July 18: Sun Ra, "Space Is The Place"

Artist: Sun Ra
Album: Space Is The Place
Year: 1972
Label: Blue Thumb Records


Over the decades, there are always artists who make it their mission to challenge the dominant paradigm and bring into question exactly "what" qualifies as music of a certain genre, or even music in general. However, when it comes to experimental music, few artists have as long and stunning a history as the man called Sun Ra. Taking his own approach to jazz-based music since the mid-1950's, quite literally everything about his albums, from the music to the liner notes, is like nothing else ever in music. With his band, The Arkestra, he recorded nearly one hundred records, often releasing five or six within the same year. Obviously, this makes his recorded catalog quite daunting and difficult to figure out where to start. In 1972, Sun Ra released one of his most amazing, as well as most "accessible" albums with the magnificent recording, Space Is The Place.

It must be noted that Sun Ra actually recorded two albums entitled Space Is The Place in 1972. However, the second is a soundtrack for the film of the same name, and it did not see public release until 1993. For reference sake, this review will have nothing to do with the soundtrack. Space Is The Place is a perfect presentation of all of the styles which Sun Ra regularly explores. From the aptly named, other-worldly title track, to the much more standard-jazz-based "Images," the album serves as a wonderful introduction into the brilliant compositions of Sun Ra. Sun Ra was quite infamous for purposefully writing incorrect liner notes on his albums, or simply not writing them at all. This makes it rather difficult to name the players and producers on the albums, but over the years, much of this has been discovered and confirmed. On Space Is The Place, Sun Ra turned to his longtime producer, Alton Abraham, as well as "new guy," Ed Michel, and the combination works perfectly. Over his career, Abraham worked with virtually no other artists, so his understanding of the aesthetic that Sun Ra was looking to achieve was second to none. Michel, who worked with the likes of Alice Coltrane and Pharaoh Saunders, provided a great contrast, and perhaps this is why Space Is The Place is far more accessible than most of Sun Ra's other recordings.

Obviously, to achieve the amazing sound and style that is found on Space Is The Place, Sun Ra needed to surround himself with exceptionally talented musicians. Within The Arkestra, some of the finest players in history can be found. Though there were others on the album playing the instruments, Space Is The Place features one of the most stunning and accomplished trio of saxophone players found anywhere else in recorded history. John Gilmore, who actually gave John Coltrane lessons in the late 1950's, spent nearly his entire career with Sun Ra, though he also recorded with Andrew Hill and Art Blakey. Gilmore is also notable as he was the band leader for the seminal hard-bop recording, Blowing In From Chicago. Playing both bass and sax on Space Is The Place, Laurdine "Pat" Patrick, was a mainstay within The Arkestra for more than forty years. Patrick also recorded with John Coltrane and Thelonious Monk, as well as being a member of Duke Ellington's big band. Marshall Allen, also a lifetime member of The Arkestra, was one of Sun Ra's closest friends, and the two constantly pushed one another to go deeper into uncharted musical territory. When Sun Ra passed away in 1993, Allen took over as the leader of The Arkestra, and they still perform to this day. Drummer Lex Humphries worked with everyone from John Coltrane to Wes Montgomery, yet much of his most influential work was done within his short time with The Arkestra. Though nearly a dozen other musicians contributed to Space Is The Place, it is this core of musicians who help to take the album into the musical stratosphere.

It goes without saying that at the core of the genius music presented on Space Is The Place, stands musician and composer extraordinaire, Sun Ra. Born Herman Poole Blount, Sun Ra was the first band leader to incorporate elements like electric bass and keyboards, as well as the first to incorporate freeform improvisations for the entire group simultaneously. The Arkestra was also one of the first jazz outfits who have two bass players, extensive polyrhythms, as well as being pioneers in modal jazz. On Space Is The Place, Sun Ra pushes these ideas further, often sounding as spacey as Pink Floyd, yet there is always a funky, jazzy mood that permeates each song. Only adding in vocals when necessary, it is clear that Sun Ra views them as another musical instrument, as opposed to a vehicle for delivery of "meaning" to the song. This is no more apparent than on the albums' meandering title track. With "The Space Ethnic Voices" repeating the words "space is the place" over and over in different rhythms for nearly the entire twenty minute run of the song, their voices present the epitome of singing being used for something other than lyrical delivery. Sounding like a slightly less skilled version of Sarah Vaguhn, singer June Tyson served as the "leader" of the Space Ethnic Voices and she contributed the few "solo" lines found on the song. Cheryl Banks, Ruth Wright, and Judith Holton round out the "Voices," and their combined work is often as stunning as the music. The lyrics on Space Is The Place are nothing deep, yet the manner in which they are incorporated into the overall sound makes them just as important as any of the formal instruments.

The influence of Sun Ra is nearly immeasurable, both musically as well as culturally. Once one experiences Sun Ra's sound, style, and ethos, one can clearly see where George Clinton drew much of his own style and musical approach. It is also easy to make a direct connection between Sun Ra's work to bring about pride within the African American community and the cultural and political renaissance of the community in the 1960's. Truly, in every aspect, there have been very few musicians who have had the wide range and long lasting impact that was achieved by Sun Ra. Taking elements from jazz, bop, and even traditional African music, Sun Ra blends it all together, and then adds in spacey keyboard sounds and loops, making for some of the most unique music ever heard. Easily one of the most important figures in the entire history of recorded music, Sun Ra recorded more records in his career than nearly any other musician. With a number of these albums being absolute "classics," it is rather difficult to single out a specific album as his "best work" or "most essential" recording. However, Sun Ra's 1972 album, Space Is The Place, is easily one of his greatest musical achievements, as it also provides a perfect representation of the varied styles he presents throughout his recorded catalog. Space Is The Place is also one of his most "accessible" albums, and is a "must own" for dedicated fans, as well as those who have never experienced his amazing music.



Standout tracks: "Space Is The Place," "Images," "Rocket Number Nine."

July 17: Blue Cheer, "Vincebus Eruptum"

Artist: Blue Cheer
Album: Vincebus Eruptum
Year: 1968
Label: Polygram


The idea of the "power trio" is a time honored tradition in rock and roll, and it has produced some of the greatest music in history. From Cream to Morphine, the trios that rise to the top usually contain some of the most talented musicians of their era, and these groups also tend to be huge influences, bringing new sounds and ideas to the masses. Far at the beginning of the history of the "power trio" was a band that were once called, "the epitome of San Francisco psychedelia" yet would later be cited as one of the biggest influences on both heavy metal and punk rock. The band, Blue Cheer, created some of the finest fusion of blues and rock, and there are few bands since that have not been impacted in some way by their sound and style. Though the band remains somewhat unknown, their amazing sound and influence are obvious, and their 1968 debut record, Vincebus Eruptum, is nothing short of a musical masterpiece.

When you look at the larger picture of music history, the fact of the matter is, nobody in the world was making quite as loud and aggressive as Blue Cheer was in 1968. Though The Velvet Underground's White Lightning/White Heat would bring this attitude to the masses, and Grand Funk Railroad's debut a year later would use the sound to become icons, Blue Cheer very much remain the innovators of the style. The career of Blue Cheer started off with a bang, as their high-octane cover of Eddie Cochran's "Summertime Blues" cracked the top 15 on the singles chart, helping the album nearly into the top ten in sales. It was very much the volume and tone of their music that set Blue Cheer far apart from the rest of the bands playing in San Francisco at the time. The band has admitted that, though they began as a five-piece group, they trimmed down to a trio after seeing Jimi Hendrix Experience perform a the Monterey Pops Festival. The influence of Hendrix is also very apparent within the bands musical style and tone, though one cannot really make the case that they are "ripping off" Hendrix. The trio has seen many changes in personnel over the years, yet there is no doubt that the groups' original three-man lineup is, by far, the finest incarnation of the band, and Vincebus Eruptum serves as proof of their greatness.

The music of Blue Cheer is a perfect encapsulation of the early crossovers between blues and rock into what would become both heavy metal and punk rock. Yet at the same time, one cannot deny the heavy elements of psychedelia within their music, though with it being louder than most other psychedelic bands, this aspect is often overlooked. Guitarist Leigh Stephens often has a tone that sounds exactly like that of Jimi Hendrix, and there are many moments when the riffs he is playing sound exactly like those of Hendrix. However, there remains a huge gap in creativity between the two, and Stephens, though an amazing guitarist in his own right, is simply not in the same league as Hendrix. Drummer Paul Whaley may very well be the most underrated drummer in music history. By far, one of the heaviest drummers ever, the influence of his sound on bands from Black Sabbath to Queens Of The Stone Age is simply undeniable. Whaley's true genius and talent is spotlighted on Vincebus Eruptum's final track, "Second Time Around." Rounding out the groups' sound is bassist and vocalist Dickie Peterson. It is often Peterson's playing that gives the songs a bit of a deeper, darker mood, and bass legend, Lemmy Kilmister has often cited Petersons' playing as a major influence. With their louder, darker take on the blues-rock medium, and then cranking it louder than anything before it, Blue Cheer made themselves into true music innovators with Vincebus Eruptum.

Though he is phenomenal on bass throughout the album, Dickie Peterson truly shines on Vincebus Eruptum with his amazing, soulful vocals. Walking the line between screaming and singing, Peterson delivers some of the most stunning and inspired vocals in rock history. His sharp, clear singing often plays in perfect juxtaposition to the moody, grungy, somewhat fuzzy music being played underneath his voice. Peterson is truly an amazingly gifted vocalist, and after hearing Peterson perform, one can easily see his sound as an influence on everyone from Iggy Pop to Alice Cooper to Kurt Cobain. Vincebus Eruptum contains three original songs, and three covers, and Peterson explores each song in a manner never before heard. Definitely pushing the boundaries on what was acceptable at the time, Peterson takes nearly six minutes to sing about picking cotton, shooting his wife, and his sexual exploits on the Mose Allison song, "Parchment Farm." Blue Cheer also presents their take on the B.B. King classic, "Rock Me Baby" (which they had seen Hendrix perform at Monterey Pops) as well as the aforementioned "Summertime Blues." The three original songs on Vincebus Eruptum are just as good as the covers, and they are amazing examples of the band using the blues-rock format to explore what would later be called heavy metal.

Blue Cheer represents one of the countless number of bands whose work was unquestionably influential, yet never garnered much credit or acclaim for their efforts. In an era and location where mellow, meandering music was the standard, Blue Cheer took the formula and turned up the volume and aggression and managed to craft a sound that would be used by some of the biggest bands in history. Presenting the superb guitar playing of Leigh Stephens and the unmatched drumming talents of Paul Whaley, Blue Cheer is a stunning musical experience. The bass work and vocals from Dickie Peterson remain some of the most amazing work ever recorded, and his sound has served as the blueprint for innumerable artists in both arenas. After experiencing the phenomenal sound of Vincebus Eruptum, it is quite easy to see where bands like Black Sabbath and The Stooges got their musical influence. Vincebus Eruptum is truly a perfect fusion of rock and blues with an ample dose of psychedelia and then turned up "to eleven," making it one of the most innovative and influential albums to ever be recorded.



Standout tracks: "Summertime Blues," "Parchment Farm," and "Second Time Around."

July 16: Reflection Eternal, "Train Of Thought"

Artist: Reflection Eternal
Album: Train Of Thought
Year: 2000
Label: Rawkus


There was a point in the mid to late 1990's when the genre of hip hop was nearly completely comprised of copycat artists who were writing mindless rhymes over some of the most uninspired beats and music. Yet sadly, "the masses" were buying this second-hand excuse for talent, and to this day, true writing and rhyming skills remain a smaller necessity for success than being loud and repetitive. However, as hip hop began to devolve, a small group of artists on both coasts of the U.S. were determined to keep "real hip hop" alive in some form. Artists like Mos Def, Jurassic 5, and Common, among others, continue to release some of the most thought provoking and original hip hop that the genre has ever heard. After gaining notoriety as half of the rap group, Black Star (Mos Def being the other), Talib Kweli began working on a more solo project, with friend and DJ, Hi Tek. The resulting album, 2000's Train Of Thought, remains one of the finest achievements in hip hop, and vaulted Kweli into the upper echelon of emcees.

The album cover has caused a few issues over the group and album name, as both Talib and Hi Tek's names, as well as the words "Reflection Eternal" and "Train Of Thought" all appear. To clarify, the duo of Talib and Hi Tek become the group called Reflection Eternal, and the album itself is called Train Of Thought. The guests appearing on the album read like a "who's who" of the conscious hip-hop scene, with Mos Def, De La Soul, Kool G Rap, Les Nubians, and Rah Digga all making appearances, along with a number of top notch emcees. Yet the most recognizable name on the record may be the producer of Train Of Thought, a man named Rick James. The combination of James and Hi Tek help to give the album a much smoother, yet funkier sound than anything else that was being done in hip hop at the time. In many ways, being different is exactly what Reflection Eternal was all about. From the rhymes to the music, Train Of Thought does everything it can to stand out in the crowd, or perhaps more to the point, not BE part of the crowd. The approach is a breath of fresh air in an era when commercially successful hip hop has completely lost sight on the basic elements upon which the genre was founded. Emcee Talib Kweli engages in a relentless assault on the poor representation of African American culture within hip hop, as well as the banal and often stupid rhymes of most other artists in the genre. Kweli absolutely decimates the entire "playa" notion when he rhymes, "...these cats drink champagne, to toast death and pain...like slaves on the ship talkin' 'bout who got the flyest chains..." on the song, "African Dream." It is cutting, unrelenting rhymes like these, over-top the superb music created by Hi Tek that makes Train Of Thought one of the most amazing and engaging records in the history of hip hop music.

The music and beats on Train Of Thought are some of the most original and engaging sounds that have come out of the genre in years. Cincinnati, Ohio's own, Hi Tek, proves to be one of the most innovate beat makers on this side of the Mississippi River. Ignoring the trend of the time, and NOT having songs that are "all about the bass," Hi Tek creates fantastic, head bobbing beats, featuring samples from artists as diverse as Soft Machine and Wu-Tang Clan. Incorporating everything from gorgeous violin loops to simple, staccato clapping, Hi Tek proves again and again what an amazing producer he is, and the mood the music creates is nothing short of phenomenal. Whether it is the funky guitar on "This Means You," or the moody keyboards on "Good Mourning," the music is varied and interesting throughout Train Of Thought, and it is yet another way in which the album stands far above the rest. One of the finest examples of just how creative Hi Tek is can be found on the track, "Too Late," where the multi-layered sound of keyboards, flutes, and various percussion makes for one of the most captivating musical textures in hip hop history. Pushing light-years beyond "thumping bass," each track on Train Of Thought has its own personality, and the varied sounds and tempos keep the album lively and original, making it a true gem in the hip hop genre.

Though the music created by Hi-Tek is absolutely fantastic, it is the rhymes of Talib Kweli that make Train Of Thought such a stunning album. With his calm, clear vocal delivery, Kweli makes sure that not a word is lost, and the soul behind his rhyming is second to none. Bringing as much power and intensity as any other emcee, Kweli rarely raises his voice, yet each word demands the utmost attention. It is clear that, not only does Talib Kweli despise the brainless state of hip hop music, but he s able to brilliantly pick it apart, piece by piece, and show why the genre has become cliché and meaningless. Kweli goes on a hard attack against the mediocrity of the bulk of emcees on "Some Kind Of Wonderful" when he rhymes, "...that whack shit money you can't be serious...you n***as is hilarious actresses, runnin' around the club pissy like ghetto mattresses...that's why I smack these kids back to reality, and how it be in actuality..." Kweli furthers his assault on the meaningless rhymes that dominate a majority of hip hop when he directly attacks emcees again on "Too Late" with the rhyme, "...emcees who got the masses mesmerized, with empty rhetoric they better quit, n***as so hollow that they echo like sentiments..." Later on Train Of Thought, Kweli takes on hip hop's seeming fascination with death, as he explores the entire idea, as well as "keeping it real" on the song, "Good Mourning." Yet Kweli's rhymes are not always angry, yet they are always filled with meaning. If you're looking for rhymes about partying and chasing women, this album is not for you. But if you're looking for original, intelligent, and insightful hip hop which stays true to the foundations of the genre, then Train Of Thought is exactly what you need.

Becoming a successful performer in any music genre has always had the same method: wait for the popular style to emerge, then copy it. Though this has helped countless artists gain international fame, it has simultaneously killed the search for original sounds, as well as dulled the tastes of the general public to a point where mediocre is now seen as amazing. Another way of stating this fact would be: just because you sold two million records, doesn't mean you've got any legitimate talent. Rising up against the mundane, brainless state of rap music, emcee Talib Kweli and producer Hi Tek, known together as Reflection Eternal, create some of the most innovative and stimulating music that hip hop has seen in years. Brutally criticizing the entire world of hip hop, the lyrics are blunt, unforgiving, and yet completely accurate. The way in which Kweli crafts and delivers his observations are second to none, and he remains one of the most outspoken and highly respected emcees in the world. Breaking the trend of lackluster hip hop, Reflection Eternal released an absolute hip hop classic in their 2000 album, Train Of Thought, and it remains one of the most original, thought provoking, and satisfying musical experiences in decades.



Standout tracks: "Some Kind Of Wonderful," "This Means You," and "Good Mourning."

July 15: The Germs, "GI"

Artist: The Germs
Album: GI
Year: 1979
Label: Slash


The idea of "live fast, rock hard, die young" has become tragically cliché over the years, as countless bands and musicians have ended their careers far too early. Whether by choice or by accident, the list of bands where one says "what if..." runs through every era and every musical genre. Encapsulating both of these ideas, seminal hardcore band, The Germs, were a furious burst of energy that stunned people at the time, and served as an influence for countless bands who formed after they were gone. The band, who rose out of the late-1970's Los Angeles hardcore scene, seemed to pull as much influence from The Dead Boys and Sex Pistols as they did from Chuck Berry and The Rolling Stones. This is surely due to the diverse membership of the band, both in upbringing, as well as overall musical style and talent. Though The Germs only recorded one album before the suicide of lead singer, Darby Crash, their 1979 record, GI, remains one of the most awe inspiring records ever, and the album has influenced a countless number of bands across many genres.

In many ways, The Germs were one of the first extremely serious hardcore bands who attempted to make it appear as if they didn't take themselves seriously at all. Truth be told, the bands' first name was, in fact, "Sophistifuck & The Revlon Spam Queens," but the band changed their name to The Germs because they did not have enough money to put all the letters on a t-shirt. Furthermore, guitarist, Pat Smear, has been quoted numerous times as saying that, at their first live show, "Darby stuck the mic in a jar of peanut butter. It was a dare, we had no songs or anything! Lorna wore her pants inside out, and Darby covered himself in red licorice...we made noise for five minutes until they threw us off." However, the fact remains that, beyond these antics, the band remains one of the most intense and important bands in history. The sound on GI perfectly captures the bands' sound, and this may be due to the fact that the record itself was produced by close friend of the band, and guitarist for the recently dissolved group, The Runaways, Joan Jett. Jett's production is phenomenal, and the thin, raw sound that is presented on the record is so great that it is almost unsettling at times. The songs are fierce, to the point, and punishing, as the live energy of the band is perfectly captured on the album, and it almost becomes understandable that a band with so much intensity would burn out quickly.

For most modern listeners, the moment you first hear GI, it almost immediately brings the sound of Nirvana and Foo Fighters to mind, and this is undoubtedly due to the heavy influence that The Germs, and more specifically, Pat Smear, had on both bands. Smear (real name: Georg Ruthenberg) was easily the most talented member of The Germs, and he would later tour with Nirvana, most notably appearing on their Unplugged performance, as well as serving as the first guitarist for the Foo Fighters. Along with his powerful playing style, Smear is also known for being one of the few guitarist to almost exclusively play German-made Hagström guitars. Bassist Lorna Doom is absolutely fantastic on the record, and her lightning fast, overly aggressive sound is one of the most startling and spectacular elements of the album. Though the band went through a handful of drummers (including "Dottie Danger," who is better known as Belinda Carlisle), when they finally settled on Don Bolles, they were rewarded with one of the finest drumming performances ever recorded. Bolles' intensity is what truly drives the music on GI, and his feverish pace seems to be constantly pushing the band closer to exploding on the album. The music itself is a no-holds-barred musical assault form all angles, and one can only imagine the pure chaos of the groups' live performances. It has been well documented that Crash had hoped to emulate the Sex Pistols' legendary album, Never Mind The Bollocks, but in reality, GI is a far more complex, more complete, and better produced album.

Though he was largely misunderstood by critics at the time, Darby Crash has become an icon of the hardcore and punk genres, and is widely regarded as one of the most brilliant and unforgettable vocalists in music history. Crash (real name Jan Paul Beahm), admitted that he was hoping to mirror the vocal style of Johnny Rotten, and though the similarities are there, once again, the performance of Crash is superior to that of his influence. Strikingly intense and unguarded, Crash's angst-ridden speaking, singing, and screaming remain some of the most ferocious and brutal vocals ever recorded. Sticking to the punk aesthetic, the lyrics are blunt, aggressive, and void of any extraneous words, leaving only a brutal, fiery core, yet what remains is absolutely stunning and the lyrics of Darby Crash are often just as phenomenal and shocking as his vocal performance. Crash was also a huge fan of David Bowie, and many of Crash's brilliant lyrics can be seen as being linked to the work and ideas behind many Bowie songs. The apocalyptic themes that Bowie explores on Station To Station and Diamond Dogs can be heard resonating through Germs songs like "Land Of Treason" and "Strange Notes;" albeit with far darker and more vivid endings. Though his contemporaries were singers from bands like the Dead Kennedys, Circle Jerks, and Black Flag, after experiencing Darby Crash's vocal work on GI, he absolutely blows them all away in terms of sheer intensity, and it is very much the reason that he remains the revered icon that he is to this day.

While there are many times when one wishes a band would have recorded more music, there are also times when it is clear that, for one reason or another, a band recorded all they could have in a short time. In the case of hardcore-punk legends, The Germs, one can argue that simply due to the incredible intensity of the band, there is little way they could have lasted any longer than the few short years they were together. Notorious for some of the most high-octane and chaotic live performances in history, the band managed to capture their vigorous sound perfectly on their only full length album, GI The album would serve as a blueprint for the hardcore genre, and it would later serve as the catalyst for the "second coming" of punk rock, which many people incorrectly refer to as "grunge." The pairing of punk icons Darby Crash and Pat Smear remain one of the most amazing duos ever recorded, and their songs run the gamut from quick bursts of fury like "What We Do Is Secret," to truly inspired musical compositions that were like nothing else ever heard in the genre, like the monumental, nine-minute masterpiece, "Shut Down (Annihilation Man)." From the devastating music to the snarling vocals, The Germs only record, 1979's GI, is truly a hardcore and punk gem, and the influence it has had on bands since is immeasurable.



Standout tracks: "Lexicon Devil," "The Other Newest One," and "Shut Down (Annihilation Man)."

July 14: Little Richard, "Here's Little Richard"

Artist: Little Richard
Album: Here's Little Richard
Year: 1957
Label: Specialty


Power, energy, intensity, and pure joy are just a few terms that are regularly used to describe the awesome rock music created by one of the true originators of the style, Little Richard. One of the first musicians to fuse together the sounds of gospel with R&B, Little Richard remains one of the most recognized figures in the history of music. With his trademark wails, scat singing, and fiery piano playing, Little Richard is responsible for some of the biggest, most enduring hits ever, as well as serving as the influence for nearly every artist since his time. Though many of his peers were working with the same musical elements, it was his over-the-top personality, and far faster tempos that set Little Richard far above his contemporaries and catapulted him to stardom. After releasing six top forty hits in the previous year, Little Richard released his first full length record in 1957, Here's Little Richard, and the album remains the greatest of his career, and contains many of his biggest hits.

One very important thing to note right away is that in 2006, Here's Little Richard was re-mastered and re-released by Mobile Fidelity Sound. The label, which usually does amazing work, released it as a single disc, though it also contains Little Richard's entire second album as well. However, the truth of the matter is, they absolutely destroyed everything that was great about Here's Little Richard, and the re-release is a truly miserable representation of the sound. MFS make the vocals far to forward in the mix, to a point where they even distort at points, and the amazing piano of Little Richard is nearly inaudible at times. So, when you go to get a copy of this record, do NOT purchase the 2006 re-release.

That being said, Here's Little Richard truly "blew the doors open" for rock style music, because although many artists had been mixing gospel sounds with R&B, the energy and sheer power of Little Richard's sound set him far above his peers. Here's Little Richard was recorded late 1956 (though the albums' lead track was done well over a year earlier) at the legendary J&M Studios in New Orleans. Having worked with the likes of Fats Domino, Dr. John, and Big Joe Turner, J&M owner and engineer Cosimo Matassa produced the entire record, and it was one of the many that made Matassa one of the most important figures in the history of music. The record features Richard in his prime, with Matassa giving him all the room he needs to craft what were, at the time, sounds and styles that had never before been heard. Here's Little Richard produced six top twenty hits, with five cracking the top ten, three top three hits, and a pair of singles going all the way to the top spot on the singles chart. The albums' lead song, and perhaps most famous track, "Tutti Fruti, was not technically a single from the album, as it had been released as a 45 nearly two years previous. With a fantastic backing band, Little Richard powers through a dozen amazing, rocking songs that have forever changed the landscape of recorded music.

The band backing Little Richard throughout Here's Little Richard are one of the finest, tightest musical units of the time. Easily one of the most recognizable figures in the band, and a man who played on nearly every one of Little Richard's hits, tenor saxophone player, Lee Allen, remains regarded as one of the best at his craft, and a true innovator of style. Taking duties on baritone sax is Alvin Tyler, who made his name by playing on Fats Domino's smash single, "The Fat Man" (which was also recorded at J&M). Few artists have even remotely as impressive a musical resumé as drummer Earl Palmer. Playing with everyone from Frank Sinatra to Ike & Tina Turner to Glen Campbell to Tom Waits, reading Palmer's list of recordings is truly stunning. Palmer is largely credited with creating the "back beat" that serves as the foundation for nearly every rock song in history with his playing on "The Fat Man." Earl Palmer's impact on music was solidified as he was one of the first, and only, "session musicians" to be inducted into the Rock And Roll Hall Of Fame as a "solo" performer. Though they would both achieve later fame, bassist Frank Fields and guitarist Edgar Blanchard play up to the amazing talent level of their already famous bandmates throughout Here's Little Richard. The album also features a number of guest musicians, and the bright, swinging mood makes the record nothing short of perfect.

Obviously, it goes without saying that the album would be nothing without the talent and personality of Little Richard. Born Richard Wayne Penniman, he has earned nicknames like "The Originator" and "The Architect" due to the enormous impact of his songs and style on every incarnation of rock and R&B music that formed after he first appeared on the music scene. Easily one of the most energetic and high octane performers and personalities, the way in which he presents and performs the songs are often equal in power to the music itself. The "wooo!" of Little Richard has truly become an iconic sound, and it has always been the way in which he made the soul and gospel of his songs "swing" that made them such enduring works of music. Truth be told, most people are unaware that Little Richard was originally sent to J&M Studios to record blues songs to rival Ray Charles and B.B. King. As the legend goes, during a recording break, Little Richard began an impromptu performance of "Tutti Fruti," and the rest, as they say, is history (though the original lyrics of the song were changed so it would be more commercially "acceptable.") Yet, if you listen to the lyrical format of many of Little Richard's most famous songs, they are in blues formation, and the sole difference is the speed and tone in which they are being delivered. Though they may appear as "dated" or "old fashioned," the truth of the matter is, many of the current hits of today bear a striking resemblance to the songs found on Here's Little Richard. For example, the opening lines of "Rip It Up" become a true "weekend anthem" when he sings, "Saturday night and I just got paid, I'm a fool about money I don't try to save." The song itself is basically about going out and having fun on the weekend; hardly an unfamiliar theme. Furthermore, songs like "She's Got It" is as stereotypical a song about a guy checking out a girl as has ever been written. The main difference between these early incarnations on the themes and the modern re-workings is that the originals are far more classy, well written, and enjoyable by people across all musical tastes.

The name "Little Richard" has become synonymous with high energy rock music, as well as some of the most timeless songs that have ever been recorded. It is nearly impossible to accurately measure the impact that his sound and style have had on music, and one could make the case that without him, rock music may have never evolved as it did. Finding his own, unique style of singing and playing and never compromising on that sound, Little Richard is a truly one of a kind performer, and he remains a phenomenal live talent well into his sixth decade of performing. Though they are rather tame by today's standards, one must try and imagine what it was like to first hear his rapid-tempo, suggestive songs in a time when even slight pelvic movement was thought to be risqué. Little Richard's recorded catalog is massive, containing countless songs that were beyond pivotal in the shaping of modern music. Coming to prominence with a string of iconic singles in the mid-1950's, the swinging rock that he created was just as enjoyable and irresistible then as it is to this day. Truly a legendary record, and one of the most influential of all time, Little Richard's 1956 debut, Here's Little Richard, is an extraordinary landmark in the history of recorded music.



Standout tracks: "Tutti Fruti," "Long Tail Sally," and "Rip It Up."

July 13: Operation Ivy, "Energy"

Artist: Operation Ivy
Album: Energy
Year: 1989
Label: Lookout!


It is often amazing that some bands, who play together for decades, write little music of substance, and are fine playing within the "status quo." Similarly, there are a handful of bands who only exist for a very brief period, and their contributions shape a myriad of the music that appears after they disband. In the case of punk/ska legends, Operation Ivy, the band itself lasted less than two years, and their only full length album wasn't released until after the band dissolved. Taking the more aggressive ska style of groups like The Specials and The Selector, Operation Ivy fused it together with the more hardcore mood of bands like Black Flag and Boston's Mighty Mighty Bosstones. The results of this fusion led to one of the most enjoyably intense sounds ever, and the sound produced by the band became the formula for later bands like Goldfinger, Less Than Jake, and even No Doubt and Sublime. Released within weeks of the bands' breakup, their only full length album, 1989's Energy, remains one of the most important albums in the entire history of both ska and punk music.

The truth of the matter is, the reason that Operation Ivy called it quits was, after building a reputation as one of the best live bands in California, they were offered a "major label" deal by EMI. The band felt that such a signing would be a "sell out," and decided to end the band as opposed to compromising their integrity. Over the years, Energy, has seen a few re-releases, with additional tracks from the recording sessions being added over time. The band pulled the album from the Lookout! catalog in 2006 due to unpaid royalties, and the album was re-released a year later by Tim Armstrong's Hellcat Records with a re-mastered sound and six additional songs. Operation Ivy, who take their name from the code name for a series of nuclear tests performed by the U.S. Government in 1952, stay true to the name and have more than enough explosive energy. The spirit of the music comes across in every song, as the band never slows down, playing crowd igniting anthems at every turn. Even if you have never heard the band before, the songs are so perfectly crafted, that before the songs are over, you will find yourself singing along to each and every track. The influence of Energy is sometimes stunning when compared to albums that came after, such as the musical similarity and mood between the song "Soundsystem" and Goldfinger's single, "Superman." Furthermore, on songs like "Freeze Up," one can clearly hear the early formation of the sound that would bring international fame to the band Sublime. Once you experience the fantastic music on Energy, it is almost impossible to picture any sort of punk or ska "revival" in the 1990's without the presence of the album.

The brilliance of Energy begins with the excellent music and moods created by the quartet. Guitarist, Tim Armstrong, who is credited on Energy under the name "Lint," is perhaps best known for founding the band, Rancid, yet it is his work with Operation Ivy where he honed his sound and became one of the most highly respected musicians within the punk and ska genres. Rancid co-founder, bassist Matt Freeman (AKA Matt McCall), is far different than a majority of his ska and punk peers, as he usually plays through scales and arpeggios on songs, as opposed to just "blasting" though the root notes of the songs' chord progressions. He also often overlays the basslines with chromatic passing tones, which give the basswork on Energy a far more "musical" feel and make it an overall better album that most of those of the bands' peers and followers. When it comes to under-appreciated drummers of the past thirty years, Operation Ivy's Dave Mello can certainly make a case for being worthy of the top spot on the list. Playing literally every tempo and style imaginable throughout Energy, his playing is absolutely superb, yet his remains largely unheralded, even within the current "punk/ska" scene. The overall sound created by the musicians strong of Operation Ivy is a high octane, crowd rousing, truly enjoyable mood, and Energy is a punk-based ska record that even those who aren't fans of the genre will enjoy.

Driving the music over the edge, and turning Energy into a blockbuster of intensity is vocalist Jesse Michaels. Truly possessing one of the most perfect voices for the punk-ska sound, it is within the speaking/screaming/singing of Michaels that Operation Ivy's songs transition from crowd igniting to truly anthemic. The way that he presents the lyrics often make "call and response" unavoidable, and within his singing, one can imagine how furiously chaotic their live shows must have been. Lyrically, the songs tow the traditional punk lines, with songs speaking out against racism, fascism, and are filled with "rise up" anthems for the disenfranchised youth as well as a decent dose of social criticism. The latter is perhaps no more clear than on the brilliant, "Artificial Life." The entire song is a brilliant call against the mediocrity of American culture, filled with observations like, "American culture Disneyland freak show, screen in your living room...a window for your tomb...if you cant compare to the world sitting there, repress your insecurities watch and escape..." The other aspect that Energy is best known for is the fantastic songs crafted to bring the "scene" together. This is no more clear than on the albums' best known song, the punk-ska anthem, "Unity." The song calls for the different factions of the scene to come together for the greater good, highlighted when Michaels sings, "We ain't no sect, no this ain't no fucking faction, unity unity unity you've heard it all before, this time it's not exclusive we want to stop a war..." Throughout Energy, many of the most beloved "underground" anthems are found, and it is undoubtedly one of the most enjoyable and important albums in the punk-ska timeline.

Representing the pinnacle of "keeping it real," Operation Ivy was so committed to keeping things "small" and "local," that they chose to end the band instead of being overtaken by a large record label. Relentlessly creative, few bands have as impressive a recorded history in such a short time span as punk-ska pioneers, Operation Ivy. Though their music often sounds similar to the countless bands that made the sound almost cliché throughout the early 1990's, the truth of the matter is, Operation Ivy did it first, and they did it far better than nearly every one of their followers. Playing fast and fierce, the band ended their career just as they were getting started, and Energy is basically the bands' entire recorded history, much in the same way that Complete Discography chronicles the short lived career of Minor Threat. Though the band members would find far greater commercial success in the bands they played in following their days with Operation Ivy, their "street cred," as well as their musical style were founded and refined in the ranks of one of the punk-ska genres' most revered bands. The songs found on Energy remain some of the most important songs of the genre, and the sheer energy and positivity that comes through in the music remains largely unmatched to this day. For anyone who has even the smallest interest in positive, high octane music, Operation Ivy's 1989 release, Energy, is far beyond a musical essential, and it is easily one of the finest, and most enjoyable musical experiences ever committed to tape.



Standout tracks: "Knowledge," "Unity," and "Artificial Life."

July 12: Huun-Huur-Tu, "The Orphan's Lament"

Artist: Huun-Huur-Tu
Album: The Orphan's Lament
Year: 1994
Label: Shanachie


It is almost impossible to even remotely begin to cover the wide range of sounds and music that are produced throughout the world. In most cases, the unique music of an area of the world is created as a result of the environment and culture. However, now and again, a similar aesthetic can be found developed in different ways throughout the world. Though containing a myriad of subtle differences, the practice of "throat singing" is found in countries literally all over the world. From Native American tribes of North America to tribes in Africa, throat singing is alive and well after centuries of being performed. Yet, nearly all of the styles found throughout the world can be traced back to roots in the southeast and south-central regions of Asia; primarily the countries of Tuva, Mongolia, and Tibet. It can be argued that the sounds' prominence in the region is due to the breathtaking acoustics created by the high mountains and rivers that cut through them. Though there are countless artists who dutifully perform these ancient styles of singing, few are more stunning and enjoyable than the Tuvian quartet known as Huun-Huur-Tu. Releasing a handful of records throughout the 1990's, their 1994 release, The Orphan's Lament, is an extraordinary musical masterpiece that formally introduced the world to this unique musical style.

Huun-Huur-Tu, a name that roughly translates into "sun propeller," bring a harmonious mixture of amazing musical textures that is truly like nothing else ever heard in music. To fully appreciate what exactly it "is" that Huun-Huur-Tu does, one needs a small background into what exactly it means to "throat sing." Also called "overtone singing" or more specifically, the "xöömi" style of throat singing, the style itself originated within the farmers and herders of Tuva. It is thought they used the technique because, due to the landscape of the country, sound travels a very great distance. The method itself involves a singer manipulating the resonances of his voice so that it produces multiple, simultaneous pitches. Breaking it down to musical theory, the singer is actually singing the primary note, as well as the notes' overtone(s), the later often sounding almost like a flute; but it is, in fact, a human voice. What sets Huun-Huur-Tu apart from other artists who perform the style is primarily the fact that there are four members in the group, performing together at the same time. Nearly all throat singers perform solo, and unlike Huun-Huur-Tu, they rarely have any musical accompaniment.

Presenting a number of different instruments along with their singing, The Orphan's Lament, becomes far more accessible than nearly every other performer in the genre. Blending Central-Asian folk music and instruments into their singing, the songs almost sound "more" authentic than if the instrumentation were absent. From the acoustic guitar of "Agitator" to the Jew's Harp found on a number of the songs, each track sounds as if the group could be sitting on a mountain pass performing solely for the listener. Along with the traditional guitar, Hunn-Huur-Tu plays a number of native string instruments like the igil, doshpuluur, and khomus. Also present on a few tracks, and extremely rarely heard on any other throat singing recordings, is a goat-skin drum, called a tungur, which is more commonly found in traditional religious rituals in the region. Along with the tungur, they also use a pouch rattle to keep a smooth, steady rhythm, and the combination of the music and the singing becomes very accessible to those who have never heard anything beyond those genres based in blues. It is this organic, authentic mood that makes The Orphan's Lament so fantastic, and though most have never heard anything even remotely close to the sound, it is instantly a warm, enjoyable musical experience.

Even though the musical undertones are wonderful, the core of what makes Huun-Huur-Tu so phenomenal is the way in which the quartet manipulates their voices throughout The Orphan's Lament. From the albums' opening track, "Prayer," the sounds produced by the singers draws you in and keeps you captivated for the entire album. While each song has its own personality, which keeps the album from getting mundane, a majority of the time, the singers stick to creating just two or three notes at once, letting each sound fully resonate. Whether a single member is being featured on vocals, or they are all singing with one another, the sound produced is as eerie as it is magical, and it is truly mesmerizing. Though many of the songs have titles that simply reflect the main refrain within the singing, one can easily understand whether it is a song of joy, reflection, or sadness. From deep, earthly chanting to more upbeat songs, the varied moods and meanings of the singing is perfectly conveyed, regardless of a language barrier for most listeners. Huun-Huur-Tu also combines "normal" singing with their throat singing, like on the song "Eerbek-Aksy," and the results are just as amazing. Overall, The Orphan's Lament presents a wide range of incorporations of throat singing, from simple, unaccompanied solos, to far more involved orchestrations, and the results are true musical bliss each and every time.

When people think of the term, "world music," a majority of the time, it is only referring to African or South American, polyrhythmic sounds. Obviously though, such a term must encapsulate the sounds of every culture, as nearly every part of the world has their own, traditional style of music. Though different incarnations of the style are found all over the world, throat singing takes its roots from the farmers of southeast and south-central Asia, who still regularly practice the method to this day. Taking the traditional method of throat singing, and combining it with light instrumentation, Tuvan throat singers, Hunn-Huur-Tu, present an amazing, and entirely unique spin on the ancient practice. The group itself has had a few personnel changes over the years, and they have only released a handful of albums. Yet, their stunning presentation of the music of their ancestors has enlightened the world to the amazing talents and deep spirituality found within their singing. Even if one does not speak their language, the emotion and beauty within the music found on Hunn-Huur-Tu's 1994 release, The Orphan's Lament, is not in the least bit lost, and it is truly a phenomenal album that is a joy to experience time and time again.



Standout tracks: "Prayer," "Eerbek-Aksy," and "Irik Chuduk."