July 7: Nina Simone, "Nina Simone Sings The Blues"

Artist: Nina Simone
Album: Nina Simone Sings The Blues
Year: 1967
Label: RCA


There are a handful of artists whose names should be familiar even to the most casual music fan. Amongst those names should undoubtedly be that of one of the most dynamic and captivating singers in music history, Nina Simone. Serving as an influence for nearly every performer who came after her, and even impacting many of her peers, Simone is truly a music icon in every sense of the word. Well known for her somewhat volatile attitude, Simone made albums how SHE wanted them to sound, and this led to some of her most innovative and enduring recordings. Truth be told, there are few artists who have a more diverse, more impressive catalog than Simone, and this fact makes it rather difficult to figure out where to "start" with her music, or even to pick her finest album. However, her first recording after switching to RCA Records, 1967's, Nina Simone Sings The Blues, is one of the most prolific and unique items in her catalog, and it may very well be her finest recorded moment.

Overall, Nina Simone Sings The Blues is a great departure from the sound for which she had become so well known. On her previous releases, she had been backed by a more orchestral sound, yet on this album, it is just her, a pair of guitarists, and a harmonica player. This, in many ways, allows Nina to take a more prominent role, and the mood of the album is quite different from its predecessors. The song selection on Nina Simone Sings The Blues is also a great departure from what had become her "M.O." Simone's friend, Langston Hughes, penned her the civil rights anthem, "Backlash Blues," and Nina's raw, soulful voice is nothing short of perfect on the song. Nina also pays tribute to one of her main influences, Bessie Smith, as she covers "I Want A Little Sugar In My Bowl," though she does change the lyrics. There is also a version of "House Of The Rising Sun" on Nina Simone Sings The Blues. Though she had released a recording of it on her amazing Nina At The Village Gate album in 1962, the song had become a hit for The Animals, and the more up-tempo version found on this recording is a stark contrast to her previous release of the song. However, the more traditional sounds of Simone are also present, as she sings amazingly soulful songs like "Real Real" as well as "My Man's Gone Now" from Porgy and Bess. Though the sound and song selection are quite a shift from he previous releases, the soul and power behind the voice of Nina Simone remain a constant point of cohesion throughout everything she has ever recorded.

Backing Nina Simone is no easy task, as it is clear that the musicians themselves are often as in awe of her sound as the listener. The dual guitars, handled by Eric Gale and Rudy Stevenson, are mellow and soft, yet they bring every bit of soul and blues that one could want. Eric Gale, who started his career playing with artists like Jimmy Smith and King Curtis, would go on to play with the likes of Joe Cocker, Billy Joel, and Aretha Franklin following his work with Nina Simone. Stevenson, who spent nearly his entire career backing Simone, plays a fantastic foil in style to the playing of Gale, and the duo are absolutely stellar throughout the entire record. Drummer Bernard Purdie is also one of the most influential drummers in history, impacting everything from acid jazz to hip hop music. Working with everyone from James Brown to The Rolling Stone to Miles Davis, Purdie also takes musician credit on the soundtrack to Sgt. Pepper's Lonely Hearts Club Band. Though he was perhaps best known for his tenor sax playing, Buddy Lucas also handles harmonica duties on Nina Simone Sings The Blues. Having honed his skills with Big Joe Turner and Albert Ayler, Lucas' playing is absolutely phenomenal, and his harmonica work is truly the key to the albums' authentic feel. Bass player, Bob Bushnell, has one of the most impressive listings of musical credits around, and his work with Louis Armstrong and Van Morrison, along with his regular work on Simone's records make him a true music legend. Rounding out the backing band is organ and keyboard player, Ernie Hayes, and he usually is far in the back on the mix, creating soft, subtle sounds to fill and complete the mood on a few songs. With a very small studio set-up, the combination of Nina's vocals and the brilliant, yet simple music, makes Nina Simone Sings The Blues a wonderfully intimate musical experience.

Powerful, soulful, honest, and often breathtaking are just a few ways in which one can describe the singing of Nina Simone. Her strong, slightly gruff, baritone voice remains one of the most outright stunning and awe inspiring voices the world has ever heard. Whether she is singing leisurely, yet seductively, as on the stunning rendition of "My Man's Gone Now," or pushing the boundaries with her slow and provocative, "Do I Move You?" Simone is truly in top form throughout the entire album. The combination of "Do I Move You" and "Blue For Mama" serve as ideal bookends for the album, and their shared slow, yet alluring mood are simply perfect. Simone pushes further into risqué territory with the sexually fused, rocking blues of "Buck," which was written by her then husband, Andy Stroud. Easily one of the most amazing moments on Nina Simone Sings The Blue comes on the song "In The Dark." Simone, who also plays piano throughout the entire record, truly eclipses the band on this song, and it often seems as if the other musicians are just sort of "hanging out" in the studio while she plays. The song is slow and sultry, and it is also here that the harmonica of Lucas truly shines, becoming almost an echo for Simone's phenomenal vocals. Once again though, the standards of the Simone live set are present in the form of the aforementioned "My Man's Gone Now," as well as fantastic recordings of "I Want a Little Sugar in My Bowl" and "Backlash Blues." It is very much the combination of her standard songs and new tunes that expand the limits of her sound that make Nina Simone Sings The Blues such a phenomenal recording.

There are few who will argue the place of Nina Simone, high atop the list of the greatest vocalists in the history of recorded music. Recording countless albums over her thirty year career, she remained one of the most unique and astounding talents that the world had ever heard. Combining folk, gospel, jazz, blues, and soul like no other ever, the music of Nina Simone never fails to be anything short of powerful and moving, giving her the well deserved nickname of "High Priestess Of Soul." Having been cited as an influence on everyone from Lauryn Hill, David Bowie, and Alicia Keys to having songs covered by artists ranging from Jeff Buckley to Marylin Manson, there are truly very few artists who can claim as wide reaching an influence as Nina Simone. Taking her first record on her new label as an ideal time to experiment with a new sound and style, Simone surrounded herself with some of the finest musicians around, and delivered another stellar musical collection with Nina Simone Sings The Blues. Though it at times may not seem like a "standard" blues album, it is within the singing on Nina Simone that the blues truly live, and it is in this spirit that the album remains a quintessential blues recording. Though she has had more commercially successful records, it is very difficult to argue that Nina Simone's 1967 release, Nina Simone Sings The Blues, is one of, if not the finest, of all of her studio recordings; and it is therefore an unquestionable "must have" for every music collection.



Standout tracks: "Do I Move You?," "In The Dark," and "My Man's Gone Now."

July 6: Pere Ubu, "The Modern Dance"

Artist: Pere Ubu
Album: The Modern Dance
Year: 1978
Label: Blank Records


By far, one of the least known, yet highly influential bands in history, were post-punk pioneers, Pere Ubu. Emerging from the urban wasteland of 1970's Cleveland, OH, the group may be the most influential band in the history of "the rock and roll city." With their "artsy," sparse sound, the band influenced everyone from Joy Division to The Birthday Party, and laid the groundwork for some of the most important bands in the history of punk rock. It can truly be said that every album the band has released over their thirty-five year history is well worth owning. Constantly pushing the boundaries on what can be done musically, the band continues to make amazing, original music to this day. However, there is little question that their finest, and most influential work appears on their 1978 debut, the magnificent recording, The Modern Dance.

Pere Ubu, which was one of the many bands that formed following the break up of Rocket From The Tombs (the Dead Boys also came from the band), took the spirit of "art rock" and infused a heavy dose of punk attitude, creating one of the most unique sounds in history. One of the strangest things that immediately jumps out upon inspecting The Modern Dance is the presence of Kenneth Hamann as producer. Best known for his work with Mel Tormé and Grand Funk Railroad, it seems quite puzzling that he would work with such an avant band on their debut record. Yet, it is perhaps due to his work that the band comes across so clearly, even with their strange, somewhat chaotic sound. The album itself was recorded over the course of three sessions, spanning nearly two years, and three different studios. Such inconsistency often leads to results that are less than stellar, yet the sound on The Modern Dance is amazingly cohesive, and the songs fit together as if they were recorded in a single afternoon. It is this ability to make the complex and avant seem so simple and second nature that makes Pere Ubu such a sensational group of musicians. Taking the experimental approach of artists like Frank Zappa and The Velvet Underground, and spinning a punk sense of urgency over it, the music of Pere Ubu is truly like nothing else in history.

Musically, the close relation to The Dead Boys quickly becomes quite obvious, and in many ways, the only difference between the bands is the volume of the music and the fact that Pere Ubu are far more musically experimental. Guitarist Tom Herman is, by far, one of the most underrated guitarists in the entire history of recorded music. Invoking the spirit of Chuck Berry as much as Johnny Ramone, his performance throughout The Modern Dance is simply fantastic. Yet it is also his ability to play lightning fast chords as much as wildly strange progressions that gives the songs much of their almost eerie mood. The rhythm section of Tony Maimone and Scott Kraus may very well be the most underrated rhythm section ever. Masterfully deploying some of the most sparse, yet complex beats anywhere, the duo click perfectly, and the backbone they create is often stunning. Though Maimone went on to work with musicians like Frank Black (The Pixies) and They Might Be Giants, it is his work with Pere Ubu that makes him one of the greatest percussionists in history. Maimone and Krauss' performance on songs like "Chinese Radiation" and "Street Waves" are truly phenomenal, and it is on songs like these that one realizes that the music of Pere Ubu was amazingly far ahead of its time. The final element that makes the music of Pere Ubu so unique is the multi-instrumental work of Allen Ravenstine. In many ways serving as what would now be considered a DJ, Ravenstine plays keyboards, synthesizers, saxophone, as well as providing many of the odd sound effects that are heard throughout The Modern Dance. It is very much Ravenstines' approach to the synthesizer that makes him unique; as he uses it more to create moods and sounds as opposed to "playing" it in a formal sense. The combination of the superb musicianship and dedication to innovation that makes the music of Pere Ubu so phenomenal.

After just a few moments of listening, it is quite clear that the vocals of David Thomas had a massive influence on Jello Bifara. With his strange pitched singing and unique sense of rhythm, there are few vocalists who can compare to Thomas. Whether he is delivering slow, spoken, outright spooky lyrics as on "Sentimental Journey" or crying out in angst on "Non-Alignment Pact," David Thomas is undeniably one of the most talented and extraordinary vocalists to ever step into a recording booth. Often sounding somewhat disjointed from the music, Thomas sometimes comes off as if he is talking to himself and happens to be near a microphone. Yet, after a few listenings, it is clear that this guise is simply the genius that lies within Thomas. Lyrically, The Modern Dance follows the punk rock "norm," with songs of revolution, apathy, and general angst. The first track on the album, "Non-Alignment Pact," is one of the most creatively spun, yet completely simple songs of romantic disillusionment. Overall, it is one of the most brilliant, straightforward rock songs ever recorded, and it is this song that so many bands took influence from, and it would be impossible to count the number of times the song has been covered. While the band members of Pere Ubu are easily some of the finest in the history of punk rock, it is the vocals of David Thomas that take the band to the next level, and have made them into the underground icons that they remain to this day.

Take the soundscapes of Pink Floyd, the avant nature of Frank Zappa, and the pure energy of Iggy Pop, and you might have something that isn't quite exactly like the music of Pere Ubu. Truly an anomaly of the music world, they remain one of the most influential, yet unknown bands that the world has ever heard. With one of the most accomplished rhythm sections ever, and the top notch guitar work of Tom Herman, along with the unique sounds created by Allen Ravenstine, there are still very few bands that match up talent-wise. Adding in the unmistakable, unparalleled vocal stylings of David Thomas, the music of Pere Ubu is truly awe-inspiring and must be experienced to be properly understood. Often pushing the envelope on what "is" music, the musicians of Pere Ubu created some of the most original, yet undeniably amazing music that had ever been heard, and the albums' influence is still very much felt to this day. Though their entire recorded catalog is worth owning, it is their 1978 debut, The Modern Dance, that is their finest work, and well beyond an essential album for every collection.



Standout tracks: "Non-Alignment Pact," "The Modern Dance," and "Sentimental Journey."

July 5: Cypress Hill, "Cypress Hill"

Artist: Cypress Hill
Album: Cypress Hill
Year: 1991
Label: Ruff House


What Latino group or singer was the first to have a platinum album in the U.S.? No, it wasn't Jose Feliciano, Charo, or even Santana. That particular claim to fame belongs to a trio of hip hop legends known as Cypress Hill. Half N.W.A., half Cheech and Chong, there has truly ever been another hip hop group that sounds quite like Cypress Hill. Bringing a bouncing, funky sound with the sharp, unique vocals of B-Real and Sen-Dog, Cypress Hill are living legends in the world of hip hop. Perhaps best known for their affinity for marijuana, there is far more behind this sensational group than a bunch of stoner anthems. More than twenty years and seven albums into their career, the group is still going strong, and are one of the most highly respected groups in the history of hip hop. While their second album, Black Sunday, was more commercially successful, it is on the group's 1991 self titled debut that the true musical and lyrical mastery shines brightest.

Cypress Hill came out during the strange point in hip hop history where N.W.A. was fading away, and albums like The Chronic and Doggystyle were still more than a year away. The lack of a "standard" sound left the gates wide open for experimentation, and the sound that Cypress Hill presented would, in fact, become the archetype that artists to this day follow. Yet, the album itself took quite some time to break through, with the lead single not even charting until nearly seven months after the albums' release. However, once the single and album began gaining an underground following, the group exploded worldwide, and would go on to be featured on the second Lollapalooza tour as well as receiving countless accolades from many music publications. The success of Cypress Hill also gained the group an appearance on The Simpsons, and the album itself was in the top fifty of nearly every "best of the 90's" list. To this day, Cypress Hill sounds fresh and relevant, and it is due to the exceptional music and lyrics found on the record, as well as the attitude of the group members that comes though clearly on every song. It is almost impossible to picture a hip hop scene without the presence of Cypress Hill, and the formula perfected on the album has been copied countless times since its release, yet none have come close to the quality found on the original.

The music, beats, and samples created by DJ Muggs are easily some of the most fantastic and recognizable music anywhere in hip hop. The album, created before the onset of huge copyright issues and costs for sampling, finds DJ Muggs constructing perfect musical textures for the emcees, and the unorthodox choice in songs to loop make Cypress Hill an instant classic. Mixing everything from Gene Chandler's "Duke Of Earl" to Suicidal Tendencies' "Institutionalized," it is the sounds from DJ Muggs that gives the group much of their "hardcore" sound. Cypress Hill's lead single, "The Phuncky Feel One," is powered by Muggs' brilliant mixing of classic funk riffs, from James Brown to The Isley Brothers. It is also due to this sound that Cypress Hill, much like the Beastie Boys and Public Enemy, were able to gain fans from both the hip hop as well as rock genres, and bridge the two together. The music that is featured on Cypress Hill became THE blueprint for hip hop, influencing everything that came after it, including nearly every one of the early Death Row Records releases. The lulling, laid back sounds with a perfect mixture of funky grooves and thumping bass became the sound that would vault hip hop music to the top of the music world and it began with this record.

As amazing as the music and beats on Cypress Hill are, the group has always been defined by the vocal stylings of B-Real and Sen-Dog. B-Real (real name Louis Freese) may have THE most recognizable voice in the entire history of hip hop music. Higher pitched and nasal, there has never been anyone who sounded even remotely like B-Real. While their later albums focused primarily on marijuana, on their debut record, Cypress Hill present a few other themes, and this is one of the main reasons the album is their finest work. Though Sen-Dog brings his more hardcore and aggressive rhyming style, it is B-Real that is the true heart behind the groups lyrics. Easily one of the most creative lyricists in the history of hip hop, B-Real's lyrics run the gamut from funny to angry to outright scary. Whether he is rhyming about crooked cops or flipping nursery rhyme style murder raps, filled with black humor, B-Real's style and substance are simply stunning. Cypress Hill's opening track, "Pigs" is a perfect example of B-Real's laid back delivery, with an amazing juxtaposition of rapping style and lyrical content. Though they weren't the first to do it, both B-Real and Sen-Dog flip their lyrics between English and Spanish, and it gives their lyrics and entirely new depth. This is no more present than on the aptly named, "Latin Lingo," which overall perfectly represents the dual ancestry of each member of the group. It is not only how the rhymes are delivered on Cypress Hill, but the content and tone in which they are rapped that makes the album so sensational, and similarly makes it a cornerstone of hip hop music.

When it comes to the innovators and icons of hip hop, Cypress Hill is often marginalized due to the content of their rhymes. However, it is impossible to deny their importance, as they were an integral part in pushing the genre forward, and their sound remains one of the most copied styles in history. Bringing original, funky music, pounding yet hazy beats, and some of the most catchy and perfectly places samples in history, DJ Muggs remains one of the most highly respected DJ's and producers in the music world. B-Real's lyrics are creative, clever, and yet the constant slightly sarcastic and playful nature of his rhymes often makes his sound come off as even more menacing that those who intentionally try and sound "dangerous." Though each member of Cypress Hill has found success outside of the group (clothing lines, producing other artists, radio shows, etc), the trio remains together after more than twenty years, and their music is as good as ever. Bringing a sound and style that had never before been heard, in a time when the entire genre of hip hop was hanging in the balance, the 1991 self titled debut from Cypress Hill not only breathed new life into the genre, but opened countless new doors and became the blueprint by which an incalculable number of artists have followed since.



Standout tracks: "Pigs," "How I Could Just Kill A Man," and "The Phuncky Feel One."

July 4: Bruce Springsteen, "Born In The U.S.A."

Artist: Bruce Springsteen
Album: Born In The U.S.A.
Year: 1984
Label: Columbia


When it comes to icons of American music, there are very few who hold the status of New Jersey's Bruce Springsteen. One of history's greatest and most dynamic musicians, Springsteen has managed to always play "his" brand of music, while simultaneously achieving great commercial success. Taking as much influence from Woody Guthrie and Bob Dylan as he did from The Rolling Stones and The Who, Springsteens' music runs from quiet would all the way to rock and roll anthems. By the time 1984 rolled around, Springsteen was already a household name thanks to legendary albums like Born To Run and Nebraska. Constantly presenting a sound and lyrics that all could relate to, with simple tales of common struggle, Springsteen was largely held as the "working man's rock star." However, shifting gears and concentrating on much more grandiose musical arrangements, his 1984 record, Born In The U.S.A. still stands today as his finest musical achievement.

Without a doubt, Born In The U.S.A. represents Springsteen's greatest commercial success. The album reached number one in nearly ten countries, and has sold over twenty-five million copies worldwide. More than half of the songs on Born In The U.S.A. were released as singles, with every one of the breaking into the top ten. While on the surface, the fact that all seven singles reached the top ten may not seem significant, the truth is, it has only happened on two other occasions. The only other times that a single album as yielded seven singles came on Michael Jackson's Thirller, and his sister, Janet's, Rhythm Nation 1814. The lead single, "Dancer In The Dark," shot to the second spot on the charts, becoming the highest charting song of Springsteen's career, and led to over one million copies of the album being sold in the first month of its release. Much of the success behind the album comes from the trio of producers in Springsteen, Steven VanZandt, and Chuck Plotkin. This trio world together on many of Springsteen's records, and their ability to keep the band focused, yet innovative, is what gives the album much of it's greatness. Having found success with everyone from The Who to Paul McCartney, one also cannot overlook the amazing work and contributions of engineer Bob Clearmountain. While the folks "behind the glass" had a large impact on how the final product sounded, their job was relatively easy due to the phenomenal level of talent that was working in the studio.

Bruce Springsteen's "E Street Band" has long stood as one of the most talented backing groups in the music world. Perhaps the most significant part of the incarnation of The E Street Band featured on Born In The U.S.A. is that it would be the last appearance of guitarist Steven Van Zandt for well over a decade. Easily one of the most accomplished songwriters and guitarists of his generation, the song "Bobby Jean" is largely considered to be about Van Zandt and his departure from the band. Though he achieved much of his notoriety in another role, drummer Max Weinberg is similarly one of the most recognizable musicians within The E Street Band. Holding the position since the early 1970's, Weinberg remains one of the most highly respected drummers on the planet, even having enough leverage to get TV network NBC to allow him temporarily out of his contract so he could tour with Springsteen. Three of the members of Born In The U.S.A.'s incarnation of The E Street Band are, in fact, original members. Sax player Clarence Clemons, bassist Garry Tallent, and organ player Danny Federici all spend nearly their entire musical careers backing Springsteen. Clemons played with the likes of Aretha Franklin and Ringo Starr as well as being offered a position as a player with the Cleveland Browns before he ended up in the band. Danny Federici was trained to play polka on the accordion, and this talent was featured throughout the Springsteen catalog until Federici's death in 2008. Garry Tallent is one of the more "invisible" members of the band, yet his sound and work on bass is an essential element to the bands' overall sound. While Bruce Springsteen always commands center stage, the grouping of musicians he had behind him on Born In The U.S.A. is much of the reason that the album was so successful.

While Springsteen's slightly raspy voice and fantastic vocal delivery are top notch, it is his lyrical content that makes him the superstar that he is today. Even with all of the success and recognition that it received, Born In The U.S.A. still stands as one of the most widely misinterpreted albums in history; perhaps no song more than the title track. While most consider the song, "Born In The U.S.A." to be an American anthem, the truth is, the song was written about Springsteen's friends who fought (and died) in the Vietnam War. The song follows a working class draftee who fights, then returns to the U.S. to find he has nothing. Taking the Battle of Khe Sanh (feel free to google that) as the focal point and analogy for the entire war, Springsteen crafts a perfect juxtaposition between dark, somber lyrics, and bright, rocking music. The song is also remembered for the controversy behind it being used (without permission) during the re-election campaign of Ronald Regan in 1984. The song is consistent with Springsteen's long-running tales of the downtrodden and the working class and their daily struggles. From the heart-wrenching "Downbound Train" to the racially infused, tale of economic struggle in "My Hometown," Springsteen proves over and over his amazing talent for penning phenomenal lyrics. Yet, Springsteen also offers a few more upbeat, jovial numbers. "Darlington Country" is a whimsical tale of traveling into a new town and trying to impress the local girls with the fact that they were from New York. The song, which was a live staple, did not appear for nearly eight years following the attacks of September 11, 2001. The other more upbeat treasure found on Born In The U.S.A. remains one of Springsteen's most popular anthems, "Glory Days." A tale of an older man reminiscing on his younger days, the bouncing beat and "everyman" lyrics make it one of the most heavily played, most recognizable, and most beloved songs of Springsteen's entire career. Nearly every song on Born In The U.S.A. is a "Springsteen classic," and as is often the case, while Bruce Springsteen has a superb voice, it is usually overshadowed by his stunning lyrics.

For nearly forty years, Bruce Springsteen has been an American music icon, representing and singing the struggles of the working man and middle class. Having authored countless "American anthems," Born In The U.S.A. features many of his finest moments, including the title track, his most successful single, and the stadium regular, "Glory Days." Shifting to a far more pop oriented sound, the inclusion of prominent synthesizer tracks gave many of the songs their "anthemic" feel, and the album represents Springsteen's shift to the next stage of his career. The shift in sound and style was also represented by the departure of longtime friend and guitarist, Steven Van Zandt. Behind Springsteen has always been a collection of the greatest musicians on the planet, and this grouping is no different, with The E Street Band in top form throughout the entire record. While Bruce Springsteen had already achieved worldwide success on the strength of his melancholy, yet honest and universally themed albums, it was his 1984 release, Born In The U.S.A. that cemented his status as a true musical icon and the album still stands as one of the most phenomenal pieces of recorded music in history.



Standout tracks: "Born In The U.S.A.," "Downbound Train," and "Dancer In The Dark."

July 3: Muddy Waters, "At Newport"

Artist: Muddy Waters
Album: At Newport
Year: 1960
Label: Chess


Finding amazing, complete albums from the 1940's and 1950's is especially difficult because most musicians were recorded for singles, or shared releases. Due to this, many artists who had been established for decades did not see an actual LP release until the late 1950's or 1960's. Though he had been performing live since the early 1940's and released a handful of successful singles, blues legend Muddy Waters (real name McKinley Morganfield) did not have a "record" until a "best of" collection in 1958. What sets Waters' sound apart has always been the way in which he incorporates the method of playing "microtones" with a traditional Delta blues style, and it is also what made his sound almost impossible to copy. Considered by most to be the "father" of the "Chicago blues" style, the work of Waters has influenced countless artists since, and he is also considered one of the greatest guitar players ever. Finally, in 1960, he became a household name with the release of his sensational live album (and in many ways, first "true" LP), At Newport.

Recorded live at the Newport Jazz Festival on July 3, 1960, and released just months later, the truth of the matter is, for an overwhelming majority of the world, Waters' At Newport was their first exposure to live blues performance. Nearly fifty years later, the performance is still stunning and an excellent introduction to both Waters' sound and style, as well as live blues in general. Yet, one must step back and realize the significance of the performance itself; that being a blues musician at a jazz festival. It is impossible to understate the impact that Waters' performance at the festival had on bringing the "jazz crowd" into the blues scene. The recording presents Muddy Waters at the top of his game, and the song selection is fantastic, presenting many of his "classics," as well as new material, including the first live performance of "I Got My Brand On You." The audio mix on At Newport is absolutely perfect, and the balance of all of the instruments gives the record as good a live representation as can be heard anywhere. While Waters is understandably at front and center, the quality of the recording is so good, that one can truly hear how essential each member of the band was to the overall sound and mood of the songs.

While Muddy Waters himself is an undeniable talent, the backing band he has with him for At Newport is so amazing, that they must too be recognized. Easily one of the greatest and most respected harmonica players in history, James Cotton worked with the likes of Big Mama Thorton, Led Zeppelin, Howlin' Wolf, Janis Joplin, and countless others, along with his time with Waters. From slow, crying riffs to lightning fast solos, there is nothing Cotton can't do, and while he is rarely equaled in talent, he is truly awe inspiring on At Newport. Many will argue that there has never been a finer Chicago pianist than Otis Spann. Aside from working with Muddy Waters, Spann played with musicians like Bo Diddley, Eric Clapton, and B.B. King among many other artists. Often giving the songs their "bounce," Spann's playing is second to none, and this chance to experience his live show is a gem in music history. Bringing a second guitar to the performance is guitar legend, Pat Hare. Known for his non-traditional rockabilly and purposefully distorted sounds, Hare laid much of the experimental groundwork that fellow legends like Ike Turner and Jimi Hendrix would follow and develop. Waters' longtime bassist, Andrew Stephenson (often credited as Andrew Stevenson) is on hand for At Newport, and he is, as always, in top form and perfectly rounds out the band. The band is absolutely on fire when they tear into the Preston Foster classic, "I've Got My Mojo Workin'." Though many artists have recorded the song since, once one experiences the live version featured on At Newport, it becomes clear that there has truly never been a better rendition in history.

At the center of this group of amazing musicians is the man himself, the one and only, Muddy Waters. From his moaning, singing guitar to his unmistakable vocal performance, there are truly few that can even be mentioned in the same breath as Waters. Waters' up-tempo, strong voice has always set him aside from the quieter, more laid back blues singers, and this is very much the reason Waters is considered to be the pinnacle of "Chicago style" blues. Constantly working the audience with his call and response lyrics as well as a more jovial spirit than many of his peers, Waters' shows and recordings are always a uniquely enjoyable musical experience. On At Newport, Waters shines on guitar as well, trading riffs and solos with Pat Hare, and the interplay between the two musicians is truly stunning. Lyrically, Waters sings as soulful and honest as any other blues master, yet his words always seem to have a bit of "tongue in cheek" to them. This may be, perhaps, due to the fact that many of his biggest hits (and in fact, EVERY song on At Newport) were written by other people. Many of Waters' most famous songs were written by Willie Dixon or the aforementioned Foster, yet members of Waters' band as well as Waters himself also contribute a number of songs to the overall Waters catalog. Whether it is "Tiger In Your Tank" or "Got My Mojo Workin'," it is clear that, while he is clearly performing blues music, he is also having a great deal of fun in doing so. Another notable performance here is the presence of the Dixon song, "Hoochie Coochie Man," which Waters made famous. From deep, slow blues to more swinging, upbeat blues, At Newport features everything that makes Muddy Waters the brilliant and timeless performer that he is, and the album presents him and his band in top form.

Many people, myself included, feel that the true measure of a musician is how they perform in a live setting. Without the comfort and "magic" of a studio session, musicians must rely on little other than their raw talent and personality. Muddy Waters' At Newport proves without a doubt that he has an overwhelming amount of both of these essential traits. A true "breakthrough" performance, his presence at the 1960 Newport Jazz Festival can very much be seen as a turning point in music, as jazz fans received a phenomenal introduction to a new style of blues music. Though it didn't hurt that he was backed by a trio of the most accomplished and talented musicians in blues history, Waters' amazing personality and flawless musicianship catapults this album high atop the list of recorded classics. At Newport has been released a number of times over the decades, and the best version happens to be the 2001 release from MCA, which features a remastering that raises the level of bass work, as well as features four bonus tracks recorded in Chicago in June of 1960. While only scattered 45's exist from Muddy Waters pre-1960, At Newport quickly catches everyone up to what made him such a fantastic and revered musician. Waters and his band are absolutely unbelievable throughout the entire album, and the set closing performance of "I've Got My Mojo Workin'" is said to have had the audience LITERALLY dancing in the aisles. Perfectly capturing a landmark moment in music history, Muddy Waters' 1960 live release, At Newport, still stands as not only one of the most remarkable blues and live albums, but undoubtedly one of the most important and extraordinary recordings in the overall history of music.



Standout tracks: "I've Got My Brand On You," "Tiger In Your Tank," and "I've Got My Mojo Workin'."

July 2: Joni Mitchell, "Court And Spark"

Artist: Joni Mitchell
Album: Court And Spark
Year: 1974
Label: Asylum


Hundreds of years from now, when critics look back to decide the most influential female musician of the 20th century, one of the few names that will rise to the top will undoubtedly be Joni Mitchell. Challenging every notion of how music should sound and where a womans' place was in music, Mitchell is truly an iconoclast. When it comes to artists who constantly tried new styles, molding them into her own new creation, regardless of what the public or her record label said, again, Mitchell stands atop the list. From jazz to folk to blues to pop, Joni Mitchell truly knows no musical bounds, and she constantly excels in each style she attempts. While her 1971 release, Blue, still stands as one of the greatest "singer/songwriter" recordings in history, it is on her 1974 album, Court And Spark, where all of her brilliance shines perfectly.

Artists from George Michael to Counting Crows to Janet Jackson have covered Joni Mitchell's music over the years, and the impact that she had on the rise of the solo female artists is immeasurable. While Court And Spark did not top the charts (it stalled at number two, behind albums from Bob Dylan, Barbara Streisand, and John Denver while at number two), it remains Mitchell's greatest commercial success and has sold over two million copies. Much of this success is due to the fact that on Court And Spark, Joni Michell presents an absolutely brilliant fusion of her "folk rock" style with elements of jazz, making for a truly unique musical sound. Yet it is very much the cast of characters who lent their talents to the record that makes it so fantastic. Stephen Stills and David Crosby offer backing vocals on "Free Man In Paris," while Robbie Robertson (The Band) plays a brilliant guitar on "Raised On Robbery." That being said, the most noticeable guest appearances are that of guitar great, Jose Feliciano on "Free Man In Paris" as well as comedy legends, Cheech and Chong, who provide backing vocals on "Twisted." Court And Spark also yielded one of Michell's most successful singles in the form of the legendary song, "Help Me." The song reached number seven on the Billboard charts, and still stands and Mitchell's only "top ten" single.

Joni Mitchell's backing band, which contains only two other regular members, happens to contain two of the most accomplished musicians in history. Though most do not recognize the name of bass player Wilton Felder, there are truly few bassist with as amazing a resume. Aside from being a founding member of The Crusaders, Felder played with artists from Marvin Gaye to John Cale, as well as playing on Billy Joel's Piano Man. However, his biggest claim to fame comes from his work with the Jackson 5, including being the bassist on the hit single, "I Want You Back." Drummer John Guerin is truly a legend within the music business. Having played with everyone from Frank Sinatra and Ella Fitzgerald to Frank Zappa and George Harrison, he is also known for being the drummer on the theme for the TV show, Hawaii Five-O. Obviously, with these two accomplished musicians in tow, along with her own amazing talents, the success of Joni Mitchell's Court And Spark was pretty much inevitable. Mitchell herself is as talented a musician as she is a singer and songwriter. Playing acoustic guitar, piano, as well as clavinet on the record, it is in her sound that one can hear the blueprint for modern artists like Tori Amos, Liz Phair, as well as the Indigo Girls. Though many artists have tried to meld folk with jazz, few artists have found the musical combination as well as Joni Mitchell presents on Court And Spark.

Joni Mitchell possesses one of the most pure and honest voices in the history of recorded music. Always singing clear and strong, Mitchell rarely hides anything, and the soul and emotion of her lyrics is constantly conveyed flawlessly. The honesty and introspection that makes her music so stunning is perhaps no more clear than on the song, "The Same Situation." While the music exudes confidence and artistry, the lyrics are some of the most raw and universal words of self doubt that Mitchell has ever penned. The juxtaposition between the music and lyrics is what makes the sound and artistry of Joni Mitchell so awe inspiring. Lyrically, not only is Court And Spark truly brilliant, but it is the beginning of Joni Mitchell branching out thematically. From the soul-bearing loves songs that made Blue so amazing, to sounds filled with double meanings, like "Car On The Hill," Court And Spark is a fanstastic lyrical collection. "Free Man In Paris," one of Mitchell's best known songs, is a vivid description of the trip she and David Geffen took to Paris, and for some time, the music was used as the "theme" for CBC's Saturday Evening News. Yet, below the surface of the tale, there is a clear theme in which Mitchell indicts the music industry for their constant scheming and poor treatment of artists. Easily one of Mitchell's more amusing efforts, "Raised On Robbery" is an upbeat, sarcastic, yet true look into the exploitative nature of the "singles" bar scene.

There are very few who will argue that Joni Mitchell receives the amount of credit she deserves for the impact she has had on the world of music. Refusing to "go with the flow," it is very much Mitchell who made it "acceptable" for female artists to be as aggressive and independent musically as they are today. Constantly making the records that "she" wanted to, many labels passed over her in favor of more "compromising" artists. Even without much support from her record label or music critics, the public understood and treasured the immense talent that laid within Mitchell, and she remains one of the most highly respected musicians in history. Having set the standard for lyrical honestly and introspection with her heart-wrenching 1971 release, Blue, Mitchell took to fusing her folk-rock sound together with jazz, which had rarely been done well before. With a cast of stellar guest musicians, and her undeniably gifted "regular" band, the fusion of styles is pulled off masterfully, and the album set the standard for the style. Presenting a group of lyrics that are equal, if not better than her previous work, there are few artists who have as amazing a writing talent as Mitchell. Largely responsible for the later success of everyone from Fiona Apple to Madonna to Patti Smith, one would truly be hard pressed to find an artist who stayed so fiercely independent, yet was able to find enough commercial success to stay "in the business." A shrewd, yet perfectly polished collection of stellar rock-folk-jazz fusion, Joni Mitchell's 1974 release, Court And Spark, stands as perhaps her finest musical effort, and easily one of the most brilliant records ever recorded.



Standout tracks: "Help Me," "Free Man In Paris," and "Raised On Robbery."

July 1: Melvins, "Houdini"

Artist: Melvins
Album: Houdini
Year: 1993
Label: Atlantic


While Metallica's metal always had a bit of pop appeal, Megadeth was all about speed, and The Misfits brought a heavy influence of punk rock, Aberdeen, Washington trio, Melvins, "kept it real" with their brand of "black," "sludge" metal. Taking heavy influence from the sound of Black Sabbath and seminal punk bands like Flipper and Black Flag, and subscribing to the "less is more" mentality, the trio create some of the most dark and devastating music the world has ever heard. Melvins had a profound influence on the entire "grunge" scene of the early 1990's, and traces of their sound can be heard in everything from Alice In Chains to White Zombie to Nirvana. More recent acts like Tool, Dillinger Escape Plan, and Karp also take much of their sound from Melvins, while the band Boris lifted their name directly from a Melvins song. By the time 1993 rolled around, Melvins had already released a number of great albums on a few different labels. Yet, with their first "major label" release, their sound comes together perfectly, and Houdini stands today as their greatest, and perhaps most accessible album to date.

Throughout their career, Melvins have been known for making the albums' that "they" want, in the exact manner they see fit, regardless of what "their sound" is supposed to be. Never taking themselves too seriously, they have also made themselves a name for their laid back, if not comical attitude. However, there is a good chance that Houdini would have never gained wide release had it not been for the efforts of fellow Aberdeen resident, Kurt Cobain. Melvins had opened for Nirvana on tour, and Cobain was admittedly a huge fan of the group. Also, Melvins drummer, Dale Crover, was the drummer for Cobain's first band, the aptly named, Fecal Matter. In reality, it was almost completely due to the work of Cobain that Atlantic Records signed Melvins; though they would be dropped from the label after only three (fantastic) records. Not only did he get the band signed, but Cobain produced a number of the songs found on Houdini, as well as adding guitar to "Sky Pup" and percussion to "Spread Eagle Beagle." Houdini presents a fantastic blueprint for metal bands who wanted to "stay" metal, and the formula presented by Melvins is still followed by countless bands to this day. One other note about the album is that the cover was done by then rising artist, Frank Kozik, who is now one of the most in demand poster and comic artists on the planet.

The music of Melvins is truly crushing, pulverizing, and as sonically gigantic as anything ever recorded. The sound is very dark throughout, and Houdini presents the quintessential fusion of heavy metal and hardcore music. Massive guitar riffs from King Buzzo make up the core of the music, and his guitar riffs pull as much from Greg Ginn (Black Flag) in their urgency as they do the sheer power and mood of Black Sabbath's Tony Iommi. Drummer Dave Crover, who also was the drummer on the 1988 demos for Nirvana that are featured on Nirvana's With The Lights Out, is easily one of the most talented percussionists anywhere, and whether playing lightning fast beats or creating amazing, non-traditional percussive tracks, his talent is truly second to none. The true percussive genius and range of Crover is featured on the ten-minute-plus musical experiment, "Spread Eagle Beagle." Even with both of these skilled musicians, perhaps the most intriguing member of Melvins was their bass player, Lorax. Lorax (real name: Lori Black), was not only significant for being a female musician in a genre dominated by men, but she also held the distinction of being the child of Shirley Temple and Charles Alden Black. Distancing herself as much as possible from the image of her famous parents, her musicianship is top notch, and her trudging riffs and flawless playing are the absolute key to the dark, somewhat sinister mood found throughout Houdini.

While Crover adds vocals on spots on Houdini, it is, as with nearly all of Melvin's catalog, King Buzzo who handles an overwhelming majority of the vocal work. Buzzo, AKA Buzz Osborne, was born Roger Osborne, started his music career as the bass player in the aforementioned Fecal Matter. Taking the anger and angst from many of the early hardcore singers, and combining it with the somewhat haunting and menacing mood of singers like Ozzy and Iron Maiden's Paul Di'Anno, the vocals of King Buzzo are a perfect fit for the musical mood. Delivering the vocals somewhere between singing and screaming, his deep, growling voice has been imitated countless times since, and the style has become almost cliché among dark metal bands. Though they are sometimes lost behind the ominous music, the lyrics found on Houdini are as well crafted as the music behind them. Strangely (in many opinions), the songs are mostly exceptionally well written lyrics about women and relationships. The juxtaposition between the grim music and the strangely bright lyrics is perhaps no more clear than on the song, "Set Me Straight" when King Buzzo sings, "...it's times like this, Baby that makes it all seem worthwhile...I'm lookin' for something that I can find in a smile..." All of the singing on Houdini is truly fantastic, and King Buzzo's deep, snarling voice fuses superbly with the music. Yet, the irony of "what" he is singing perfectly sums up the contrast and even humor for which the band so well known and loved.

Melvins represent one of the countless bands who had incalculable impact on the world of music, yet never personally achieved great musical success. Their music had immeasurable influence on the shape and sound of what was called the "grunge" movement, and it also set the standard for what is now called "doom" or "black" metal. Though they most likely would have never even gained major label attention had it not been for the influence of Nirvana's Kurt Cobain, the truth is that, even before they were signed to Atlantic Records, their impact on music was already so great that it was being heard in the biggest albums of the day. Largely due to the enormous amount of talent within the band, the catalog of Melvins is rather hard to narrow down to a single record that represents "everything" about the band. However, Houdini presents the trio in top form, and is easily one of their greatest and most universally reachable musical achievements. With its combination of flawless musicianship, tremendous, grinding music, and truly stellar vocals, all with enough "musicality" to be more accessible than most albums of the genre make Melvins' 1993 release, Houdini, a monumental, and genuinely indispensable album.



Standout tracks: "Hooch," "Honey Bucket," and "Joan Of Arc."