November 7: Chick Corea, "Return To Forever"

Artist: Chick Corea
Album: Return To Forever
Year: 1972
Label: ECM


As is the case with nearly every genre, when there is a time of high musical experimentation, many of the greatest innovations get lost in the chaos of those that "breakthrough" into the mainstream. Yet, in many cases, those albums that do get overlooked are pushed to a cult-like and iconic status in the following years. As the jazz fusion movement took off in the early 1970's, nearly every jazz "great" presented their own vision of this new movement, and it led to some of the most pivotal and amazing moments in the entire history of music. Among these greats to emerge from the birth of the jazz-fusion movement was one of the most talented sidemen of the 1960's, piano master, Chick Corea. Having spent time as a key piece in the bands of Miles Davis and Stan Getz among others, Corea began to assemble his own group, and infused their sound with his own Latin-American heritage. Taking the wild explorations of Sun Ra, the funky jazz fusion of Herbie Hancock, and all the experience he gained as part of Miles Davis' backing band, the music that Chick Corea created with this group, Return To Forever, completely changed the face of music, and their innovations began an entirely new musical style. All of the greatness and genius of Return To Forever can be found on the first album they released as a group, Chick Corea's 1972 album, Return To Forever.

While Return To Forever is also the name of the quintet of musicians that Corea assembled for the album, the record itself is generally credited as a Chick Corea "solo" recording. Though this group would release another six albums over the next few years with group credit, their debut retains its "solo" titling to this day. The record itself, like so many jazz recordings, was largely misunderstood upon its initial release. Far more mellow and melodic than the approach begin taken by fusion groups like The Mahavishnu Orchestra, Return To Forever did not even see a U.S. release until almost three full years after its release. By the time the world woke up to the genius found within the for compositions on the album, the group had already had a few lineup changes and released three more studio recordings. However, it is this original lineup, and their first album together that is nothing short of stunning. Taking a far more mellow approach to jazz fusion, the quintet create wonderfully blissful sonic textures, with airy, almost angelic vocal passages, and mix in a brilliant Latin aesthetic as well. This unique musical approach sets Return To Forever aside from their contemporaries, and their sound and musicianship remain unmatched to this day. While Chick Corea would alter the lineup of Return To Forever over the years, the grouping of musicians he presents on the groups' debut ensured that the album would fall nothing short of spectacular.

As is in the case with a majority of albums of this caliber, the musicians found on Return To Forever are all music legends in their own right. The amazing part is, that when these superb players all come together, instead of competing for the spotlight, they move as a single unit, and the sounds they create are nothing short of stunning. Perhaps the most recognizable name aside from Corea that is found within the group is that of bass master, Stanley Clarke. By far one of the most revered and influential bassists in history, Clarke switches plays both electric and acoustic on Return To Forever, and it is often his interactions with Corea that give the song their mood. Aiding in infusing the Latin sound is percussionist extraordinaire, Airto Moreira. The Brazilian native made his name as one of the central players on Miles Davis' groundbreaking recording, Bitches' Brew. His work on Return To Forever is equally as inspired and important, and the rhythms he creates are often nothing short of intoxicating. Lending both flute and saxophone to the album is none other than the great Joe Farrell. His playing, especially on the epic composition, "Sometime Ago - La Fiesta" are nothing short of brilliant, and his additions offer the perfect punctuation to each track. The final member of Return To Forever is vocalist Flora Purim. Assisting Moreira (her husband) with percussion, as well as lending her truly beautiful voice, it is the contributions of Purim that takes the songs form "good" to "great." There is not an off note anywhere on Return To Forever, and the way in which the musicians interact with one another is truly awe-inspiring.

Even with the amazing musicians behind him, the true genius behind Return To Forever lies within the brilliant compositions and vision of Chick Corea. Composing each of the four songs himself, Corea shows no fear in terms of exploring mixed time signatures, different cultural sounds, as well as contrasting the music with sparse passages backed up to massive walls of sound. Corea himself plays flawlessly on every track, and the way in which he leads the band makes him easily one of the greatest jazz leaders in history. All of this genius can be found on the albums' monumental second side, the single, twenty-three minute masterpiece, "Sometime Ago - La Fiesta." With three distinct parts, one can only assume that they were recorded back to back, and therefore work better as a single unit, as opposed to three individual pieces. Beginning with a stunning group improvisation, and then melting into a wild, Latin free-for-all, before moving back into "La Fiesta," the song is like nothing else one will ever experience anywhere else in music. With its amazing sense of tragedy, yet unquestionably upbeat, it perfectly encapsulates the Latin style of composition, and it is, in many ways, the "ultimate" moment in Latin-jazz fusion music history. Whether it is his piano work, his compositions, or the manner in which he leads the band, after experiencing Return To Forever, one cannot argue Chick Corea's place among the greatest jazz leaders in history.

As the jazz-fusion movement exploded in the early 1970's, a majority of the albums and groups took a darker, more funk based approach to the style. Finding new and creative ways to use electric pianos and synthesizers, the almost constant experimentation by many of jazz music's greatest minds produced some of the most unique and influential albums in the history of music. Fully exploring his own, unique vision of fusing together this new style of jazz with his own Latin roots, piano-great Chick Corea took a musical approach that no other artist at the time was exploring. Though it took a few years for the sound to gain ground in the U.S., one cannot deny the importance and brilliance found on the first recording of Corea's all-star quintet, Return To Forever. Bringing with him four of the most talented musicians of their generation, it is no surprise that the music the group creates also ranks among the finest of the era. Whether it is the bass-work of Stanley Clarke or the percussive genius of Airto Moreira, the rhythms found throughout Return To Forever stand among the most original and extraordinary ever created in any genre. Complimented by the brilliant flute and saxophone of Joe Farrell and the intoxicating, almost enchanting voice of Flora Purim, there is simply no other album that compares to the sound of Return To Forever. Having already established himself as one of the greatest side-musicians in history, Chick Corea proves to be one of the most innovative and brilliant musical minds ever with the release of his absolutely stunning 1972 album, Return To Forever.



Standout tracks: "Return to Forever," "Crystal Silence," and "Sometime Ago - La Fiesta."

November 6: The Blasters, "American Music"

Artist: The Blasters
Album: American Music
Year: 1980
Label: Hightones


Examples of the age old saying of "what's old is new" can be found throughout the history of nearly every artistic form, as styles recycle themselves in different forms rather often. However, usually these are new takes on old styles, and though there is often a strong resemblance, it is rarely a direct copy of the former style. As in other artistic endeavors, this idea applies to the world of music, and whether it is blues and R&B turning into rock and roll or jazz and rock forming the "jam band" sound, nearly every genre is built out of a previous style. Then again, there have been a few times in music history when an artist or genre has quite literally revived an old sound, without altering the fundamentals. Apparently, when the entire world began declaring that "rock was dead" throughout the late 1970's and early 1980's, nobody told Los Angeles natives, The Blasters. Easily one of the most tragically underrated groups in history, The Blasters brought back the energy and purity of the early years of rock and roll. Without attempting to "reinvent the wheel," the music of The Blasters could just as easily have been released in these early days, and when listening to their records, it is almost impossible to tell which songs are originals and which are covers. Quite literally every song The Blasters have ever recorded is extraordinary, yet it is their aptly titled 1980 debut record, American Music that stands as not only their finest effort, but one of the greatest albums ever recorded.

Bringing a sound that isn't quite rockabilly, yet seems to have more of a free, almost reckless vibe than some early rock and roll, one can hear sounds of The Cramps as much as The Stray Cats within the music of The Blasters. This is largely due to the fact that some of the largest influences on The Blasters were artists like T-Bone Walker, Bill Haley, and Chuck Berry. In fact, the bands' name itself was taken from the nickname for Big Joe Turner backing musician, Jimmy McCracklin. Keeping all of the musical arrangements clear and pure, the sound found on American Music never comes off as "nostalgic," as the music is as modern and fresh as anything else being done at the time. The fact that the music of The Blasters retained such and "edge" was one of the key reasons why the band was able to fit in with, and gain a large following within the punk and hardcore explosion of the early 1980's. Playing many shows with the likes of X, The Gun Club, Black Flag and many of the other local bands, The Blasters proved that the classic sound of "real" rock and roll transcends generations and musical tastes. This ability to fit in anywhere is also a testament to the amazing writing and musicianship within the band members, and alternative icon Henry Rollins once wrote of the band members, "...it's a lot of talent for one band."

The Blasters take on the traditional four-man band, and at the center of the group is the Alvin brothers, Dave and Phil. The brothers share and split guitar duties throughout American Music, and both have a tone and playing style that is nothing short of phenomenal. Whether it is more down-tempo, almost country sounding songs like "Never No More Blues" or one of the many high speed, wild rock and rollers found on the record, the Alvin brothers make their case as one of the finest guitar duos in history. Bassist John Bazz is equally as brilliant throughout American Music, and his ability to deploy an upbeat, winding progression as perfectly as a slower, bluesy pine is one of the key elements that makes the music of The Blasters so fantastic. Rounding out the band is drummer Bill Bateman who is, without question, one of the most talented drummers in the history of music. From fast paced, measured beats like "21 Days In Jail" (which was added on the Warner re-release) to quite literally any other direction the Alvin brothers wish to go, Bateman is absolutely perfect on every track and there are truly few other drummers in history with as much diversity and skill. Truth be told, there is not a note missed by any of the four musicians anywhere on the albu, and each of the nineteen tracks found on American Music is absolutely fantastic, creating a refreshing musical treat that had not been heard in decades.

Along with handling guitar and songwriting duties, Phil Alvin also lends his magnificent voice for every song on American Music. His vocal approach, much like the musical approach of the band is wonderfully "old school" and one can hear traces of everyone from Jerry Lee Lewis to Elvis Presley to Mick Jagger within his vocal style. At the same time, one cannot ignore the similarities in sound to Tom Verlaine and Lux Interior among many others, and the fact that one ca hear such a wide range of influences within Alvin's singing is certainly one of the reasons why his style is so fantastic. Finding the middle ground between the clasic singing sound and the more edgy vocal style that that had come about with the punk explosion, Alvin simply blends the best of old and new into an absolutely perfect singing style. The songs themselves also share this combination of old and new, as the lyrical themes are new takes on age old ideas. Keeping things light and upbeat, the songs sound as if they could have been written three decades earlier, and this is perhaps no more true than with the masterpiece now known as "Marie Marie." Like so many of the early rock classics, the song is just an updated "boy waits for girl" theme, yet the way in which the band presents the song gives it a fantastically fresh feel. It is this ability to make the old sound new that is the true genius behind the music of The Blasters.

Truth be told, when it comes to pure musicianship and musical diversity, there are few groups that deserve to be mentioned in the same breath as The Blasters. Proving that the classic sound of rock and roll was most certianly not dead, and just as enjoyable and relevant in the 1980's as it ever was, there were simply no other groups making music quite like The Blasters. Along with their unique musical approach, one would be hard pressed to find a more talented rock quartet, and their musical skill is perhaps the only thing that is equal to their unparalleled sound and style. Led by the swinging guitar work of the Alvin brothers, and the bass playing of John Bazz, the group flawlessly deploys everything from blues to funk to music that has an unquestionably country feel. Rounded out by the truly unrivaled drumming of Bill Bateman, The Blasters truly had a level of musical talent that was easily equal to that of three or four groups combined. The fact that the group was able to also infuse a bit of the punk edge into their music, as is found on "She Ain't Got The Beat" is yet another reason why the group is so musically stunning, as well as one of the key aspects in them gaining their almost cult-like following. With a sound that is both timeless and unequaled, The Blasters are truly one of the most tragically overlooked groups in music history, and one need look no further than their spectacular 1980 debut, American Music, to understand why this group deserves a status that is nothing short of legendary.



Standout tracks: "American Music," "Barefoot Rock," and "Marie Marie."

November 5: Front 242, "Front By Front"

Artist: Front 242
Album: Front By Front
Year: 1988
Label: Red Rhino Europe/Sony


Regardless of the genre in question, there is always a decent amount of musical latitude as there are performers in every genre who attempt to push the preset boundaries of the style. From the countless directions in which jazz split, to the various offshoots of the punk explosion, perhaps the most amazing thing about music is the endless ways in which a style can be re-interpreted. Though many may not realize it, or even give it much thought, even the more aggressive styles have this same diversity, shown by the various forms for heavy metal and hardcore music. Similarly, the oft-ignored genre of "industrial" shows the same wide range in interpretations of the form, and in many ways standing on the opposite end of the genres' spectrum from Nine Inch Nails are the equally brilliant Belgian rockers, Front 242. Having formed nearly a decade before Nine Inch Nails, it is Front 242 that can be seen as one of the true innovators of the genre, and their albums are all nothing short of fantastic. Also standing as one of the longest running, consistent lineups in music, the group has remained virtually unchanged since forming in 1981. Bringing a slightly lighter, more electronica based sound than a majority of the acts that followed, Front 242 in many ways represents the transition from groups like Kraftwerk to the more modern, dark style that dominates the industrial genre. With an extensive catalog of phenomenal music, Front 242 set the mark for industrial brilliance with their landmark 1988 recording, the truly unparalleled Front By Front.

Though Front 242 had already released a handful of albums and gained a respectable fanbase in their home country, it was Front By Front that catapulted them into the international spotlight and in many ways triggered the entire "industrial revolution" in music. Much of the success of the album was due to the surprise hit single, "Headhunter" and the accompanying music video directed by the great Anton Corbijn. One note on the video, which is well known for its strange "egg" concept, is that the reason for the subject matter is that Corbijn thought the name of the song was "Egg Hunter." Regardless, the song became a massive international hit, and the group was quickly signed by Sony Records, who would re-release Front By Front with additional tracks in 1992. Also with this re-release, Sony switched the cover to a far more elaborate, "better looking" cover, which in many ways takes away from the original cover (pictured above) which was much more in line with the music. One of the key factors in the success of Front By Front as opposed to the bands' previous efforts is likely due to the fact that on this record, they had clearly found and perfected their mixture of spooky, live vocals, programmed drums, and strange sound clips. This "edge" that becomes evident stands as one of the key turning points in the genre, though later groups would make the sound much harder and more aggressive than is found on Front By Front. This change in style is due to the progressive thinking and innovative playing of the bands' four musical giants.

Front 242 began as an electronic duo, founded in 1981 by programmers Patrick Codenys and Dick Bergen. After releasing a single together, they added a third programmer, Daniel Bressanutti as well as vocalist Jean-Luc de Meyer, and the group took on the name front 242. After making one last adjustment and replacing Bressanutti with Richard Jonckheere, the band found the lineup that would stick to the present day. As a true group effort, the various sounds and samples that are created on each song are more dynamic and varied than nearly any other industrial album ever created. Whether it is a straight programmed drum track with synthesizer loops or a song filled with wild musical and vocal samples, such as "Work 01," the amount of sonic diversity found on Front By Front is truly amazing. The backbone of the group's sound is the almost military rhythmic cadences, which give the songs the trademark "edge" that would define the genre. This base for the songs would influence countless later bands from Panacea to Rammstein. It is also this strong, steady backbeat that made the songs of Front 242 club hits throughout Europe, and the fact that the songs were not as dark as many later artists is one of the key elements that enabled Front 242 to have crossover success.

While the music is phenomenal and clearly the focus of every song, the tracks on Front By Front simply would not reach this level of excellence without the vocals of Jean-Luc de Meyer. Possessing one of the most distinctive voices in music history, one can easily cite Meyer as the primary influence on the vocal style of both Trent Reznor as well as Marylin Manson. With his gruff, often menacing vocal style, Meyer's vocals are truly a perfect fit for the music over which he sings. Occasionally passing his voice through modulators or other altering effects, the strict, almost robotic tenor of Meyer's voice is truly something that must be experienced to be properly appreciated. Along with the absolutely brilliant music, the lyrics found throughout Front By Front remain some of the most poetic and deep ever written, and this more intellectual focus on the lyrics would become a standard among the best bands of the genre. Furthering the military feel of the music, the band makes many references to war and battle, such as can be found on songs like "Circling Overhead." Yet even when the band opts for slightly more veiled lyrics, they are equally brilliant, as on "Felines" when Meyer rants, "...deeply caught int heir conceit, they gather to check their luck...the vultures sweeping down upon the street, to eat their fill of despair..." The combination of absolutely top-notch lyrics and the unmistakable voice of Jean-Luc de Meyer finishes off the perfect sound that is the music of Front 242.

Though in modern music, one of the key elements for success within the industrial genre is the dark, gloomy mood, when the genre was initially founded, such was not the case. While they were by no means "happy" or upbeat, seminal bands like Kraftwerk, DEVO, and Front 242 concentrated far more on the complex musical arrangements than they did no creating a "doom and gloom" tone. However, in the case of the latter, the darker, often sinister feel came across naturally, and one can hear the different between this sound and the more engineered, purposeful creation of the same mood. Combining together a complex cavalcade of programmed beats and sounds, along with the uniquely brilliant vocal work of Jean-Luc de Meyer, it is almost impossible to measure the number of bands that have taken influence from the work of Front 242. Similarly standing as one of the longest running bands of the genre, their more recent work is just as stellar and innovative as their early contributions to the genre. Often far more musical than those bands that followed, Front 242 found the perfect balance between the heavy, aggressive sound of Nine Inch Nails and the more musical base of Kraftwerk and DEVO. Truth be told, virtually no other band has presented this balance so perfectly, and it is perhaps the key reason why Front 242 remains such a highly respected band to this day. Though every Front 242 record is well worth owning, it was their 1988 masterpiece, Front By Front that blew open the floodgates for the genre and the impact the album had across the musical spectrum is truly immeasurable.



Standout tracks: "Until Death (Us Do Part)," "Headhunter," and "Work 01."

November 4: Earth, Wind, And Fire, "Earth, Wind, And Fire"

Artist: Earth, Wind, And Fire
Album: Earth, Wind, And Fire
Year: 1971
Label: Warner Bros.


As the funk and soul explosion of the late 1960's fused with the psychedelic movement, many of the most innovative and brilliant bands in history were formed. From the mind-bending melodies of Funkadelic to the rebel-rousing of Sly & The Family Stone, countless groups shows the endless ways in which the styles could be blended. Along with these musical giants was a group that took the soul of James Brown, the group harmonies of Sly & The Family Stone, and the funk of Parliament, and created one of the most amazing and original sounds in history. This new sound would be copied and altered by countless bands after, and it is the reason why Chicago's own Earth, Wind, And Fire remain one of the most highly respected bands to this day. A group that ran the musical gamut from slow, smooth soul sounds to high-octane rock-funk classics, there are truly few bands that contained as much musical vision and talent. Blending these varied styles together with an overall positive message, Earth, Wind, And Fire filled a musical void that had been vacant since the philosophical (lyrical) switch of Sly Stone a few years previous. Though their later records would move more into the smooth soul sound, it is the self-titled 1971 debut from Earth, Wind, And Fire that stands today as one of the most influential and eclectic albums ever recorded.

Both the album and the group Earth, Wind, And Fire are almost entirely the creation of band founder and multi-instrumentalist Maurice White. In many ways mirroring the role that George Clinton had with Parliament, White only occasionally takes vocals and is, in many ways, the conductor of his brilliant band. In fact, on Earth, Wind, And Fire, White almost exclusively plays drums, as the other band members freely trade solos and the amazing vocal talent of Wade Flemons is free to shine. This debut record is very distinct from the rest of the bands' catalog as it is far more raw and hard in it's sound, and is in many ways rather distant from the sound that would make the band famous later in the decade. In fact, only this record, and their follow-up released in late 1971 would feature this lineup and understandably, it gives these first records a different perspective on White and his talents. With nearly a dozen different performers on the album, each song has a bright and full sound, and the group-element of the music makes Earth, Wind, And Fire one of the most "welcoming" and easily accessible albums ever recorded. Whether it is the horn-laced, deep grooving funk or the smooth singing, every musician on Earth, Wind, And Fire performs brilliantly, and it is truly a one-of-a-kind musical experience.

While there are a number of different instruments that help to make the sound of Earth, Wind, And Fire so fantastic, it is largely due to the horn section that their music is so amazing. Playing an absolutely brilliant trumpet, as well as leading the horn section is the man who would later gain great respect as a jazz player, Leslie Drayton. Often times bringing a similar musical punch as was made famous by The J.B.'s, it is the way in which Drayton blends together the jazz and funk sounds that makes his playing so unique. Often helping to punctuate the basslines, trombonist Alexander Thomas fits the bands' sound perfectly, and bringing the truly unique sound of the seruling to the group is M. Zulkifli Maulana. These three blend together with the more traditional instruments in a fantastic fashion, and the way in which the group moves as a single unit is what makes Earth, Wind, And Fire such a brilliant band. Bassist Verdine White (Maurice's brother) is easily one of the most underrated players in history, and he shows throughout Earth, Wind, And Fire that he can create the funk grooves with the best players ever. Adding in additional instruments from guitars to electric pianos to an electric kalimba, the band truly presents a full wall of sound. These arrangements, as well as the phenomenal percussion work is all created by the groups' visionary leader, Maurice White. He uses the bands' debut record to firmly establish his place as one of the most talented composers in history, and his work created a sound that would be copied countless times throughout the decade.

With White staying behind the drum kit and only adding his voice on the group harmonies, the lead vocal duties are largely left to Wade Flemons and Sherry Scott. The vocals of Flemons fall somewhere between Sly Stone, James Brown, and Marvin Gaye, as he blends together his smooth voice with the energy and power that is reflected in the music over which he sings. It is very much due to the vocal contributions of Flemons that the songs found on Earth, Wind, And Fire are so motivating and uplifting. The other key element is the truly phenomenal group harmonies that occur on nearly every song. Whether low and smooth or loud and bright, these Motown-esque harmonies are like none other anywhere, and they became the archetype that many of the later funk/disco groups would copy. The songs themselves reflect this positive, group spirit, and with song titles like "Help Somebody" and "Love Is Life," the group made their intentions quite clear. However, the group is also very socially aware, and they make a plea of change when on "Fan The Flame," they sing, "...the flame of love is about to die, somebody fan the fire...violence striking down great men of peace, poverty in the homes and crime in the streets..." Earth, Wind, And Fire's ability to tackle these large issues, whilst simultaneously bringing unparalleled amounts of musical beauty and making every song have a positive mood is what makes their songs so sensational.

While there were a handful of soul-based funk ensembles that emerged in the wake of Sly & The Family Stone, there were few that compared to the stunning sound and talent of Earth, Wind, And Fire. Though the group would find greater success after shifting their sound to a more pop/disco based music, it is their early work that remains a massive influence on music across the world. Fusing together the best elements of soul, funk, gospel, and Motown, and then mixing it with a positive, psychedelic tone, Earth, Wind, And Fire truly created a sound like nothing else in history. Accentuating deep funk grooves with bright horns, band leader Maurice White remains largely unrivaled when it comes to his clear understanding of how to properly intertwine styles that seemed to stand in juxtaposition to one another. It is this strong sense of musicianship and equally powerful lyrics that set Earth, Wind, And Fire apart from their contemporaries, and it is one of the key elements contributing to the groups' continued respect from other musicians. With the overall tone of the record being one of acceptance, love, and peace, the group is not afraid of bluntly calling out the ills of society, but unlike many of their peers, they offer the aforementioned themes as a solution to all of these problems. Remaining today one of the most uniquely brilliant musical efforts in history, the 1971 self-titled debut form Earth, Wind, And Fire is beyond an essential for every music fan and it remains one of the most enjoyable and original works, nearly forty years after its initial release.



Standout tracks: "Help Somebody," "Love Is Life," and "Fan The Flame."

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."