August 19: Nick Cave & The Bad Seeds, "Dig!!! Lazarus Dig!!!"

Artist: Nick Cave & The Bad Seeds
Album: Dig!!! Lazarus Dig!!!
Year: 2008
Label: Mute


Understandably, many cite 1984's From Her To Eternity as one of the most amazingly dark and morose records ever recorded. As his first album following the breakup of The Birthday Party, the album overflows with downtrodden moods, yet it also proved that Nick Cave had far more he wanted to accomplish musically. That album brought the world the first incarnation of The Bad Seeds, which is largely still the same configuration to this day. Having released a number of utterly sensational albums with The Bad Seeds over the years, Nick Cave has also taken time away from the band to explore other musical projects. As time progressed, Cave began to move towards a more aggressive, louder musical approach, and throughout the 2000's, the overall sound of his music began to drastically change. After releasing their sensational self-titled debut and touring the world with Grinderman, Nick Cave re-assembled The Bad Seeds in their entirety and went back to the studio to record the follow-up to 2004's Abattoir Blues/The Lyre of Orpheus. The resulting sessions yielded what may very well be the bands' greatest achievement and it is unquestionably one of the most devastatingly phenomenal rock records ever made, 2008's Dig!!! Lazarus Dig!!!

With a title like Dig!!! Lazarus Dig!!!, one cannot avoid some cliché commentary on the fact that, regardless of how long he takes between records, Nick Cave is always able to re-invent himself and remain one of the most dynamic artists on the planet. Cave himself said that the album title and song of the same name were inspired by the fact that he has always wondered how Lazarus himself felt after, as the story goes, Jesus brought him back from the dead. On the title track, he moves the story to modern day New York City, and follows the sudden stardom and downward spiral of the cleverly renamed "Larry." Cave sums up his thoughts when he sings, "...I mean he, he never asked to be raised up from the tomb...I mean no one ever actually asked him to forsake his dreams..." The song itself is just the tip of the iceberg, as the entire album is an extraordinary explosion of sensational music and lyrics. Having worked with artists ranging from Talking Heads and Public Image Ltd. to Lou Reed and Gang Of Four, producer Nick Launay provides the perfect partner for Cave, as he is able to bring out the best sound, regardless of what musical direction Cave chooses to explore. From the beautifully moody and melodious "Hold On To Yourself" to the screaming, garage-rock sound of "Lie Down here (& Be My Girl), Launay ensures that every song sounds absolutely stellar, and the overall sound on the album is nothing short of flawless.

When it comes to the music found on Dig!!! Lazarus Dig!!!, the fact of the matter is, The Bad Seeds have rarely sounded better, as they are clearly now a full-on rock and roll powerhouse. Whether it is the all out rock of the albums' title track or the slower, funkier "Moonland," the group is truly in top form and their sound rivals any band on the planet. The dual guitars of Mick Harvey and Warren Ellis are as brilliant as ever, and it is in the aggression of their playing that it becomes clear that the band as a whole is more than happy with the new, more rock-based direction. Again, much of this may be from riding the wave of the Grinderman record, where Ellis was also featured on guitar, along with Bad Seeds Martyn Casey and Jim Sclavunos. The rhythm section of Casey and Sclavunous carry the energy of the Grinderman sessions into these songs, and they have rarely sounded better. The bassline that opens "Today's Lesson" is by far one of the funkiest, yet wonderfully menacing that Casey has ever performed. Sclavunous, as always, employs a great variance in his percussion, playing everything from maracas to sleigh bells to bongos, alongside his normal, sensational playing of his standard kit. Adding additional percussion as he has since joining the band in 1985, Thomas Wydler continues to play a perfect compliment to Sclavunos. Rounding out The Bad Seeds is organ and keyboard master, James Johnston, and the moods he creates with his playing truly turns the songs into masterpieces. Throughout Dig!!! Lazarus Dig!!!, the band swings, construct deep, dark moods, and blow listeners away with some of the most exciting and powerful rock music to be recorded in decades.

With his full, deep, and captivating voice, Nick Cave remains one of the greatest vocalists in the history of music. Constantly bringing a somewhat somber, dark mood, yet with an equal dose of rock and roll majesty, Cave's voice and delivery are truly unparalleled. On Dig!!! Lazarus Dig!!!, he sounds as strong as ever, and the somewhat menacing and cunning manner of singing which he has perfected provides a brilliant compliment to the amazing music. As is always the case with anything on which Nick Cave sings, the songs are all about the lyrics. Certainly a man who can turn a phrase, the lyrics on Dig!!! Lazarus Dig!!! are as brilliant as ever, and Cave once again finds ways to mix together his trademark brand of sexy, sinister, and undeniably smart lyrics and he delivers them perfectly. As always, many of the songs (and obviously the album title as well) have religious overtones, and some might even go so far as to call some of the lyrics "blasphemous." While there is no shortage of amazing one liners on the album, Cave sings an absolute classic when he slyly sings, "...he likes to congregate at the intersection of Jaine's jeans...Mr. Sandman the inseminator, he opens her up like a love letter and enters her dreams..." on "Today's Lesson," which is, by far, one of Cave's most rawkus, yet amazingly sensual songs ever. However, Nick Cave's sense of humor is also very present on the album, with amazing lines like, "...I feel like a vacuum cleaner, a complete sucker..." Truth be told, few artists have the lyrical prowess of Nick Cave, and his ability to create fantastic allusions and moods, alongside his mesmerizing vocal delivery, remains second to none.

Many (myself included) will argue that Nick Cave has never written a bad song, and therefore never recorded an album that is anything less than superb. With his unique voice and mind-bogglingly brilliant lyrics, there has truly never been another artist in the same group as Nick Cave. From his early days of wild screaming with The Birthday Party, to his dark and moody beginnings with The Bad Seeds to the unbridled rock of Grinderman, Nick Cave is always fantastic, regardless of the band with which he is performing. However, his work with The Bad Seeds represents a bulk of his recorded catalog, and due to the exceptional musicianship of the band, the albums are all varied, yet always exceptional in quality. Even for those who have somehow never experienced the amazing sound that is Nick Cave's music, Dig!!! Lazarus Dig!!! will instantly hook them, as it is by far one of the greatest rock and roll records ever recorded. Though it now stands as the final recording of The Bad Seeds with Mick Harvey (he left the band for personal reasons in early 2009), it would be hard to argue that he left at anything other than the bands' finest musical hour. Truth be told, there is not a single song on the entire album that is anything less than extraordinary, providing a variety of different tempos and moods, yet consisitantly incrediable at every turn. Though the album shares many of the dark moods and absolutely remarkable lyrics that have been a constant throughout the history of the band, the more aggressive, somewhat dirtier rock and roll sound is what propels Nick Cave & The Bad Seeds' 2008 release, Dig!!! Lazarus Dig!!! above the rest of their catalog and cements the album as one of the most amazing rock albums in history.



Standout tracks: "Dig, Lazarus, Dig!!!," "We Call Upon The Author," "More News From Nowhere."

August 18: Dick Dale, "Surfer's Choice"

Artist: Dick Dale
Album: Surfers' Choice
Year: 1962
Label: Del-Tone


Perhaps due to the massive number of musicians in the history of music, some of the most influential are often overlooked. Though he is often thought of as ONLY the founder and King of "surf rock," the truth of the matter is that Dick Dale was also a huge innovator in both equipment as well as physical playing style. First and foremost, Dick Dale is, without a doubt, the founder of the "surf rock" genre, and the tone and style with which he played had a profound impact on everyone from the Beach Boys to The Pixies. With his lightning fast, staccato-based riffs and progressions, he also laid the groundwork for the playing of guitarists like Eddie Van Halen and Junior Brown. Whether he was showing the world how to "shred" on his guitar, or working with a number of equipment companies to push the limits on what was thought to be possible with amplifiers and guitars, Dick Dale changed the musical landscape in countless ways and his impact stretched far beyond surf rock. Though he has recorded on countless albums and his songs can be found on nearly every "surf" compilation around, his debut record, 1962's Surfers' Choice, is a truly monumental masterpiece of top notch playing and wide ranging musical innovation.

Though the sound quality is exceptional, the fact of the matter is, nearly all of Surfers' Choice was recorded live at the Rendezvous Ballroom. To this point, one can hear the crowd yell as the opening notes of "Surf Beat" come blaring out of Dick Dale's amplifier. There are a number of over moments on the album when the crowd becomes obvious, yet it only adds to the fantastic mood on the record. Though many may not recognize them by name, there are a number of songs on Surfers' Choice that have become standards across genres. Though many believe it is, the song "Sloop John B" was not, in fact, written by The Beach Boys, and the version found on Surfer's Choice is just one in a long line of covers of the song. The song was actually written around 1917, though the Beach Boys version has slight lyrical alterations. The version found on Surfers' Choice brilliantly incorporates a bright string section, and it becomes a slow, swaying love song. Thanks in large part to the film Pulp Fiction, many will instantly recognize the root of the song "Misirlou Twist." Though the core riff is the same, the version found on Surfers' Choice is slightly different, though delivers just as much impact as the version with which most are familiar. The song would also become the core sample for the 2006 hit "Pump It" by Black Eyed Peas. Though both of these songs had a profound impact on the world of music, they are truly just the tip of the iceberg in the influence of Dick Dale.

Musically, there are three very distinct sounds to be found throughout Surfers' Choice. The first of the sounds is a classic mixture between the ballad-style singing of the late 1950's and the more edgy feel of Dale's guitar playing. The songs swing more seductively than their predecessors, and the vocals are more rough in texture, and similarly sound as if they are directed as a much younger audience. These differences can be heard in the brilliant vocal track, "Peppermint Man." The second style found on the record are the string-based, slower, almost "love" songs. Though in most cases, such a contrasting style would seem out of place, the entire album has a wonderfully cohesive mood, and it somehow works perfectly. The final style of music found on Surfers' Choice is what Dick Dale is best known for, his blisteringly fast guitar instrumentals. While in some cases, the string sections are also incorporated, the focus of these songs is Dale's mind-blowing guitar skills. Perfectly capturing the essence of riding waves, Dick Dale was able to bring the "surfer mentality" to youths across the world; even those who had never even seen the ocean. Pushing to a sound that is almost "tribal," songs like "Surfing Drums" contain a mood that is nothing short of awe-inspiring. It is the mood found within these blazing compositions that makes them so fantastic, as the songs perfectly balance unprecedented musicianship with an edgy, almost seductive swing that makes the songs truly irresistible. When Dale adds in meandering horns alongside his guitar playing, the entire mood of the songs shifts, and the horns seem to add a sense of mystery or maliciousness to the songs. The combination is perfectly displayed on the back to back songs, "Surfing Drums" and "Shake 'n Stomp" and are easily two of the finest tracks on Surfers' Choice. This ability to make the music swing also gives the songs there unique mood that borders on dangerous, and it is this aspect of the music that makes it so enjoyable, as well as making it the perfect choice for the Tarantino film.

One only needs to listen to the opening minute of the albums' first song, "Surf Beat" to fully understand what makes the playing of Dick Dale so uniquely fantastic. The distorted, almost bubbling sound, followed by the powerful, lightning fast riffs remains stunning to this day. Looking back, there was simply nothing else even remotely close to the sound that Dick Dale made, and the musics' distinctive, almost menacing swing further sets Dale aside from his peers and his followers. However, aside from his unparalleled style of playing, it is very much the nuances of Dale's sound that make him one of the most iconic figures in the history of guitar playing. Dale was known for playing his guitar virtually upside down, and doing this without changing the string order make his appearance like no other. This method would later be adapted by one of Dale's biggest fans, a young man from Seattle, Washington named James Marshall Hendrix. Dick Dale was also a huge innovator in amplification, and throughout the 1960's, he worked very closely with the Fender company, and helped them to produce new equipment that was capable of creating the far thicker, louder sound that he desired. This louder, more powerful sound is often cited as one of the primary building blocks for heavy metal, and Dale's unorthodox approach to playing style was also a profound impact on the same genre. Though the genre of "surf rock" has countless great artists, it was Dick Dale that pioneered the sound, and his distinctively louder and edgier sound makes him still stand far above his peers.

The album was out of print for a VERY long time, but in 2006, Sundazed Records brought it back to the world in its original form as a CD re-issue. The re-issue is a true gift to music fans, as the songs found therein are true musical landmarks. Whether he was playing slower dance songs or tearing up his guitar with his unorthodox musical passages, Dick Dale uses his debut record to show the world that there was an entirely new sound to be explored. Singlehandedly creating the entire genre of "surf rock," his music perfectly encapsulates the mood and attitude and brilliantly conveys it to the masses. Anyone who can claim influences on nearly every legendary guitar player in history was obviously doing something right, and in the case of Dick Dale, his ability to approach the guitar from angles never before thought is what makes him so brilliant. While his work outside of the stage and studio was undoubtedly just as influential as his playing style, it is the music that he made that catapulted him to truly iconic status. When one weighs all of the contributions that Dick Dale gave to the music world, he is truly unrivaled in terms of overall impact on the music scene. Presenting a phenomenal, flawless recording, Dick Dale's 1962 debut record, Surfers' Choice, remains exciting and fresh and it is by far one of the most extraordinary albums ever recorded.



Standout tracks: "Surf Beat," "Misirlou Twist," and "Surfing Drums."

August 17: N.W.A., "Straight Outta Compton"

Artist: N.W.A.
Album: Straight Outta Compton
Year: 1988
Label: Ruthless


In the late 1980's, it took only three letters to strike fear in the hearts of parents across the world: N.W.A. By far one of the most controversial, yet massively influential hip hop groups in history, it was N.W.A. that brought the sub-genre known as "gangsta rap" to the forefront of hip hop music. During this time, aside from Ice-T, virtually no West coast based rappers had found even the smallest national success, perhaps due to the fact that the West coast sound was such a far cry from the more popular sound being made by artists like LL Cool J, RUN-D.M.C., and the aforementioned Public Enemy. N.W.A. smashed down this barrier, and opened the door for the flood of West Coast based rappers that would rise to the top of the charts throughout the early 1990's. With five emcees, all equally capable of delivering top notch lyrics with an overwhelming amount of intensity, N.W.A. remain one of the most devastating hip hop groups to ever enter a studio. Though the group had released their debut album a year earlier, it was their landmark sophomore album, 1988's Straight Outta Compton that forever changed the landscape of music.

There are countless aspects that make Straight Outta Compton stand out from the rest of hip hop, and one of the most significant is the fact that the album sold well over three million copies with zero radio airplay and zero live performances. Furthermore, the album was produced almost completely by Dr. Dre and DJ Yella, and the fact that such a great sounding record was created without "experienced" studio technicians is a testament to the talent of each member of the group. Furthermore, the fact that the album was released on group member Easy-E's own Rutheless Records, and not a major label, the albums' success is even more surprising. Though he is now considered one of the greatest producers in the history of hip hop music, at the time of Straight Outta Compton's release, Dr. Dre was, in many ways, just another producer mixing samples. However, it is clear that on this album, he had a knack for blending sounds that seemed complete opposites, and his sense of musical mood is second to none in the genre. Mixing together everything from James Brown and Sly & The Family Stone to newer riffs from the Beastie Boys as well as even using N.W.A.'s own songs in loops, Dr. Dre's beats and music are nothing short of phenomenal. Furthermore, the quality of the recording is far and away one of the best of the era, and again, the fact that it was done by the group themselves makes it all the more significant and impressive.

The fact that each of the five members of the group found varying levels of solo success after the demise of the group is a testament to how talented they were as individual emcees. Without question, Ice Cube stands out from the rest throughout Straight Outta Compton. His punishing delivery style and almost freewheelingly violent rhymes make his verses rise above the others, and it is no surprise that he soon left the group to pursue what would become an extremely successful solo career. MC Ren rhymes in a bit more of a playful, but just as dangerous style, and after leaving N.W.A., he would be one of the most important figures in the rise of "G Funk" style hip hop music in the early 1990's. The group's founder, Eazy-E, remains one of the most notorious and controversial rappers in the history of the genre. His verses throughout the album are laced with extremely violent ideas and more profanity per line than had previously been heard. With his immediately recognizable voice, Eazy-E's style and rhythm have been copied for years, but no rapper has ever been able to deliver with the same power and shock value. After the breakup of the group, Eazy-E and Dr. Dre would take their personal differences to their solo records, and the "beef" between the two yielded some of the most powerful, and often amusing rap rhymes ever. Though Dr. Dre is more in the role of producer and DJ on Straight Outta Compton, when he contributes verses, such as most of "Express Yourself," it is clear that he is equally talented as an emcee as he is a producer. This would become far more obvious when he became one of the biggest emcees in the world as hip hop exploded in the early 1990's, largely due to his monumental solo debut, The Chronic. Looking at the names of the emcees within N.W.A., it is truly like reading an all-star list of the finest and most influential emcees of the transitional period of hip hop music.

By far, one of the most common misconceptions about N.W.A. is that they "glorified" the "gangsta" lifestyle. While "Fuck Tha Police" is certainly an angry yell against authority, it is a far cry from the "gangsta" lifestyle songs that have dominated the hip hop scene for years. In fact, throughout Straight Outta Compton, one finds numerous examples of quite the opposite approach. With songs like "Express Yourself" and "Gangsta Gangsta," the group criticizes such a lifestyle, and raises questions of censorship. When one further deconstructs "Express Yourself," one finds both anti-drug, as well as thoughts on musical integrity, as Dr. Dre raps, "...others say rhymes that fail to be original...or they kill where the hip hop starts, forget about the ghetto, and rap for the pop charts..." While the group shared the aggressive social criticism of Public Enemy, N.W.A. was far more violent and gave vivid insight into the world of the Southern Los Angeles ghettos. Truth be told, a majority of the songs on the album are either about partying or altercations with police, but it is still a far cry from the tales of excess and mass murder that have come to define the "gangsta" hip hop style. However, even taking all of this into account, it is impossible to discuss Straight Outta Compton without talking about both the album and the group's most notorious song, "Fuck Tha Police." In many ways, it is this song that both gave the group their "dangerous" reputation, as well as catapulted them to international success. The song is one of the most unrelenting commentaries on police brutality, and along with Public Enemy's "Fight The Power," it stands as one of hip hop's greatest protest songs. The lyrics are also some of the most extreme of the groups' career, and lines like, "...without a gun and a badge, what do you got...a sucker in a uniform waiting to get shot..." Yet simultaneously, the group makes cutting social observations on what they saw as the inherent racism of police when Ice Cube rhymes, "...fuckin' with me 'cause I'm a teenager, with a little bit of gold and a pager...searchin' my car, lookin' for the product, thinkin' every nigga is sellin' narcotics..." It is this combination of extremely hardcore lyrics, as well as undeniable social scrutiny that makes N.W.A. a group that, if nothing less, you cannot ignore.

More than twenty years after its release, N.W.A.'s Straight Outta Compton continues to be controversial, and the songs from the album remain some of the most hardcore ever recorded. The fact that both the album and the songs have such longevity is a testament to the talent of every member of the group, as there is not a dull moment anywhere on the record. The sampling and production of Dr. Dre is absolutely perfect, and the contrast between the clean sound of the music and the almost lo-fi sound of the vocals is truly phenomenal. Regardless of which emcee is rapping, every verse is crushing and pointed, with the group showing what it means to be unrelenting and brutally honest. Painting vivid pictures of life in the ghettos, the group quickly made Compton, California, and all of South Central Los Angeles for that matter, some of the most dangerous neighborhoods in all of the United States. Still to this day, the "mystique" of the hazardous nature of the area remains, and the community is a reference point for "hardcore" living. N.W.A. were then, and remain today one of the most controversial rap groups ever, as their explicit lyrics and menacing lyrics were like nothing else the world had ever heard. Presenting some of their most brutal and in-your-face lyrics, and absolutely stunning beats and music, the groups' second album, 1988's Straight Outta Compton, remains the benchmark for truly amazing hip hop, and it is by far one of the most extraordinary albums ever recorded.



Standout tracks: "Straight Outta Compton," "Fuck Tha Police," and "Express Yourself."

August 16: Pavement, "Slanted & Enchanted"

Artist: Pavement
Album: Slanted & Enchanted
Year: 1992
Label: Matador


There was a time when "indie" rock and "alternative" rock were virtually the same thing. Many (including myself) would argue that they are, in fact, the same thing and the general public simply stopped using the later term in the late 1990's. Regardless of what term one uses, it is this genre from which some of the most amazing and original music has emerged. High atop the list of innovators of this genre and style stand one of the most unparalleled bands in terms of originality and musical creativity, Pavement. In many ways, the music of Pavement is like a strange combination of R.E.M., The Fall, and Sonic Youth. The comparisons to Mark E. Smith and his band run though nearly every aspect of the bands' music, yet, if anything, they are a far more accessible, more well produced band. Pavement are the ultimate "lo-fi" band, yet they do not compromise any musical quality whilst sticking to their low-production, heavy distortion method. The band released only five full length albums during their decade of existence, yet there is not a single track on any of these records that is anything short of incredible. However, to truly experience the best the band has to offer, and to get a clear understanding of why the band is so important in the timeline of music, one needs to look no further than Pavement's magnificent 1992 debut album, Slanted & Enchanted.

In many ways, Pavement is the ultimate alternative rock band. The band has an amazing ability to completely subvert the traditional pop music structure, yet the songs somehow retain an undeniable accessibility and "catchiness." Pavement almost completely inverts the standard melodic structure, and combining this with their perfect uses of feedback and distortion, the music is truly the antithesis of traditional rock music. Whether it is the almost strangely mixed guitar solo on "Jackals, False Grails: The Lonesome Era" or the sparse, simple, and short sound of "Chesley's Little Wrists," the bands' distinct sound is consistently superb. By simply listening to the albums' opening song, "Summer Babe (Winter Version)," one can hear where artists from Beck to Cake gained a great deal of musical influence. To further this comparison, pick up any record from Cake or Nada Surf and then listen to Pavement's "Conduit For Sale!" and you'll clearly hear where these later bands found their sound. The songs are a spectacular combination of blistering guitar and perfectly laconic, almost disjointed lyrics. The fact that all of Slanted & Enchanted is so perfect is also largely due to the fact that the band produced the album on their own, and therefore they could make the songs sound exactly how they felt they should be experienced. It is this fantastic musical fusion and unique, yet perfect production that makes the music of Pavement so amazing, and why they stand as one of the most unique and influential bands in the history of music.

The music of Pavement is a very structured, yet experimental sound, as the band uses a great deal of distortion and feedback to accentuate their music. It is though this use of distortion, as well as the points when the band does NOT use it that makes the sound of Pavement so unique. Dual guitarists and band founders, Stephen Malkmus and Scott Kannberg play brilliantly off of one another, and the ways in which they interweave their melodies is often quite stunning. Though it is one of the most stripped down songs on the album, the double guitar lines found on "Chesley's Little Wrists" present a perfect example of how well the duo works with one another to create the bands' amazing music. Bassist Mark Ibold was added to the band shortly before the recording sessions for Slanted & Enchanted, and he would stay with the band for the remainder of their career. His playing is fantastic, and the rumor stands that he was added to the band to strengthen the sometimes shaky drumming of Gary Young. After leaving Pavement, Ibold went on to play live and then become a full fledged member of Sonic Youth. Gary Young was in many ways more notorious for his stage antics than his drumming. Though his drumming is up to par on Slanted & Enchanted, his eventual replacement, Bob Nastanovich sits in throughout the album and it one listens closely, you can tell which drummer is playing. The mellow, yet heavy sound that Pavement plays made them a critical success, and their formula and sound have been copied countless times since.

The album title itself is a reference to the famous Samuel Taylor Coolridge poem, "Kubla Kahn," and the fact that the band uses this as its inspiration is not surprising, as nearly every vocal on the album is a poetry reading itself. The comparisons between vocalist Stephen Malkmus and Mark E. Smith are completely unavoidable due to the manner in which Malkmus performs. His vocals on songs like "Two States" and "Fame Throwa" bear an uncanny resemblance, yet there are many differences that make the sound his own. As previously stated, like the music, Malkmus' vocals are far more clear and understandable, making his brilliant lyrics all the more amazing. Furthermore, the manner in which Malkmus delivers his lyrics are nothing short of captivating. The rhythm he uses, which is often different from the rhythm of the music makes the lyrics more punctuated, and the almost indifferent tone in his voice makes the vocals all the more unique. While a majority of the lyrics seem almost cryptical, one cannot get around the fact that they are simultaneously brilliant, and songs like "Trigger Cut / Wounded-Kite At :17" prove that the band has just as much angst as any of their peers. Yet the band was also capable of delivering brilliant "alternative" love songs, as can be found on the phenomenal "Here." Composing all of the lyrics and music, Stephen Malkmus is easily one of the most talented musicians of his generation, and the unorthodox way in which he delivers the lyrics pushes the songs to nothing short of spectacular.

In an era when "indie rock" has a very distinct sound across all of the bands who fall into the category, one must look back to a time when the term was used for bands that made their own, unique style of rock music. Truth be told, one can look all they wish, but there is simply no other band that so perfectly executes the lo-fi, unparalleled sound that can be found within the music of Pavement. Superbly mixing together the almost rambling and wandering lyrics of Stephen Malkmus with the blissfully chaotic, feedback laden music of the band, the music is wild, aggressive, and yet undeniably captivating. The manner in which Malkmus and Kannberg play off one another is truly exceptional, and they are masters of understanding that where the notes are can be equally as important as where the notes are not. Bringing in bassist Mark Ibold is one of the key elements that makes the bands' full length debut so much better than their singles and EP that preceded the album, and Ibold fills out the bands sound perfectly. Pavement remains one of the most highly respected and most influential bands of their generation, and their 1992 debut, Slanted & Enchanted makes the case as the most important "alternative" rock album in history as it is nothing short of a phenomenal musical masterpiece.



Standout tracks: "Summer Babe (Winter Version)," "In The Mouth Of A Desert," and "Here."

August 15: The Black Crowes, "Shake Your Money Maker"

Artist: The Black Crowes
Album: Shake Your Money Maker
Year: 1990
Label: (Def) American


Often times, if a band plays perfectly, an absence of a groundbreaking sound makes little difference. During the period of musical limbo between the death of hair metal and the rise of grunge, countless amazing albums came out, and the musical landscape was as varied as any other point in history. Combining the sleazy-rock feel of the Rolling Stones with the feel good mood of the great Southern rock bands, The Black Crowes stormed on to the scene to prove that old fashioned rock and roll was not dead. The band was not out to re-invent the wheel, they simply took the music they loved and made their own version. The Black Crowes would later make some of the most fantastic jam-based Southern rock ever recorded, but in the early stages of their career, they were simply an extraordinary classic-rock-based band. Though they had been playing as a band for nearly a decade, The Black Crowes did not enter the studio until being singed by Rick Rubin's American Records in 1990. The resulting work was the groups' phenomenal debut album, 1990's Shake Your Money Maker.

Shake Your Money Maker is by far the bands' most commercially successful effort, as it spawned a number of singles, many of which still find regular rotation on radio stations. The most famous of all of these is the albums' third single, the bands' cover of Otis Redding's classic, "Hard To Handle." The song topped the charts in the U.S. as did the forth single, "She Talks To Angels." Along with top ten success from Shake Your Money Maker's first two singles, "Twice As Hard" and "Jealous Again" as well as the surprise top five charting of the albums' final single, "Seeing Things," the record itself sold over eight million copies and rose to the forth position in album sales. The success of the album also earned The Black Crowes the award for "Best New American Band" by the readers of Rolling Stone in 1990 (when the magazine still had musical integrity). Obviously, with nearly half of the songs on the album achieving this sort of success, the band was obviously doing something right, and that "something" was playing simple, straightforward, vintage rock and roll. Aside from the Redding cover, every song is a Crowes original, and this makes the fact that such a sensational batch of songs represent the groups' debut a testament to how amazing a group of musicians there are in The Black Crowes. One other interesting note about Shake Your Money Maker is the presence of engineer Brendan O'Brien, who would become one of the most highly sought after engineers throughout the grunge era, working within everyone from Pearl Jam to Rage Against The Machine to Stone Temple Pilots.

Musically, The Black Crowes represent the "classic" five-man rock configuration, with dual guitarists, bass, drums, and a vocalist. Lead guitarist and co-founder Rich Robinson stands as one of the most talented musicians of his generation, channeling Keith Richards as much as he does Angus Young. Creating superb tone and truly moving solos, there are few rock guitarists of his generation that have a similar level of musicianship and writing ability. Robinson's wire range of talent can be found in his short solo on "Hard To Handle" combined with the fact that he wrote the music for "She Talks To Angels" when he was only fifteen years old. Though only in the band for about three years, the guitar work of Jeff Cease is nothing short of perfect, and the chemistry between the two guitarists is undeniable as they play brilliantly off of one another. Bassist Johnny Colt spent nearly twenty years with The Black Crowes, and on Shake Your Money Maker, he brings an amazing gospel-esque rock funk to the songs. Appearing on the groups' first nine albums, drummer Steve Gorman remains one of the finest rock drummers in recent history. The keyboards and organs throughout the album are provided by Chuck Leavell, who spent much of the 1970's serving the same role for Southern rock icons, The Allman Brothers Band. The rhythmic grooves that Gorman and Colt assemble within nearly every song help to give the Crowes their distinctive style, and it makes the songs enjoyable and fresh nearly twenty years after their release.

In man ways, Chris Robinson was the exact opposite of every frontman from both the era before and after him. With a style and voice that were far too calm for the hair bands, yet too mellow and mainstream for grunge and alternative rock, Robinson's singing helped to keep The Black Crowes in their own category of music. First and foremost, Chris Robinson has one of the most wide ranging, powerful voices in the entire history of recorded music. Capable of hitting every not imaginable, his voice has a simple, honest tone, and he truly encompasses everything that makes the sound of "Southern rock" so great. While it is mostly rock and blues, there are times when Robinson's vocal delivery is almost more akin to gospel singing, as is highlighted during "Seeing Things." Regardless of the style in which he is singing, Robinson always has a fantastic swagger to his sound, and this is once again wonderfully reminiscent of the great rock singers, and it is one of the key aspects that makes the music so enjoyable. The songs found on Shake Your Money Maker similarly stick to the classic rock themes of women and enjoying life. While the albums' opening two songs present a brilliant juxtaposition ("Twice As Hard" and "Jealous Again"), there is honestly not a weak moment anywhere on the album, and the lyrics that are found on "She Talks To Angles" remain some of the most moving and mysterious ever written. While the music of The Black Crowes presents a fantastic homage to the golden age of rock music, it is the dynamic, unparalleled voice and delivery of Chris Robinson that catapults the group to the status of true music icons.

An overwhelming majority of the time, when bands attempt to revive a seemingly lost sound, they overdo the process and end up sounding more like a cover band, than a unique band playing an old sound. In the case of The Black Crowes, few bands in history have so perfectly captured the sound of "true" rock and roll, regardless of the generation. Fusing together top notch musical writing with perfect lyrics and the unparalleled vocal work of Chris Robinson, there has truly never been another band quite like The Black Crowes. Rich Robinson's stellar guitar work, and one of the tightest rhythm sections of their day enable the music to still resonate nearly two decades after it's release. Truth be told, there is not one song anywhere on Shake Your Money Maker that is anything short of spectacular, and the album perfectly represents a raw, no-frills rock and roll masterpiece. Though the group are now largely considered one of the greatest rock bands in history, it is very much due to their magnificent, stunning 1990 debut album, Shake Your Money Maker, that they are held in such deservingly high esteem.



Standout tracks: "Jealous Again," "Hard To Handle," and "She Talks To Angels."

August 14: The Cramps, "Songs The Lord Taught Us"

Artist: The Cramps
Album: Songs The Lord Taught Us
Year: 1980
Label: Illegal


Every genre has its origin, the artists that pushed into the uncharted territory and created a sound never before heard. In a few cases, these same artists went on to create sub-genres within the original, further stretching the limits on what was musically capable. Taking rockabilly influences from artists like Elvis Presley and Roy Orbison, and then turning the music brilliantly dark, seminal psychobilly rockers, The Cramps, remain one of the most important bands in the history of music. Truth be told, most people credit the band for even creating the term "psychobilly," though the origins of where they got the term are somewhat debatable. Flawlessly combining a retro, 1950's tone with the attitude of punk rock and topping it off with a heavy dose of gloomy moods, there is simply no other band that sounds quite like The Cramps. Though countless bands have attempted to imitate their sound, the fact of the matter is, no band has even come close to The Cramps amazing combination of enchantingly evil mood and decadent, yet dirty vocals and music. While White Zombie made the sound far heavier, and The Horrors make it more psychadelic, the sound created by The Cramps is simply the perfect balance. Having already gained a small fanbase from their singles and shows at CBGB's, the band entered the studio in early 1980, and the result was their monumental full length debut record, Songs The Lord Taught Us.

The Cramps take a moment on Songs The Lord Taught Us to somewhat explain everything there is to know about the band. Making veiled references to many of their influences, as well as statements like "...half hillbilly and one half punk..." the song "Garbage Man" truly shows and displays everything that comprises the bands' magnificent sound. Strangely enough, Songs The Lord Taught Us, came about after the group spend much of 1979 in Europe opening for (and by all accounts, often overshadowing) The Police. The Cramps had already released a number of singes, as well as the compilation album, Gravest Hits; and these releases had already earned the band a small, dedicated following. Bringing in the same producer, former Box Tops frontman, Alex Chilton, the bands' sound stays consistent, and Chilton's rockabilly roots help the band perfect their sound. While many might see this combination as rather odd, considering Chilton's more conservative roots, the truth is, he keeps the group from becoming cliché, and one can hear a difference in the bands' sound on the records on which he is absent. Much like the balance between the bands' dark moods and almost surf-style music, the production is equally balanced between clear, clean sound, and a gritty, echo-filled sound, and it is one of the aspects that makes Songs The Lord Taught Us so fantastic. The four band members play brilliantly throughout the record, and the music is just as amazing and enjoyable today as it was nearly thirty years ago.

The Cramps went through a number of lineups before disbanding in February of 2009 (due to the passing of Lux Interior), and the musicians found on Songs The Lord Taught Us, is by far the finest and most accomplished incarnation of the band. Band founder and one of the two members who played for the bands' entire history, guitarist "Poison" Ivy Rorschach brings a sensational tone and style to the songs. As the rumor goes, Ivy (real name Kristy Wallace) met Lux Interior whilst hitchhiking, and the duo soon formed the band, and were also married until his death. Sharing guitar duties (as well as the same birthday), Bryan Gregory has an equally superb tone, and the paired guitars enables the songs to have a far more rich and full sound, and solidify the rockabilly/surf-rock aspect of the music. Songs The Lord Taught Us represents Gregory's final work with The Cramps, and he would be replaced by former Gun Club member, Kid Congo Powers. Though he was, in fact, the bands' second drummer, Nick Knox was with the band for nearly fifteen years, representing the bands' apex in worldwide popularity. Knox (real name Nicholas George Stephanoff) clearly understands where the balance lies between keeping his sound bouncing and light, yet it simultaneously has an unquestionable aggression. The music found on Songs The Lord Taught Us is truly like nothing else ever recorded, with the bands' inky music providing the perfect backdrop over which Lux Interior delivers his sensational vocals.

Akron, Ohio's own Lux Interior (real name Erick Lee Purkhiser), is easily one of the most unique and formidable lead singers in the history of music. Bringing the crooning attitude of 1950's singers, along with the angst and aggression of the finest punk singers, and then giving it a wonderfully sinister mood, there is simply no other vocalist to deliver a sound so brilliant. Interior even seems to channel the spirit of The Rivingtones and The Trashmen on "The Mad Daddy," and his would become a true tribute when The Cramps would eventually cover "Surfin' Bird." Lux further shows the diversity in his musical tastes and range when the band covers the classic Little Willie John love song, "Fever." Regardless of the style or sound he is perusing, Lux Interior sings perfectly on every song, and it is one of the key aspects that makes the music on Songs The Lord Taught Us so phenomenal. Aside from the covers, the lyrical themes found on the album are of a rather dark, even spooky nature; often with a bit of a tongue-in-cheek feel. The albums' opening track, "TV Set" is a brilliant set of lyrics, where Interior grinningly describes his love, whom he has decapitated and used to fix his television. When he sings, "...you won't get old 'cause you're well preserved in my Frigidaire..." the true genius of the band becomes instantly clear. The combination of fantastic lyrics and the unparalleled voice and delivery of Lux Interior is the final piece that makes Songs The Lord Taught Us an absolutely classic album.

Making dark or "evil" music without becoming cliché is easily one of the most difficult things to achieve within the world of music. An overwhelming majority of the time, bands that are trying to sound "goth" end up sounding as if they are trying too hard to be dark, and it ends up turning into a boring, recycled sound. Innovating a brand new style and executing it perfectly, seminal psychobilly rockers, The Cramps, are by far one of the most dynamic and original bands to ever enter a recording studio. With the high energy, stripped down dual guitarists and top notch drumming, The Cramps were in a league of their own throughout their entire career. Whether they are playing classic covers or their own amazing songs, there is not a weak moment anywhere on Songs The Lord Taught Us, and it remains one of the most overall perfect recordings in music history. Lux Interior is in his finest hour, and his vocals, from pitch to delivery style are nothing short of flawless, and his contributions to the record truly set it apart from anything else. While The Cramps remain one of the many bands who never received all the credit they deserved for their unquestionable contributions to the music world, their spectacular first full length album, 1980's Songs The Lord Taught Us still stands as their crowning achievement, and still sounds as fresh and exciting nearly thirty years after it's initial release.



Standout tracks: "TV Set," "Garbage Man," and "I'm Cramped."

August 13: Duke Ellington, "The Great Paris Concert"

Artist: Duke Ellington
Album: The Great Paris Concert
Year: 1963 (recorded), 1973 (released)
Label: Atlantic


For whatever reason, the citizens of Paris, France did a far better job of bringing out the best that jazz musicians had to offer. With countless amazing performances emerging from the city during the heyday of jazz, nearly every live jazz recording from the city and era is nothing short of phenomenal. Among this long list of artists who recorded their shows in Paris, jazz legend Duke Ellington and his band did so during a three week run in the city in 1963. Far and away the greatest composer of the jazz era, Duke Ellington's name is nearly synonymous with the jazz genre. Having worked with the greatest artists of the jazz era, from Ella Fitzgerald to John Coltrane, as well as the likes of Frank Sinatra and even scoring the Marx Brothers film, A Day At The Races, few artists can even come close to the wide ranging impact of Ellington. Having recorded nearly one hundred albums during his career that spanned almost fifty years, it is hard to choose a single album that represents everything that made Ellington so amazing. However, the recording of his bands' 1963 performances in Paris, known as The Great Paris Concert, is undoubtedly one of the greatest live performances ever, as well as one of his finest moments as a composer and band leader.

Following World War Two, Ellington struggled to regain the prominence he had enjoyed for decades. Trying to find his sound again, his career was revitalized by his legendary performance at the 1956 Newport Jazz Festival. Following the performance, Ellington spent the rest of his career touring the world, and spent a considerable amount of that time playing all over Europe. The Great Paris Concert performances occurred during February of 1963, but did not get released until 1973, when Atlantic Records released a double album, containing twenty tracks from the performance. Later, in 1989, an additional ten tracks, which had previously been available on Duke Ellington's Greatest Hits, were added to the album, and this re-release represents the definitive version of the album/performance. The only other difference is that on the re-release, the songs have been equalized differently, and it makes the transitions between songs a bit rougher, though the album still flows quite well from track to track. The songs found on the album are almost all unedited in terms of length, and this gives the listener an amazing view into the stunning talents of both Ellington, as well as a each member of his band. Whether it is his bright horn sections or the beautiful violin work of fellow jazz legend, Ray Nance, the music is absolutely superb, and it is a testament to the skill of both Ellington, as well as the entire band.

Duke Ellington's orchestra was heavy on the brass, containing multiple trumpet, trombone, clarinet, and saxophone players. This gives the music the ability to be loud and swinging, or full and soulful, depending on the demands of the composition. While countless notable musicians served time in the ranks of Ellington's orchestra over the years, the ensemble he has with him for the Paris dates is virtually second to none. As one of the mainstays of Ellington's orchestra, William "Cat" Anderson is by far one of the finest trumpet players in history. His bright, clean tone and fantastic improvisations and solos stand as the highlight of many of the tracks on The Great Paris Concert. Another long standing member of Ellington's orchestra was saxophonist Johnny Hodges, who spent nearly forty years playing brilliantly with Ellington. Working with the likes of Lester Young and Charlie Parker, trumpet player Charles "Cootie" Williams stands as one of the greatest trumpet players in the history of jazz. While he is sensational throughout the album, Williams takes center stage and delivers a brilliant, soulful performance on the aptly titled, "Concerto For Cootie." Whether he was singing, soloing, or leading his section, trombone master, Lawrence Brown was one of the most dynamic and talented pieces of the orchestra, and it is abundantly clear in his performance on this album. The other notable musician on The Great Paris Concert is clarinet master, Russell Procope. As another member of the orchestra with a significant tenure, he remains one of the most important members of the orchestra's history, and his playing on the album is absolutely sensational. Though there are a number of other musicians found on The Great Paris Concert, each plays perfectly, and the resulting sound is a perfect example of how amazing a band leader and composer there lived within Duke Ellington.

Ellington himself was nothing short of a musical genius, always claiming that he played "American music," as opposed to calling it jazz. Ellington is an icon of the world of music for many reasons, beginning with the fact that he led his band from the early 1920's up until his death in 1974. His catalog of compositions contain many of the most famous songs in history, and songs like "Satin Doll," "Don't Get Around Much Anymore," and "The Mooche" can all be found on The Great Paris Concert. Ellington leads the band superbly, as he occasionally shouts out to the band, and it is clear that he is having a blast the entire time. Known for using his orchestra to experiment with new sounds and styles, no genre or mood seems off limits to Ellington or any member of his orchestra. From bop to jazz to swing, the band doesn't miss a note, and Ellington's compositions are sensational, regardless of style of genre. Much of this amazing sound and playing is due to the fact that Ellington wrote many of his pieces to specifically spotlight individual talents within his orchestra. While all of this is true, one cannot look past the fact that, along with being a brilliant composer and band leader, Ellington is a sensational pianist. Whether standing back and letting his band show off or taking solos on his own, Ellington plays flawlessly throughout, and his style has served as the inspiration for countless musicians over the last century. While he proves to be one of the greatest jazz/swing pianists ever, the fact that he is so willing to step back and let his band members shine is one of the many reasons why Duke Ellington and The Great Paris Concert remain so fantastic, decades after its release.

Few names are as instantly recognizable and so easily associated with the genre for which they are famous than Duke Ellington. Standing as one of the greatest and most influential composers and musicians in the history of music, there are few other figures who can be mentioned in the same breath. Responsible for writing many of the most famous songs in history, as well as countless innovations in style and sound, the impact that Ellington had in both music, as well as the world in general, is truly immeasurable. Composing songs in every style from swing to bop to slower, more modal jazz, it is almost impossible to find any Ellington piece that is anything short of amazing. Surrounding himself with the finest musicians in the land, many of the songs are purposefully written to spotlight the talents of a specific player, and this altruistic approach is one of the many aspects that makes Ellington such a legend. Pulling thirty songs from Ellington's orchestra's three week stint in Paris, The Great Paris Concert offers a brilliant cross-section of the bands' talents, as well as the variety in stylistic approaches that make Ellington's music so distinctive. While it is nearly impossible to pick a single "best" album from the five decades of music that he recorded, the release of Duke Ellington's 1963 performances in Paris, The Great Paris Concert, stands as one of the greatest live documents ever, as well as one of the most extraordinary albums ever recorded.



Standout tracks: "Rockin' In Rhythm," "All Of Me," and "Perdido."