November 3: Fugazi, "Repeater"

Artist: Fugazi
Album: Repeater
Year: 1990
Label: Dischord


Most artists have enough trouble making a single band successful, and in the case of a rare few, an artist may be lucky enough to have moderate success with a second band or as a solo artist. However, there are a distinct, elite group of music icons who seem to find musical success in every musical endeavor that they attempt. The names of these music legends rank among the most hallowed in history, and the mere mention of their name demands the utmost respect. In this group of masters of music is the man who, along with being a part of one of the most important early punk bands, found even more influential success later in his career, and has proved over the last three decades that his musical mastery knows no boundaries. Playing a vital role in the emergence of the Washington, DC punk scene as a member of The Teen Idles, and later fronting the cities most definitive hardcore band, Minor Threat, as well as running the most well respected and longest running independent record label, Dischord Records, Ian MacKaye is truly a musical anomaly. Obviously, his more recent work as one-half of The Evens makes his status in the overall picture of music even more amazing. However, during the time after Minor Threat called it a career, and before The Evens formed, MacKaye assembled what was, in many ways, the ultimate "anti-corporate" band, the equally legendary, Fugazi. By far one of the most musically creative and talented project of all of MacKayes' work, the band left nothing to question and silenced all critics with their absolutely stunning 1990 debut, the truly incomparable, Repeater.

Taking on every aspect of capitalist America, Repeater is by far one of the most intellegent and socially aware "political" records ever recorded. Truth be told, the ethics and non-musical approach of Fugazi may be one of the few things that garnered as much attention as the music itself. Representing the most pure form of "D.I.Y." music, the band was notorious for their five dollar concerts, ten dollar CD's (in a time when AT LEAST fifteen was the going rate), and high level of community activism, the band was more than just a music act, they were a culture and scene onto themselves. The album was, in fact, released twice during 1990, with two distinct versions. The original release of Repeater was released in January, with the original eleven tracks. After the initial pressing sold out, the band added the three songs that originally appeared on the 3 Songs EP and altered the album title to Repeater +3 Songs. Fugazi represents the epitome of a band that has no sense of humor, as their songs were hard-hitting, devoid of filler, and yet beautifully written. In many ways, one can see Fugazi as an updated version of Gang Of Four, as their sparse, yet complex musical arrangements and unrelenting vocals and lyrics bear a slight resemblance to the former band. Repeater perfectly captures everything that makes them such a highly regarded band, and the only thing that comes close to the power of the band is the amazing level of musicianship found on every song.

Musically, Fugazi is far and away the most sonically gifted of all of the hardcore bands, and similarly the most instrumentally aimed and adventurous of all of MayKaye's projects. To this point, Repeater features what is almost a "taboo" within the punk and hardcore scenes: an instrumental track. The song, simply titled "Brendan #1," stands as one of the pivotal moments in hardcore music, and it proved that one truly does not need lyrics to have musical impact within the confines of the punk ethos. This is largely due to the overwhelming amount of talent and chemistry within Fugazi's four band members. Representing what may very well be the most skilled rhythm section in the history of music, drummer Brendan Canty and bassist Joe Lally rise far above the title of "musical icons." Creating some of the most original and non-traditional rhythms ever recorded, the duo are nothing short of stunning and are able to make even the most seemingly laid back song hit with awesome force and amazing musicality. The other half of the band can stake claim to the title of "best guitar duo in the same band in history." The way in which Guy Picciotto and Ian MacKaye play with and around one another is truly stunning to hear, and the patterns that they create remain unrivaled anywhere else in music. Constantly switching between lead and rhythm, the sounds created by Picciotto and MacKaye truly must be experienced firsthand to be properly appreciated. The combination of the four fantastic musicians reaches full fruition on every track, yet it is songs like the blistering title track, as well as the absolutely phenomenal "Sieve-Fisted Find" that truly put all of Fugazi's brilliance on display.

Along with splitting the guitar playing on Repeater, Picciotto and MacKaye also stand as one of the most extraordinary vocal pairings in recorded history. With two extremely distinctive voices and vocal approaches, the duo somehow fit perfectly with the others' sound. While MacKaye brings his signature sing-speak that he perfected in his days with Minor Threat, Picciotto possesses one of the most wonderfully distinctive voices of his generation, and every vocal that he sings or screams is absolutely perfect. Throughout Repeater, Picciotto and MayKaye create absolutely monstrous tension and release moments, and the pure, unrestrained emotion behind their voices perfectly compliments the inspiring, high-powered music. This lyrical brilliance is high-lighted by the almost unsettling double-tracked vocals that dominate the albums' title track. As previously stated, the songs found on Repeater are devoid of any humor, and each song is a forceful lyrical indictment, and they rank among some of the greatest lyrics ever composed. On one of the albums' unsung gems, "Styrofoam," MayKaye rages, "...there are no more cultures left to slide, there are no more people to be tried..." while on "Merchandise," he challenges the Capitalist paradigm with the lines, "...what could a businessman ever want more, than to have us sucking in his store? We owe you nothing...you have no control...you are not what you own..." Such pointed and powerful lyrics had rarely been heard before, and the manner in which they are delivered throughout Repeater aids in making the album a true musical masterpiece.

Sounding slightly similar, but simultaneously nothing at all like his previous band, Minor Threat, Ian MacKaye again solidified his place as a true musical icon when Fugazi's Repeater was unleashed onto the world in 1990. Easily his most musically focused project, as well as the most directly political band he had formed to that point, Fugazi breathed new life into a then-floundering hardcore scene. Bringing some of the tightest and most phenomenal beats and rhythms in the history of music, the duo of Canty and Lally remain today the most impressive rhythm section to ever record. One need look no further than their brilliant performance on the title track as well as "Sieve-Fisted Find" to fully understand why these two musicians know no match. Playing just as brilliantly and staking their own claim to iconic status, the dueling guitars of Picciotto and MacKaye create a sound like none ever heard before. Throughout the entire album, the pair create some of the most frenzied and powerful textures ever, and the combination of all four musicians is a sound that remains unrivaled to this day. Every song is nothing short of invigorating, and the sound and style the group presented has influenced countless bands and remains a huge influence on the hardcore genre nearly twenty years after it's initial release. Though one can make the case that anything IanMacKaye releases is worth owning, he once again revitalized and altered the state of hardcore and "D.I.Y." music when Fugazi released their monumental debut album, 1990's indispensable Repeater.



Standout tracks: "Repeater," "Two Beats Off," and "Styrofoam."

November 2: Nick Drake, "Pink Moon"

Artist: Nick Drake
Album: Pink Moon
Year: 1972
Label: Island


Long before the current performers of the genre were even born, the blueprint for the style of music known as "emo" were being created by a handful of legendary musicians. Throughout the 1960's and early 1970's, the idea of just a singer and an acoustic guitar, behind heartfelt, more morose lyrics than the "folkies" was finding its way into popular music. Taking the stark, sparse musical arrangements that were being fused into rock by artists like The Velvet Underground, there was one performer in particular who perfected the sound on the opposite end of the spectrum. Standing today as one of music's most tragic characters, there are few artists from any genre or generation who so honestly and clearly convey the pain within as brilliantly and beautifully as Nick Drake. With his calm, soft voice and fantastic guitar work, at the end of the 1960's, Nick Drake was one of the few artists who were attempting to breathe new life into the fading folk genre. Similarly standing as one fo the most reclusive artists in history, much of the reason that Drake lacked commercial success is due to the fact that he almost never performed live, and gave even fewer interviews. However, the three studio records that he released before his tragic death in 1974 at only twenty-six years old remain some of the most influential and extraordinary albums ever recorded. Breaking from his own sound, as well as pretty much anything else that was being done at the time, Drake forever altered the face of acoustic music with his absolutely stunning 1972 release, the iconic classic, Pink Moon.

Truth be told, upon its release, Pink Moon was a startling release on many levels. First and foremost, the album sounded very little like Drake's previous two efforts, as those albums were far more pop based folk records and were rather traditional in sound and style. This time around, Drake took a far darker lyrical approach, as well as scaling the music back to only a single acoustic guitar (though the title track also features an over-dubbed piano from Drake). Drake's voice rarely moves far beyond his low, soft tone, and the songs never veer far from their simple musical backing. Furthermore, the production is kept extremely simple, and the songs often feel as if Drake himself is sitting in the room with the listener, creating an amazingly intimate mood throughout. These changes in mood give the eleven tracks, recorded in a pair of midnight sessions, a somber and rather bleak tone that remains largely unparalleled to this day. While Pink Moon represents the final album of Drake's work before his death, in the months following the albums' release, Drake commented that the reason the album was so short in length was due to the fact that he "...simply had no more to record." Statements like this give the record an almost mythical feel, as the lyrics are often so heartbreaking that one can make the case that Drake knew he'd soon be gone, and this was perhaps his farewell to the world.

Not enough can be said about the phenomenal mood that Drake creates throughout Pink Moon, and few records have so perfectly captured the essence of a dark, autumn night spent alone. Pink Moon conveys a very "Earthy" and honest tone, and one can similarly often almost feel the warmth of a campfire, as Drake proves to be one of the most brilliant and most emotive performers in history. Not surprisingly, upon its release, Pink Moon did not sell well at all, and the mood of the record, along with Drake's almost refusal to perform live or be interviewed certainly did nothing to help his cause. However, the record did manage to gain a rather significant cult following, and a clever clause in Drake's contract ensured that the album would never go out of print. In many ways, this somewhat forced longevity is one of the keys that helped the record reach its iconic status. When the rest of the world caught up to the brilliant, intense emotions found on Pink Moon, Drake began to be hailed as one of musics' unsung legends, and one can find his influence across the musical spectrum, in bands ranging from Joy Division to J. Mascis to Beth Orton. The fact that the album still sells to this day and the success of the "emo" genre are directly due to the absolutely stunning performance that Drake gives throughout Pink Moon, and few artists have so openly presented their emotions for the world as one finds within the album.

With a voice falling somewhere between Van Morrison and Donovan, Nick Drake's soft, deep vocals stand today as brilliant and chilling as they were nearly forty years ago. Simultaneously soothing and unsettling, Drake's voice knows little equal, and the raw, blunt honesty in his vocals are just as stunning today, as he represents the pinnacle of a fearless, soul-bearing artist. Along with his perfect voice, Nick Drake took the songs on Pink Moon to prove without a doubt that he was one of his generations most talented songwriters. Every song on Pink Moon comes with an overwhelmingly powerful set of lyrics, and Drake often turns the pen on himself, as on "Parasite" when he sings, "...and take a look you may see me on the ground, for I am the parasite of this town...and take a look you may see me in the dirt, for I am the parasite who hangs from your skirt..." These perfectly crafted, heart-wrenching lyrics perfectly paint the picture of the deep-rooted torture that Drake battled his entire life, and the truth of the matter is, much of the initial criticism of the album was most likely due to people simply not being able to deal with the pure honesty and unguarded nature of his lyrics. The combination of Drake's low, almost detached voice and his melancholy lyrics were truly groundbreaking at the time, and the songs on Pink Moon remain largely unrivaled in terms of overall impact to this day.

Throughout history, many of the most famous characters from every form of art are those who are painted as tragic heroes. Whether they be from literature, visual art forms, or music, the tragic hero often has the benefit of being the most honest and uninhibited. In the case of folk singer, Nick Drake, he brilliantly put all of his inner demons on display and let the world feel his pain on his final musical effort, Pink Moon. Though from a modern perspective, the honesty and tenor of his lyrics may not seem as shocking, the reality is, in the early 1970's, there was simply no other artist that was writing and singing such consistently blunt and grim lyrics. Stripping his pop-folk style down to just him and his guitar, Nick Drake completely re-wrote the books on what was able to be accomplished as a singer-songwriter, and there are scores of artists who have made their careers out of Drake's mold since his time. Proving beyond doubt that one need not be loud or aggressive to have devastating impact as a musician, Drake uses the combination of his deep, soft voice and fantastic, simple guitar playing to create some of the most moving and hard-hitting songs ever written. Standing in stark contrast to not only his own previous efforts, but quite literally everything else that was going on musically at the time, Nick Drake forever altered the musical landscape with his monumental final album, his truly unmatched masterpiece, 1972's Pink Moon.



Standout tracks: "Pink Moon," "Which Will," and "Things Behind The Sun."

November 1: Ma Rainey, "Ma Rainey's Black Bottom"

Artist: Ma Rainey
Album: Ma Rainey's Black Bottom
Year: 1924-1928 (recorded)/1975 (released)
Label: Yazoo


There are countless cases throughout music where artists were tragically ahead of the times. In most cases, this simply meant that their music was so innovative that the general public simply could not grasp the genius behind their music. However, in the first decades of the twentieth, many artists were literally ahead of the times, as any form of mass recording had simply not yet been invented. Though there were undoubtedly thousands of amazing artists who were never heard due to this, a number of these extremely early voices were preserved for generations to come. As the 1920's set in and the United States began an economic downturn, blues singers, primarily female blues singers, became the most celebrated musical artists in the land. While singers like Bessie Smith and Mamie Smith went on to become household names, both of these brilliant singers took much of their style from the singer who has been given the title, "Mother Of The Blues," Ma Rainey. Truth be told, by the time recorded music became a reality, Ma Rainey had already been in high demand for more than two decades. As one of the greatest singers of her generation, her recordings are scattered across dozens of sessions, and many collections of her music have been released since the advent of the CD. By far, the finest collection of Ma Rainey's work, and therefore representing some of the greatest singing in history, is the fantastic 1975 compilation release, Ma Rainey's Black Bottom.

Ma Rainey is truly as much of an innovator and icon as one can be. Aside from her stunning voice, the reason she is called the "Mother Of The Blues" is because she herself often claimed that she was the one who came up with the actual term" blues" singing. As the story goes, in the early 1900's, Rainey was traveling with a vaudeville act when she heard a song sung by a girl in Missouri and learned the song later that day. The songs' sad, slow style was like nothing else she'd ever heard, and Rainey instantly incorporated it into her act, and it became well liked by audiences. This, in essence, is one of the many theories on "how" blues singing in its formal sense began. It was also in these vaudeville days where Rainey encountered a young Bessie Smith, when Smith joined the company as a dancer. There are many conflicting reports concerning Rainey's influence on Smith and vice versa, but one true fact is that the two were friends for life, and were strong supporters of the other as they both pursued their careers. Rainey's place and status as one of musics' elite as been solidified countless times over the decades, from lyrical tributes on Bob Dylan's Highway 61 Revisited to August Wilson's 1982 play about African American struggle, Ma Rainey's Black Bottom.

Since Ma Rainey's Black Bottom is a compilation of various recording sessions, along with the fact that, in the early days of recording, accurate records of session musicians were rarely kept, it is quite difficult to give proper credit to all of the musicians that make this collection of songs so brilliant. The musicians take the classic sound of the time and are able to make it swing, whilst simultaneously keeping in line with Ma Rainey's soulful, sad singing. Though most of the musicians remain unnamed, there are a handful of well known performers who are present throughout the recordings. Sitting in on may of the tracks and playing clarinet is jazz giant, Don Redman. Having played with everyone from Smith to Louis Armstrong to Fats Waller, Redman is easily one of the most heavily recorded players of his generation. By far one of the most important saxophone players ever, Coleman Hawkins was a rising star when he sat in to record for Ma Rainey. He is one of the few musicians who you can actually pick out in the band, as his tone and style are quite evident even this early in his career. Also found on a number of tracks in Ma Rainey's Black Bottom is piano master, "Georgia" Tom Dorsey. The final player on the sessions who's contributions are noted are those of trombone innovator, Kid Ory. Though this does leave a number of musicians unnamed, those who were present for the scattered recording sessions serve as a testament to the caliber of player that Ma Rainey garnered due to her amazing singing abilities.

With her deep, low voice, one can quickly hear how much Ma Rainey's singing style influenced nearly every blues and soul singer in recorded history. Loaded with emotion, and taking the lead of every song with amazing confidence, there are truly few singers who have as strong and original a style as that of Ma Rainey. Along with her innovative singing style, the truth of the matter is, Ma Rainey also had songs that were of a somewhat controversial nature. Often pushing the boundaries on what was acceptable, her songs are often a bit more risqué and "steamy" than those of her contemporaries. There are also a handful of lyrics that seem quite ambiguous in nature, and even some with rather clear lesbian themes. This was due to the fact that Rainey was somewhat open in her bi-sexual nature. In fact, in 1925, Rainey was arrested in Chicago for an "indecent" party, as she was found in a room full of half naked women. This incident, and many similar can be found in the songs of Ma Rainey, and such bravery in lyrics at that time was simply unheard of. This more open, almost sultry approach to her lyrics and singing helped to pave the way for later artists who wished to approach topics that were considered "taboo." Whether it was her voice, or the content of her songs, there have been few artists as amazing and influential as Ma Rainey.

There are innovators, and then there are those who truly began a new form of music. Though there are a few others who may lay claim to the founding, none make as strong a case as Ma Rainey when it comes to the origins of popular blues signing. With her powerful, almost growling voice, and the loads of emotion with which she sings, Rainey truly created the blueprint from which nearly every artist after created their sound. Making her name in the vaudeville era, Rainey's career had all but ended when the popularity of recorded music began, following The Great Depression era. Due to the prime of her career coming before this popularity, the hundred or so recordings that exist were scattered over a number of sessions, which happen to include a small handful of fellow music legends. Regardless of whom she has backing her musically, Ma Rainey's voice shines on every single track, and her vocal dexterity remains often copied, but largely unrivaled to this day. With countless compilations being created over the years, it is often difficult to find an album that accurately depicts everything that makes the music of Ma Rainey so amazing. Though later compilations contain more songs due to the advent of the compact disc, to fully appreciate Ma Rainey, one need look no further than then extraordinary 1975 release, Ma Rainey's Black Bottom.



Standout tracks: "Ma Rainey's Black Bottom," "Booze And Blues," and "Don't Fish In My Sea."

October 31: The Misfits, "Walk Among Us"

Artist: The Misfits
Album: Walk Among Us
Year: 1982
Label: Ruby


Perhaps the most amazing thing about the punk explosion of the late 1970's was the fact that so many different bands took the ethos in so many diverse directions. From the gloomy sounds of Joy Division to the destructive rage of Black Flag, countless bands presented their own approach to the stripped down, non-traditional sound. Among this host of innovators was a quartet from Lodi, NJ that, along with their original musical approach, created worlds of myth around their music and personalities. A band that, for many years, only played on Halloween, there are few more amazing groups than the fathers of "horror-punk" themselves, The Misfits. Responsible for one of the most enduring, iconic images of all-time (the skull), as well as some of the greatest songs from anywhere in the punk genre, The Misfits took the dark, evil mood of Alice Cooper and injected it with the power and speed of The Ramones, creating a new sound and vibe that would influence countless bands, from The Melvins to Sleep to Metallica. With their absolutely brilliant songs and the stunning voice of Glenn Danzig, The Misfits were by far one of the most skilled groups to come out of the punk explosion, and their songs endure as true classics to this day. Though there is truly not a "bad" song or album anywhere within the discography of the Danzig-led Misfits lineup, their first "official" studio release, 1982's Walk Among Us is nothing short of a classic and remains one of the most amazing recordings ever made.

In many ways, Walk Among Us is actually The Misfits eighth album, as they had released seven EP's over the preceding years. Also, though it is technically their first "official" full length studio album, there are a pair of sessions that were before these that can be found on the somewhat rare Static Age and 12 Hits From Hell bootlegs. Truth be told, in January of 1982, Glenn Danzig took these recordings and re-mixed them, adding additional musical overdubs, as well as adding brand new vocals to a few songs. Also mixed was the live version of "Mommy Can I Go Out & Kill Tonight" which was taken from one of the two shows found on the bands' Evillive release. Furthermore, there are in fact, two different versions of the albums' infamous cover. The cover, which is largely taken from the movie The Angry Red Planet, was originally pressed with a pink background and the bands' name in also in pink (pictured above). However, the next few pressings featured a purple background with the bands' name in the original pink lettering. Finally, in 1988, the album cover took on it's final form, with the purple background, and the bands' name in green. Also, upon the CD release of Walk Among Us, the liner notes were incorrect, as they named Bobby Steele and Joey Image as members of the band on the record, instead of the actual musicians, Arthur Googy and Doyle.

The lineup of The Misfits has changed so many times since 1977 that it is nearly impossible to keep track of who is on what album. By the time Walk Among Us was released, the band had already gone through more than half a dozen lineup changes, and less than two years after its release, band founder and frontman, Glenn Danzig would leave the band, ending the band in the eyes of many people. On Walk Among Us, the most powerful and cohesive lineup of the bands' history is featured, and it is perhaps the key reason why the record is the bands' finest work. Doyle, AKA Doyle Wolfgang von Frankenstein (real name: Paul Caiafa) is by far one of the most talented guitarists to emerge from the punk scene. Whether it is the punishing chords, or the squealing note progressions such as that found on "Vampira," there are few punk-based guitarists who showed as much creativity and skill as Doyle. On Walk Among Us, most of the guitar overdubs were in fact played by Danzig, which brilliantly compliment all of Doyle's core playing. Bassist Jerry Only is the oldest and longest running member of the band. Though he was in fact the bands' second bassist, he has been a part of "The Misfits" since early 1977. (NOTE: Only currently leads a trio called "The Misfits" who play Misfits songs, but many feel that the group ceased to exist when Danzig left the group in 1983.) Only's bass work is absolutely fantastic, and it is his playing that often gives the songs their dark, menacing feel. Rounding out the musicians strong is one of the most talented drummers in rock history, Arthur Googy. Googy (real name: Joseph McGuckin) is nothing short of phenomenal throughout the album, as he keeps the breakneck pace going, and perfectly combines speed and power on every song. As the band creates dark musical mayhem on every track found on Walk Among Us, there is little doubt that the final member of The Misfits is, by far, the most important to the bands' sound and style.

When one looks over the entire history of hard rock/punk/heavy metal, it is nearly impossible to find another singer with the vocal skill and pure power of Glenn Danzig. Far more than just yelling and screaming, Danzig has one of the most fantastic voices of his generation, and he is able to operate nearly anywhere in the vocal range. In many ways, one of the most unique aspects of the music of The Misfits is the way in which the band blends vocal harmonies reminiscent of those from the early 1960's into their unquestionably dark and spare music. Listening to nearly any track from Walk Among Us, there are many of these harmonic moments, and they are one of the clearest indications that The Misfits were a band that chose to make their own style of music, regardless of the norms or constraints of any genre into which they were placed. Furthermore, this stands as proof of the great musical pioneers that The Misfits were, as well as a testament to the extraordinary writing and singing ability of Danzig. Containing songs that were surely crowd sing-alongs at the time, tracks like "Skulls," "Violent World," and the immortal "Astro Zombies" have become nothing short of punk "classics," and have been covered countless times over the years. Though many bands have covered songs found on Walk Among Us, none come even remotely close in terms of impact, as without the truly sensational voice of Glenn Danzig, the songs are simply "not right."

Though they are often grouped in with the transitional period of heavy metal, the truth of the matter is, if one was forced to categorize the music of The Misfits, they lean far more to the "punk" side of things then the "metal" side. However, it is largely this inability to firmly categorize The Misfits that makes their music so unique and amazing, as well as what gave birth to the term "horror punk." Brilliantly crafting a sound and image that were like nothing else at the time, one can make the case that The Misfits took the theatrical influence of KISS and re-formed it to fit the punk ethos, as well as their own, far darker musical efforts. Combining the brilliant musicianship of Doyle, Only, and Googy with the truly unmatched vocal performance of Danzig, it is little surprise that Walk Among Us is fantastic as it is, and why the band remains one of the most respected and revered bands in music history. There is not a sub-par moment anywhere on the record, and the musical perfection therein has rarely been matched anywhere else in any genre or time period. The Misfits full length debut, 1982's Walk Among Us remains one of the most stunning musical releases ever made, and it serves as proof of the phenomenal talent within the band and remains a true classic record that everyone must experience at least once in their lifetime.



Standout tracks: "Vampira," "Skulls," and "Astro Zombies."

October 30: MC Lyte, "Lyte As A Rock"

Artist: MC Lyte
Album: Lyte As A Rock
Year: 1988
Label: First Priority


Throughout history, one would be hard pressed to find another genre that has been so heavily dominated by males then the hip-hop/rap genre. For nearly its entire existence, female representation within the genre has been beyond minuscule in comparison. As the genre began to explode in the late 1980's, there was one emcee who was determined to prove that women were just as capable at delivering meaningful, hard hitting rhymes as their male counterparts. Presenting some of the most original rhymes, and eventually becoming the first woman to have a gold hip-hop single, everyone from Queen Latifah to Lauryn Hill to Missy Elliot owe their existence to one of hip hop's true pioneers, MC Lyte. Much in the way that Patti Smith demanded that the rock and roll audiences listen to what she had to say, MC Lyte presented some of the most blunt and unrelenting rhymes ever, and she clearly had no problem whatsoever putting male rappers in their place. With songs speaking to drug abuse, violence in the inner city, as well as rallying cries against the misogyny that was so (and remains so) dominant in the hip hop genre, the rhymes of MC Lyte were truly like nothing else that had been heard. Still standing today as one of the watershed moments in music history, MC Lyte's brilliant 1988 debut album, Lyte As A Rock, is a true hip hop classic, and it completely changed every aspect of the hip hop genre.

Much like LL Cool J began his career as a teenager, MC Lyte began rhyming at only twelve years old, and her brothers (who are in fact, Audio Two) helped producer her first single when she was just fifteen. This single, "I Cram To Understand U (Sam)," is what secured her a record deal and it remains one of the most brilliant, yet heartbreaking anti-drug songs ever written, and it was re-recorded and placed on Lyte As A Rock. The fact that MC Lyte had no issue addressing these "real" issues as bluntly as her male counterparts is one of the key aspects that set her apart, yet there is one other song on the album that solidifies her theory that women could work any aspect of the rap scene as well as men. Perhaps the most time honored and genre defining moment for any hip hop artist is that of the "dis" track. Every legitimate emcee, from KRS-ONE to Jay-Z to the Beastie Boys have done their share of such writing, and on her debut album, MC Lyte absolutely decimates her only rival, rapper Antoinette, on the track, "10% Dis." Unrelentingly bashing Antoinette for more than five minutes, Lyte drops the brilliant chorus, "...beat biter, dope style taker...tell you to your face you ain't nothin' but a faker..." The brilliant rhymes and smooth, clear delivery make Lyte As A Rock a true hip hop classic, and these rhymes are pefectly complimented by the sparse beats and samples underneath.

Lyte As A Rock covers the entire latitude of music, pulling everything from go-go to classic funk to simple beats with minimal sampling. This simple approach in production is wonderfully "old school," as the general dynamic in production had already begun to shift with the work of producers like Tha Bomb Squad among many others. Yet even more than twenty years later, the minimalist sound still works perfectly, and it is one of the key elements that makes Lyte As A Rock a classic. Easily the most significant musical moment comes on the title track, as the sparse beats flow behind a slightly altered sample of Tommy Roe's 1966 top ten hit, "Sweet Pea." Proving the wide musical knowledge of her DJ, MC Lyte's ability to flow over any style and speed is yet another key aspect that set her and her music aside and above that of her peers. From the grooving go-go of "I Am A Woman" and "Don't Cry Big Girls," to the truly classic sound of "Paper Thin," the lesser focus on samples creates a far more authentic sound, and leaves no room to argue MC Lyte's unrivaled rhyming ability. The overall limited use of beats and music in general helps to drive the focus of the album to MC Lyte's lyrics, and this proves to be the true genius behind the record.

Though there have been a fair number of female rappers since MC Lyte first appeared on the scene, few have the lyrical power and calm, yet strong delivery that MC Lyte brings on every track. Much in the way that LL Cool J made a point to ensure that every lyric was clearly heard, throughout Lyte As A Rock, MC Lyte rarely raises her voice, and this allows for each verse to have its maximum impact. After experiencing the album, it is abundantly clear that throughout the entire history of the genre, there are very few emcees who can write as well as MC Lyte, regardless of gender. Pointed, clear, and concise, the rhymes of MC Lyte create some of the most vivid, and often heartbreaking scenes ever committed to tape. Whether it is the call for women to be more selective and patient in choosing a mate on "Paper Thin" or the questioning of "why" females are seen as incapable of rhyming on "MC Lyte Likes Swingin'," there is not a subpar moment anywhere on Lyte As A Rock. Easily one of the most powerful tracks on the album, as well as anywhere in hip hop, is the anti-drug classic, "I Cram To Understand U." The fact that this was MC Lyte's first single (before she had a record deal) is truly stunning, and te impact of the song is just as powerful today as it was upon its initial release. Without need for any sort of gimmick or restraint, MC Lyte proves to be one of the greatest emcees in history, and every track on Lyte As A Rock is a true hip hop classic.

Breaking down countless barriers for women, MC Lyte used her debut record to prove that females could rhyme just as well with just as much impact as their male counterparts. Refusing to compromise on the lyrical content or delivery style, Lyte As A Rock, truly busted open the doors for every female emcee that followed. The album's straightforward and unrelenting lyrical content made it acceptable for females to address "real" issues and be just as aggressive as male emcees, and MC Lyte even takes moments throughout the album to call out her male peers for their overly egotistical and extremely misogynistic rhymes. Bringing in only minimal verses from other emcees, the album is a true tour dé force, as MC Lyte shines brilliantly on every track, bringing some of the most original rhymes and delivery style that the world had ever heard. Never backing down in the slightest, MC Lyte addresses everything she sees in the world around her, from unfaithful partners to drug abuse to giving "props" to her hometown of Brooklyn. MC Lyte's ability to present unflinching, confident rhymes, whilst still keeping her femininity firmly intact is one of the key reasons that she remains a true pioneer and icon more than two decades after the release of her debut record. This album, 1988's Lyte As A Rock marks a truly pivotal moment in music history, and it remains one of the most phenomenal and original albums ever recorded.



Standout tracks: "Lyte As A Rock," "Paper Thin," and "I Cram To Understand U."

October 29: Patsy Cline, "The Patsy Cline Story"

Artist: Patsy Cline
Album: The Patsy Cline Story
Year: 1963
Label: Decca


When one looks at a majority of the lists of artists who died far too soon, there is one name that is strangely left off quite often. Along with the likes of Hendrix, Holly, Bonham, and The Big Bopper, there was the tragic loss of one of the most gorgeous and perfect voices in the history of music. As a landmark performer of the traditional country-western sound, this icon of singing helped lay the groundwork for rockabilly, and influenced countless singers who came after her. Responsible for the definitive version of some of the most treasured songs ever recorded, there are truly few performers who are worthy of being mentioned in the same breath as the one and only Patsy Cline. Much like fellow performers like Brenda Lee and Kitty Wells, Cline helped to assert the female presence in the male-dominated country scene, as well as progressed the genre as a whole into a pop-based crossover sound. With her timeless, unmistakable, and highly emotional voice, Cline was a unique performer in that she delivered her vocals in a very straightforward manner, as opposed to many of her peers who attempted to inject some false sense of attitude or conviction into their sound. This pure and honest sound is what makes Patsy Cline's music so enduring, and her greatness was perfectly captured on record a few motnhs after her death on the appropriately named 1963 album, The Patsy Cline Story.

The Patsy Cline Story was released in early June of 1963, just a touch over three months after her tragic death in a plane crash over Tennessee. The album is basically a collection of her singles, as well as a handful of songs of songs from the earlier stage of her career that were not as well known. Truth be told, the album was issued in place of her fifth studio record, which she had been recording at the time of her death. That final album, to be called Faded Love, was never formally released, as Decca Records felt it improper to release the unfinished work. Since it's initial release, The Patsy Cline Story has been re-issued a handful of times, and the later re-issues are slightly different. The album was re-released in it's initial form in 1973, and then, in 1988, The Patsy Cline Story was released again, with a new cover (the original is pictured above), as well as different takes of a few songs. This later version contains a remake of "Walkin' After Midnight," as well as the single version of a number of other songs. These changes will go largely unnoticed by the casual listener, but the original mixes are available on CD if you wish to seek them out. Regardless of which version one listens to, the songs are just as stunning, and the musicians throughout the songs understand that, while they are excellent players, the focus is clearly on Cline's stellar vocals.

Easily Patsy Cline's most famous song is her cover of the Willie Nelson classic, "Crazy." The song, which Cline was given by producer Owen Bradley, was the follow-up to her second biggest hit, "I Fall To Pieces," and when she performed it for the first time, it is said that she received three standing ovations from the audience at The Grand Ole Opry. The recorded version as its own historical legend, as Cline had been in a car accident shortly before recording the song, and she had a great deal of difficultly with the initial recording due to having broken ribs. As the story goes, Cline was very unhappy with the vocals she performed, so the following day, she re-entered the studio and laid down the final version of the vocals in a single take. Though the original version written by Willie Nelson was faster paced, it is the slower, more ballad-like version of Cline that has been covered countless times over the years. Perhaps some of the songs' success was due to its slight similarity to Cline's first number one single, "I Fall To Pieces." Though she had made her name a few years previous with "Walkin' After Midnight," it is "I Fall To Pieces" that gave Cline her crossover success, and the song has since become a country music standard. Though these songs truly define Cline as a performer, there is not a sub-standard song anywhere on The Patsy Cline Story, and each song is just as soul-bearing and moving as the next.

It is the pure, honest, and flawless voice of Patsy Cline that makes her songs so mesmerizing and unrivaled, nearly fifty years after their release. Able to powerfully shine anywhere across the vocal spectrum, there are few singers, especially in the country-western genre, who have been able to deliver with the strength and volume that Cline brings on every song. From "I Fall To Pieces" to "She's Got You," Cline perfectly represents honest heartache and heartbreak, and her simple, yet beautiful vocal arrangements made her crossover success inevitable. Her crooning/crying vocal style often resembles the feeling of personal heartbreak so perfectly, that they transcend all boundaries, whether they be those of language or personal musical taste. The voice of Patsy Cline is truly a voice of "everyman," and this pure and unaltered approach is the reason why her songs continue to endure the test of time. The simple piano and string arrangements that back Patsy Cline on a majority of her songs further this universal appeal, and the combination stands today as the most clear representation of everything that was the "Nashville country" sound. With brilliant song selection, soft and almost minimal musical backing, there is little left to distract from the largely unmatched vocal prowess of Patsy Cline, and it is her vocal approach that helps to make the songs appealing to audiences that are far from the country style.

Possessing what stands today as one of the most pure and overall greatest voices in history, there are few artists of any genre who have a voice even remotely comparable to that of Patsy Cline. Along with her sensational voice, it was due to her efforts (as well as those of a few of her peers) that helped to push country music into the general consciousness of popular music, and the inroads that she blazed for women in music is also largely unrivaled. Redefining the boundaries of both country and popular music with iconic hits like "I Fall To Pieces" and "Crazy," the sound and style of Patsy Cline has influenced artists across every genre and still does so nearly five decades after her tragic passing. Taking the classic croon and cry of country and brilliantly blending it together with the less "twangy," smoother sensibility of the great pop singers of the time, the voice of Patsy Cline is as unique as one can find form the era, and the pure authenticity in her singing pushes her far above her contemporaries. Truth be told, there are few performers of any genre from any time period who can present raw and honest songs of heartache as well as Cline, and the pain and struggle within her voice still have as much impact today as they did all those years ago. Though she is often a sidenote on the lists of great performers who were taken far too soon, there are few musicians who possess a similar amount of talent, and emotion as Patsy Cline. Since her passing in 1963, countless compilations of her songs have been released, yet it is the collection that was released just months after her death, The Patsy Cline Story, that perfectly captures everything that makes her the icon that she remains to this day, and it is a truly indispensable collection of one of the greatest vocalists in the history of music.



Standout tracks: "She's Got You," "I Fall To Pieces," and "Crazy."

October 28: Sex Pistols, "Never Mind The Bollocks, Here's The Sex Pistols"

Artist: Sex Pistols
Album: Never Mind The Bollocks, Here's The Sex Pistols
Year: 1977
Label: Virgin/Warner Bros.


When one looks back at the greatest albums ever made, a staggering number of them were initially "panned" upon their release, or in many cases, marked as records that were "hazardous" to young people. In nearly every case, this was due to the music being so "new" that a majority of listeners and critics simply could not wrap their brains around the amazing artistry at work on each record. Standing high atop this list of "misunderstood" bands is a band that as equally as influential as they were controversial. From their wild appearances to their rotten attitudes to their viscous stage antics, they perfectly embodied everything it meant to be "counter culture," and defined much of what is perceived to be "punk" to this day. Standing as one of the most iconic bands in history, and a band that, in many ways, the world was probably not ready for, whether you like them or hate them one simply cannot have modern music in its current form without the impact and influence of England's least-favorite sons, The Sex Pistols. Completely changing the idea on what could be considered "rock" music, The Sex Pistols also hold the distinction of being one of the few commercially successful bands in history to quite literally be banned in their home country. Also famous for the one of the most famous breakups in music history, The Sex Pistols epitomize the idea of a band that refuses to be ignored. Though they remain one of the most well known bands on the planet, the truth of the matter is, they only released one formal studio album, their truly monumental 1977 release, Never Mind The Bollocks, Here's The Sex Pistols.

There are, in fact, two different covers of the album, and while the UK release had the infamous yellow and pink scheme (pictured above), for the US release, the cover was changed to a brown/pink background with a green backing for the band name. There are also two different versions of the record, as late in the process, the band decided to add a twelfth song to the album, "Submission." Though the track was added before the formal, worldwide release, their are rumored to be a few thousand copies of the eleven track version in existence. Also, along with the formal release, demo versions of nearly every song can be easily found on the Spunk bootleg, which was informally released shortly before the album proper. Truth be told, in many ways, the release of Never Mind The Bollocks signaled the beginning of the end for The Sex Pistols, as their breakup would occur just under three months after the album hit the streets. This in itself is not all that surprising, as for a band that sought to represent anti-everything, the fact that the album was released on one of the largest record labels in the world clearly plays against everything for which the band stood. With the album being released on October 27, 1977, The Sex Pistols' infamous final show in San Francisco on January 14, 1978, when singer Johnny Rotten ended the band by ranting, "...Ever get the feeling you've been cheated? Good night." after the band performed only one song, The Stooges' "No Fun." The irony of the moment is a perfect representation of the fact that, while they may have presented themselves as idiots, the band members were quite aware of everything they did, and though chaotic, their musicianship cannot be denied.

Every member of The Sex Pistols has a name that truly lives in infamy, yet the manner with which they deploy the bands' pulverizing songs remains as unmatched as their personalities. Guitarist Steve Jones was easily the most musically accomplished member of the group, and his tremendous, often unsettling power-riffs remain some of the finest ever written. Whether it is the speedy, grimy riff to "God Save The Queen" or his forceful on "Anarchy In The U.K.," Jones is truly brilliant on every track. Keeping pace with the band, at their unheralded speed was drummer Paul Cook. Pushing the band faster and faster, Cook is easily one of rocks' elite drummers, as for the most part, there were very few drummers at the time that approached the instrument with a remotely similar manner. Though Sid Viscous is know as the bands' bass player, the truth of the matter is, there are actually two different bass players on Never Mind The Bollocks. Though it is rumored that ex-bassist, Glen Matlock played on the album, over the years, this has been refuted by many people, including Matlock himself. While Viscous did, in fact, give playing his best shot, nearly every bass track on the album is, in fact, an overdub played by Steve Jones. Though he asked (and received) Motörhead bass-god, Lemmy Kilmister for lessons, the truth of the matter is, though Viscous had all the attitude in the world, his bass playing abilities were never much to speak of. However, though they are buried in the mix, when they do rise to the surface, the basslines throughout Never Mind The Bollocks serve as a testament to the extraordinary musical ability of Steve Jones.

While the musical portion of the band certainly had their fair share of attitude and certainly re-wrote how music was approached, there have truly been few singers that shocked the world as much as the infamous Johnny Rotten. Making no attempt whatsoever to "sing," his sneer and scream were a style and sound that had simply never before been heard. Also, Rotten's use of profanity was extremely controversial at the time, and both Rotten, as well as the band and their record label were brought up on profanity charges for their "texts." The fact that Rotten used such language, as well as a heavy amount of blunt, inflammatory lyrics was truly shocking at the time, and it is due to this that artists enjoy the lyrical freedom that they do today. Though there is not a bad song anywhere on Never Mind The Bollocks, the album boasts the two most famous Sex Pistols songs, as well as two songs that are true icons of rock music. Though it had been released as a single nearly eight months before the album was released, "Anarchy In The UK" remains one of the greatest rallying cries in history. Though it is one of the most infamous opening lines ever, Rotten claims that "I am an antichrist" was, in fact, him flubbing the lyrics, and it was supposed to be the same as the second line, "I am an anarchist." Regardless of the truth behind it, the lyrics, and Rotten's brilliant delivery revolutionized everything about music and how a singer could perform. However, this controversy was nothing compared to that which came with the release of the bands' second single, "God Save The Queen." Released during Queen Elizabeth II's Silver Jubilee, the single reached number one on the NME charts and number two on the BBC charts...without ANY radio airplay. The BBC deemed the song as too inappropriate for radio airplay, and the fact that it has such success without being played is nothing short of stunning. Though there are suspiciously no "official" sales numbers, many believe that it is, in fact, the best selling single in U.K. history, and it was only kept from the BBC top spot due to the songs' content. With the attitude and lyrics behind the songs, as well as the style in which Johnny Rotten delivered the vocals, in one fell swoop, The Sex Pistols completely shattered nearly every "rule" of rock music, and in the process, became true music legends.

Though it only works in exceptionally rare instances, there are times when attitude and being at the "right" moment in time can overcome slight lacking in musical ability. Taking the approach that was laid out by The Stooges and The Ramones, The Sex Pistols turned up the attitude to eleven, and created some of the most memorable songs and incidents in rock history. With Steve Jones handling both lead guitar as well as bass duties, it is hard to argue that he is not among the most elite musicians to ever record. The simple, yet magnificent riffs he plays stand among the most famous in history, and quite literally EVERY band that plays with any attitude that came after him owes Jones a great deal of thanks for his innovations in style and sound. Similarly, throughout Never Mind The Bollocks, Paul Cook defines what it means to sound like a musician is truly trying to break their instrument. Absolutely destroying the drum-work throughout the entire record, there are few musicians who can compare when it comes to power and precision in playing. While these two, along with the notorious Sid Viscous are memorable in their own right, Johnny Rotten was truly the perfect frontman for the band, as there are few others who have refused to be ignored as well as Rotten. Taking a vocal approach that was unheard of previously, Rotten's angry, often smarmy style became the blueprint for countless artists that followed. Bringing lyrics that were blunt and unrelenting in ways not previously heard, the band left nothing to the imagination, and they showed just how far one could go if one refused to compromise anything musically. When The Sex Pistols released their only studio record, 1977's Never Mind The Bollocks, Here's The Sex Pistols, everything that had been taken for granted musically was once again "up for grabs," and there are very few bands who have had such a quick and severe impact on the entire world of music, making it unquestionably one of the most important albums ever recorded.




Standout tracks: "Holidays In The Sun," "God Save The Queen," and "Anarchy In The U.K."