band. However, it has been proven time and time again that tragedy can lead to amazing creative endeavors. After the sudden death of guitar virtuoso and band founder Duane Allman, The Allman Brothers Band released one of their finest works ever, and continue to tour to this day. Finding a perfect balance between southern style rock and roll and the "jam band" scene, The Allman Brothers Band created some of the most musically stunning, yet relaxing and enjoyable music throughout their career. With a lineup that has seen many different musicians, the mood of the music and the high level of talent has been consistent throughout the past forty years. Having as many albums as they do, it is hard to pick a "best album," yet their 1972 record, Eat A Peach, presents everything that makes the Allman Brothers Band one of the most sensational groups in history.

First off, I feel it necessary to dispel one of the most common myths in music history. Duane Allman was NOT hit and killed by a peach truck. It was, in fact, a flatbed lumber truck that hit Duane and his motorcycle at an intersection in Macon, Georgia on October 29, 1971. What IS true is that Allman Brothers Band bass player, Barry Oakley, would meet a similar fate less than a year later, and only a few blocks from where Duane was killed. The album title, Eat A Peach, actually refers to a comment Duane made a few weeks before his death when he was asked what he was doing to help the revolution. Duane simply replied, "There ain't no revolution, it's evolution, but every time I'm in Georgia, I eat a peach for peace." Eat A Peach furthers the bands' eerie mythology, featuring a second song that was inspired by a tombstone. Having already given the world the stunning jazz instrumental, "In Memory Of Elizabeth Reed," which was inspired by a headstone in the Rose Hill Cemetery, this time around, the band presents "Little Martha," presumably inspired by the tombstone of "Martha Ellis," a twelve year old buried in the same cemetery. Ironically, both Duane and Barry are buried within eyesight of both of these two musical muses. All that being said, Eat A Peach was originally released as a double album, and it combines live performances, as well as the final recordings with Duane and a few post-Duane tracks as well. These studio tracks contain some of the most treasured songs in the Allman Brothers Band catalog, including "Melissa," "Blue Sky," and "Little Martha." Taking these songs, as well as the stunning live tracks, it is clear that the Duane-led Allman Brothers Band were poised to create some of their most amazing work.

Musically, there are few bands that can hold a flame to the overall sound created by the Allman Brothers Band. Beginning with the fantastic guitar and slide guitar playing of Duane, who also contributed to the Derek And The Dominoes classic, "Layla," it is often his playing that takes the songs into the category of "amazing." Duanes' brother, Gregg Allman, is undoubtedly one of the most talented keyboard players that the world has ever seen, and it is he who creates the amazing moods, from bluesy to joyous, that permeate the bands' music. The only other member of the Allman Brothers Band who has been in every lineup is drummer, Butch Trucks. Father of guitarist Derek Trucks (who has played with the Allman Brothers Band since 1999), Butch remains one of the most revered drummers in history for his raw talent and ability to adapt to nearly any style. Though he took a break for a few years in the early 1980's, the percussion work of Jai "Jaimoe" Johanson simply cannot be overlooked. Widely considered to be one of the most talented drummers in history, the dual percussion and dual guitar of the Allman Brothers Band is one of the reasons that their music was so phenomenal. Also lending lead guitar and slide guitar work to Eat A Peach is longtime band member, and fellow guitar legend, Dickey Betts. The duo of Duane and Dickey help to make the music on the album extremely original, and the half hour live jam, "Mountain Jam" highlights just how much talent lived within the pair. To this point, while Duane is usually considered one of the five greatest guitar players ever, both Betts and later band guitarist, Warren Haynes also regularly appear in the top part of "greatest guitarist" lists.

Along with playing a wide array of pianos, keyboards, and organs, Gregg Allman also handles a vast majority of the vocal work for the Allman Brothers Band. On Eat A Peach, some of his most beautiful and spectacular work is featured. Gregg's voice is truly the perfect sound for each and every song that the band plays. From rockin' blues numbers to the gorgeous southern ballads like "Melissa," Gregg's voice blends perfectly with the music. Dickey Betts also makes his first ever appearance on lead vocals as he takes the reins on his own composition, "Blue Sky." Lyrically, the Allman Brothers Band are usually quite straightforward with the themes behind their songs. Cheating lovers and the joy of simply being alive play in stark contrast to one another, yet these two themes dominate a majority of the Allman Brothers Band catalog. However, on Eat A Peach, there also lives the blunt, beautiful, and unsubtle tribute to Duane, written by Gregg, "Ain't Wastin' Time No More." The opening verse says it all, as Gregg laments, "Last Sunday morning, the sunshine felt like rain, week before, they all seemed the same. With the help of God and true friends, I come to realize, I still had two strong legs, and even wings to fly..." The song would become an anthem of a generation, and serve as a fitting tribute to Duane, whilst simultaneously serving as a sign that the band would live on.

Very few bands, perhaps only Pink Floyd, even come close to the amount of "mythology" that is found within the annuls of the Allman Brothers Band. From songs inspired by unknown dead to the passing of the core of the group, the band proves that tragedy both destroys as well as creates. Though the band was still very early in their career, they had already proven that they were one of the most talented bands on earth, and found themselves riding high on the success of their sensational Live At The Fillmore East live album. With the tragic death of Duane Allman in the middle of recording sessions, the band seemed done for, yet managed to turn things around and release a sensational record. Dominated by the awe-inspiring, half hour live jam of "Mountain Jam," Eat A Peach is a true representation of the bands' past, present, and future. Presenting a fitting tribute to Duane, by showcasing his live performances, the final pieces he had written, and postmortem songs in his memory, one can rest assured that Duane was smiling upon its release. Beautiful singing and lyrics, jaw-droppingly spectacular jams, and more talent in one band than has ever been seen before, the Allman Brothers Band's 1972 release, Eat A Peach, still stands tall as one of the greatest moments in music history.



Standout tracks: "Ain't Wastin' Time No More," "Melissa," and "Mountain Jam."

June 13: Jurassic 5, "Quality Control"

Artist: Jurassic 5
Album: Quality Control
Year: 2000
Label: Interscope


Since the rise of "gangsta rap" in the early 1990's, "conscious" hip hop has mostly lived on the fringes of the hip hop world. While there have been a small number of artist who have achieved small hits here and there, it is truly rare when a conscious rapper or rap group gain large amounts of time in the spotlight. It is largely due to this steep hill to success that there are less and less artists of this style as time progresses. Ignoring this fact and staying true to their roots for the entirety of their fourteen year career, Los Angeles hip hop crew, Jurassic 5, consistently delivered the most intelligent and original beats and rhymes that the world has ever heard. Releasing one EP and three phenomenal full length albums before calling it quits in 2007, their full length debut, 2000's Quality Control is one of the most fantastic hip hop records ever made.

First off, there are, in fact, six members comprising Jurassic 5, four emcees and two DJ's. With a strong influence from the conscious rhymes and group based songs, the influence of A Tribe Called Quest is very clear. The group, which were originally two different groups (Rebels Of Rhythm and Unity Committee), formed as one in late 1993, yet not even an EP appeared from them until eight years later. After the EP hit the streets, Jurassic 5 became one of the mot in-demand underground acts in the country. When Quality Control finally came out, there was so much anticipation behind it, it seemed almost impossible for the group to live up to the hype. However, not only does Jurassic 5 live up to the hype, they exceed it with leaps and bounds, as Quality Control is one of the most brilliant hip-hop records ever released. Since its release, members of Jurassic 5 have appeared on records from Breakestra, Dave Matthews Band, MosDef, Linkin Park, and Nelly Furtado among a large list of others. This ability to work with nearly any musical style is reflected throughout their music, and it is one of the things that makes Jurassic 5 one of the most remarkable and respected groups in the history of hip hop.

The music of Jurassic 5 is made possible by two of the finest DJ's on the planet, Cut Chemist and NuMark. Though he is also well known for his solo work, as well as his contributions with the group Ozomalti, it is with Jurassic 5 where Cut Chemist got his start, as well as released some of his finest work. DJ NuMark is just as talented, and the pair together create some of the most original and amazing combination of beats, samples, and scratching. While on most hip hop records, there is a noticeable separation between the music and lyrics, this duo of DJ's mold beats and samples that follow closely and flawlessly with the rhymes begin rapped. It is in this display of talent that Jurassic 5 moves from "rappers and DJ's" to something that can truly be called a rap group. Cut Chemist and NuMark highlight many of the groups' influences, sampling everyone from James Brown and Quincy Jones to Blowfly as well as clips from Sesame Street, Back To The Future, and The A-Team. It is in large part to this diversity in samples, sounds, and style that keeps each track on Quality Control fresh, and helps to show the wide range in delivery style that the emcees also possess.

The four emcees in Jurassic 5 effortlessly deliver some of the most stunning, tongue-twisting rhymes that the world has ever heard. Each of them has their own distinct sound and style, yet they are all equally impressive and play brilliantly off of one another. Each track on Quality Control flows smoothly into the next, and the songs themselves are a refreshing change from the "pimps and ho's" rhymes that still dominate the hip hop world. Even when rapping at lightning speed, each word is clear and understandable, which is a testament to just how much value the group sees in their lyrical content. It is within the lyrics where Quality Control shows the maturity of the group since the release of their EP. Jurassic 5 targets many of their tracks at the mass media, parenthood, and many other social criticisms. Yet, the almost compassionate way in which they approach these subjects is something that had truly never been heard within the world of hip-hop. Name checking everything from Dreamworks to MC Hammer to Les Miserables, the diversity in material within the rhymes is truly uncanny. Similarly to the music, the emcees are sure to give respect to their influences on Quality Control, referencing hip-hop classic "The Bridge" on "Lausd" as well as name dropping a number of old school hip hop artists throughout "Monkey Bars." While the group is undoubtedly aware of their roots, their sound and style remain modern and fresh, and with their amazing music and lyrics, they are one of the most original hip hop groups in the history of the genre.

Fantastic, unique music and beats combined with some of the most devastating rhymes to ever be recorded lifts Jurassic 5 high above their peers and makes them one of the most important hip hop groups that the world has ever seen. Taking influence and giving a nod back to many of the innovative, influential hip hop groups of the late 1980's, Jurassic 5 has a clear knowledge of their from, and it is this understanding and respect that enables them to create and deliver the stunning rhymes and are found on each song on each of their albums. Never selling out or copping out and completely ignoring the trend of negative, predictable rhymes, the group stays true to their roots and still manages to deliver music of the highest caliber. Quality Control highlights the groups maturity in lyrical content, as well as their stunning ability to play perfectly off of one another on each and every song. It is true that all four releases from Jurassic 5 are well worth owning, it is their debut album, 2000's Quality Control that rises slightly above the others, and serves as a perfecting introduction to this phenomenal hip hop group.



Standout tracks: "Quality Control," "Lausd," and "Twelve."

June 12: Portishead, "Dummy"

Artist: Portishead
Album: Dummy
Year: 1994
Label: Go! Discs


Call it "trip hop," "ambient," "downbeat techno," or "chillout music," it all pretty much describes the same genre of music that exploded in the early 1990's. Perhaps it is the constant gray weather and rain that helped Bristol, England to produce the spacey, sober tones that define "trip hop" and ambient music. The fact is, with the likes of Massive Attack and Tricky both hailing from the city, it is hard to hand the title of "birthplace of trip hop" to any other place. Then of course, there was the emergence of Bristol's most famous singer, and one of their more successful groups, Beth Gibbons and her group, Portishead. Creating breathtaking musical soundscapes, overlain with Gibbons' sultry vocals, Portishead brought the sound of downbeat techno to the masses. Finding absolutely musical perfection on their 1994 debut, Dummy, the group became overnight superstars with their gorgeous mixture of sounds and styles.

Easily the best known song of Portishead's career was found on Dummy, the smash single, "Sour Times." The truth is, "Sour Times" was actually released twice, and it didn't take off until the second release, following the success of the single "Glory Box." The heart of the song is Gibbons' brilliant, wailing vocal and the sampled hook from Lalo Schifrin's "Danube Incident." One fact that most people don't know is that Dummy managed to win the 1995 Mercury Prize For Music (a yearly award for the best album from the UK or Ireland), beating out the likes of PJ Harvey's To Bring You My Love and Oasis' Definately Maybe among others. With the amazing vocals of Beth Gibbons, and the overall gloomy feel to the music, Portishead was able to cross over from the techno world and reach the "indie" and underground music fans. It is this crossover that made the band a success, set them apart from their peers, as well as bringing credibility and notoriety to the new genre.

Though there are many instruments used throughout Dummy, the reality is, there are only two musicians in the band. Relying heavily on programmed drums and sound effects, the duo of Geoff Barrow and Adrian Utley create some of the most stunning musical textures that have ever been heard. On Dummy, much of the percussion work, both live and sampled was contributed by Dave MacDonlad. For a majority of the album, Barrow is parked behind a Rhodes piano or the mixing board, though he makes a brief appearance on drums on the tracks, "It's A Fire" and the albums' lead single, "Numb." Barrow also worked the entire string arrangement on "Roads," as well as a having a huge hand in the background sounds. Utley shines with his guitar work, both lead and bass, throughout Dummy, and it is often his musical contributions that gives the music a bit of a sinister, "spy movie," type of mood. The albums' opening track, "Mysterons," features a breathtaking sonic landscape, and this is very much due to the theremin work of Utley. Dummy features sample from everyone from Issac Hayes to War to Johnnie Ray to the aforementioned classical compositions of Lalo Schifrin, and it is this diversity in influences that helps the album to have a great diversity in sound, whilst keeping a consistent mood.

It goes without saying that both Dummy, as well as Portishead in general, would be nothing without the smooth, alluring vocals of Beth Gibbons. Often sounding like a more angst-ridden and morose Sade, it is the voice of Gibbons that lifted the group above their peers and drew in the "indie" audience around the globe. It is almost magical how Gibbons' voice flutters in and out of each track, finding the balance between not upsetting the brilliant musical texture, and never being too forceful. Her vocal range is limitless, and her delivery is often angelic in nature, making the songs on Dummy nothing short of blissful. However, Beth Gibbons also has the reputation of being beyond shy, and her determined avoidance of interviews hindered the groups' success due to a lack of media coverage outside of the U.K. Gibbons' leaves little to the imagination in her lyrics, with songs of heartache, loss, and overall melancholy themes. These lyrics are conveyed perfectly, with her sad, bluesy voice making the songs nearly heartbreaking at times. The voice of Beth Gibbons is rich and sultry, and absolutely mesmerizing, yet the overall mood of despair is rarely absent.

The genre of downbeat techno or trip hop has been pushed and molded into countless other sub-genres over the past fifteen years. Even with all of these mutations of the sound, many of the most prominent bands still come from its birthplace, Bristol, England. It is Portishead that truly paved the way for groups like Sneaker Pimps, Zero 7, and Moloko, as without Portisheads' contributions, the sound and style may have never reached beyond techno music fans. With their stunning musical landscapes and the unmistakable singing of Beth Gibbons, Portishead brought the sound of Bristol to the world and became underground legends in the process. Though they took a brief hiatus in the late 1990's, the group is still working and performing together, having released a stellar "return" album in 2008. Creating a hypnotizingly despondent mood with their gorgeous musical textures and the mind-blowing voice of Beth Gibbons, the 1994 debut from Portishead, Dummy, stands as a cornerstone of the trip-hop genre and is one of the most fantastic musical experiences ever recorded.



Standout tracks: "Sour Times," "Numb," and "Glory Box."

June 11: Echo & The Bunnymen, "Crocodiles"

Artist: Echo & The Bunnymen
Album: Crocodiles
Year: 1980
Label: Korova


One of the most interesting and creative eras of music was undoubtedly the "post punk" movement of the last 1970's and early 1980's. With the emergence of bands like Joy Division, R.E.M., and Gang Of Four, it was clear that there was much to be done with fusing the punk aesthetic into different forms. Taking influence from the Velvet Underground as much as The Doors, U.K. rockers Echo & The Bunnymen became one of the standards within this post-punk movement. With a somewhat spacey, somewhat retro, dark mood, their sound remains unmatched to this day. The band also represents the beginning of punk influenced bands that worked under the impression that louder did not necessarily equal "better." Echo & The Bunneymen's 1980 debut, Crocodiles, is nothing short of phenomenal, and it would be the first in a run of nearly half a dozen brilliant albums.

One of the more interesting aspects of Crocodiles is the number of people who received production credits. The trio known as "The Chameleons" receive the credit, but if one digs deeper, it is rather fascinating who these people actually are. First off, there is Ian Broudie, who worked with The Fall, as well as being a part of Original Mirrors, Big In Japan, and the creator of The Lightning Seeds. Bill Drummond, who was also in Big In Japan, is perhaps best known as a founding member of the avant-pop group, The KLF. David Balfe remains one of the best talent scouts on the planet, having signed the likes of Blur, Jesus Jones, Kula Shaker, and perhaps most notably, The Proclaimers. With this number of producers, it is not that odd that the music itself is a bit strange in sound. The musicians take a minimalist approach to their sound, and though the music is anything but sparse, the "typical" formations and spacing of the instruments is nowhere to be seen on Crocodiles. The band gels perfectly and create a fascinating musical soundscape over which Ian McCulloch presents eerie, yet riveting vocals. Everything about Crocodiles seems somewhat unconventional, and the combination succeeds in producing one of the most original and enjoyable records ever.

The music found on Crocodiles is an amazing mixture of 60's pop, late 60's psychedelia and experimentation, all with the angst of late 70's punk. The music centers around the astounding guitar playing of Will Sergeant. Approaching the music in a bit of a minimalistic fashion, he shines whilst using the lead guitar less forward in the mix, yet it is just as amazing as guitar players who forced their sound to be noticed. The rhythm section of Les Pattinson on bass and Pete de Freitas on drums remains one of the strongest rhythm sections ever. Again, going more for mood, as opposed to volume, they keep the musical textures smooth and rolling throughout Crocodiles. Pattinson's basswork is amazingly seductive, almost dancing with the other sounds, while Freitas plays different tempos throughout each song, while somehow keeping the central beat going perfectly. There are truly moments on the album when the resemblance to The Velvet Underground is uncanny, yet they are in no way "ripping off" their influences. It is simply that the music becomes so pure and raw, and the guitar tones so close, that the comparison is unavoidable. However, Echo & The Bunnymen have a far darker mood to their music, and though the songs are not slow in tempo, the mood remains clear and constant.

At the center of the music of Echo & The Bunnymen is the amazing vocal talent of Ian McCulloch. With an attitude that resembles Jim Morrison, and a simple sound behind him, the likeness to The Doors is also unavoidable. Singing lyrics that are often so mysterious that they are somewhat lost at times, it is his brilliant and alluring delivery that keeps listeners coming back for more. Whether he is bordering on spoken word delivery or letting loose and bring vocals that soar in awe-inspiring fashion, McCulloch uses Crocodiles to stake his claim as one of the most captivating frontmen of all time. Lyrically, Crocodiles overflows with tales of emotional bankruptcy, death, and loneliness. It is from these dark, somber lyrics where a majority of the mood of the songs are set. It is also where Echo & The Bunnymen separate themselves from their influences. While the music has tones of psychedelia, it is clearly less "druggy" in nature, and far more astute and haunting. In many ways, it can be seen as their influences thinking about death, while Echo & The Bunnymen are thinking suicide. Though often stark and chilling, the lyrics on Crocodiles are nonetheless captivating, and the sensational singing of Ian McCulloch remains one of the most enchanting singers in history.

Echo & The Bunnymen perfectly fuse the sound and style of The Velvet Underground and The Doors with the attitude of punk rock, make it all dark, and then blow listeners away. Easily one of the most important and influential groups to emerge in the fallout of the punk rock era, they set the stage and made the blueprint that countless bands have attempted to follow. Serving as the influence for bands from Sonic Youth to Smashing Pumpkins, their approach and innovation helped to push music forward, and even today, their sound remains fresh and original. With the stellar guitar of Will Sergeant and the enchanting vocals of Ian McCulloch, Echo & The Bunnymen had all of the elements necessary to be an undeniable success. Having the top notch rhythm section of Pattinson and Freitas only helped to push their sound over the top and cement them as music icons. The first four albums released by Echo & The Bunnymen are all exceptional, but their 1980 debut, Crocodiles, remains an absolute landmark in music history and is an essential for every music collection.



Standout tracks: "Going Up," "Pride," and "Villiers Terrace."

June 10: Aretha Franklin, "Lady Soul"

Artist: Aretha Franklin
Album: Lady Soul
Year: 1968
Label: Atlantic


Think of any female singer of the past forty years, it really doesn't matter the genre or era. Each and every one of the these performers owes a great deal of their career to one woman: Aretha Franklin. Known as "Soul Sister #1," "Lady Soul," "Queen of Soul," and a host of other nicknames, countless publications have cited her as the greatest singer of all time. From soul to jazz to pop and everything in between, Aretha is the ultimate singer, capturing an astounding eighteen Grammy awards throughout her career, including a stunning eight consecutive wins in the "Best Female R&B Performance" category. Responsible for a number of the most famous songs in history, it is difficult to find any recording from her early career that isn't anything but fantastic. In 1968, she released an album of originals and covers that would become, in many ways, her finest album, the immortal record, Lady Soul.

The lineup on Lady Soul reads like a "who's who" of the music scene. With legends like Tom Dowd and Jerry Wexler handing engineering and production duties respectively, their names alone would make the album significant. The leader of Aretha's backing band, The Kingpins, was none other than saxophone legend, King Curtis. Handing guitar were the one and only Joe South, as well as an up and coming performer names Bobby Womack. Another guitar credit on the album is given to a young man named Eric Clapton. The backing vocals on Lady Soul were provided by Aretha's real life sisters, Erma and Carolyn Franklin. With this lineup, it is little surprise that Lady Soul hit number one on the album charts, and produced a trio of chart topping singles. Two of these singles still stand as landmarks of American music, and are easily two of Aretha's most recognizable songs: "Chain Of Fools" and "(You Make Me Feel Like) A Natural Woman." The latter of these songs was written for Aretha by Carole King and Gerry Goffin and it has been covered by artists from Mary J. Blige to Celine Dion to King herself, as well as a different view in Rod Stewart's, "(You Make Me Feel Like) A Natural Man." The song still stands as a worldwide anthem and is one of the most recognizable melodies ever written.

As has been show above, the musicians on Lady Soul make it almost impossible for the album to be anything short of phenomenal. With their varying styles, it is Joe Smith that put the signature riff on "Chain of Fools," while Cleveland, Ohio's own Womack adds his signature style throughout many of the other songs. Even if you didn't know he was on the album, when you hear the fantastic, soulful, "Good To Me As I Am To You," it is obvious that the brilliant, bluesy guitar playing is that of Eric Clapton. This variance in guitar players enables the songs on Lady Soul to have a great diversity in sound, yet Franklin's vocals keep everything cohesive. The horn section for Lady Soul, which included the likes of Frank Wess and Seldon Powell alongside King Curtis, is just as impressive as the guitar players, and they keep each track bright and poppy. Roger Hawkins, who is best known as part of Muscle Shoals, handles nearly all of the drumming on the album, and he shines across the genres presented, performing flawlessly throughout. At times, Lady Soul swings, it sometimes cries, and it often is pure pop bliss, and the musicians succeed in being a perfect backing sound to the finest singer that the world has ever seen.

Throw away all of the amazing musicians, and the songs would still be stellar, thanks to the incomparable vocals of Aretha Franklin. It is nearly impossible to come up with things to say about her voice and delivery that haven't been said countless times before. The fact that Aretha can sing anywhere in the musical scale with equal prowess only adds to the range in which her songs can fall. The sheer power that Franklin is able to bring to the vocal booth has rarely been equaled, and the emotion she conveys in each song is nothing short of awe-inspiring. Aretha has one of the most recognizable voices in history, and it is often moreso in "how" she delivers the vocals, as opposed to "what" she is singing. The title of "Soul Sister #1" is more than fitting, and the inherent link to James Brown that the title gives is truly fitting, and she is easily on a level field as him, if not perhaps a higher one. Whether belting out on "Chain of Fools" or crooning on "(You Make Me Feel Like) A Natural Woman," Aretha's vocal performance is absolutely perfect, and her delivery often leaves one speechless. The fact that Aretha Franklin is consistently referred to as the greatest singer of all time is a very fitting honor, and it is rarely more apparent than on each song found on Lady Soul.

By simply mentioning the name "Aretha Franklin," countless sounds, images, and moods come instantly to mind. Throughout the world, few artists have had as much impact or stand as highly regarded. Singing everything from civil rights anthems, to songs of female empowerment, to songs of pure celebration, Franklin was one of the most courageous, barrier breaking performers in history. Superbly delivering in every style imaginable, Aretha Franklin stands high above nearly ever other performer in the history of recorded music. Serving as the inspiration for countless singers who came after her, Aretha's sound and style remain unmatched, and her records have truly become timeless. It is fitting that, as one of the most phenomenal singers in history, on Lady Soul, Aretha is afforded the luxury of having one of the most amazing lineups of backing musicians that there has ever been on a single album. Containing mammoth singles like "Chain Of Fools" and "(You Make Me Feel Like) A Natural Woman," Aretha's 1968 album, Lady Soul, remains one of the most stunning musical works that the world has ever seen.



Standout tracks: "Chain Of Fools," "(You Make Me Feel Like) A Natural Woman," and "Ain't No Way."