August 29: Beck, "Bottle Of Blues"

Artist: Beck
Song: "Bottle Of Blues"
Album: Mutations
Year: 1998


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Though they are very few and far between, once or twice in a generation, an artist emerges that has just profound ability, that it is almost impossible to predict what sonic approach they will deploy from record to record.  Over time, those in this elite group of musicians prove time and time again that they are capable of musical mastery across every genre, and though they are sometimes overlooked, they stand as the most important performers of their era.  Though he made his name off of what was almost a novelty song, those who looked closer could easily see the genius in his first single, and the albums that followed reinforced the fact that Beck had a musical gift that was far beyond that of any of his peers.  Seeming to be able to blend elements of any genre into his unique, lo-fi rock sound, the string of albums that followed his hit single, "Loser," remain some of the most inventive and exciting records of the decade.  While many see his 1996 record, Odelay, as his crowing achievement, the fact of the matter is, it is the trio of records that followed where one can find much of his most intriguing and inventive music.  Standing in stark contrast to his Grammy winning effort, Beck's 1998 release, Mutations, stands as one of the most brilliant, yet overlooked records of the decade, and it is on this album that he proves his true musical genius on many levels.  Spinning his quirky sound into beautiful, mostly acoustic textures, one can find everything that makes Beck such an amazing performer in his 1998 song, "Bottle Of Blues."

While many of his previous efforts had been full and complex musical pieces, "Bottle Of Blues" is in many ways the opposite, fueled by little more than an acoustic guitar and a simple drum beat.  This reflects much of Mutations as it is stands as Beck's finest balance between the musical experimentation found on many of his records, but gives a peek into the more introspective, more mellow sounds that he would take to their fullest on his equally brilliant Sea Change album a few years later.  One can make the case that much of the reason for his divergence on his sound was due to the presence of producer Nigel Godrich.  Perhaps best known for his work on Radiohead's OK Computer, clearly Godrich understands how to give the ideal sound to softer arrangements, and he helps to bring out all the emotion and subtle beauty of Beck's music at every turn.  Throughout "Bottle Of Blues," it is the light touches and singular musical additions that push the song beyond a "normal" acoustic song.  Whether it is the perfectly placed moments of triangle or the trademark "odd" sound effects that jump in and out of the song, Beck blends his trademark quirk with the delicate acoustic background to produce an overall sound that is truly like nothing else ever recorded.  The fact that the song (and the album) has such a laid-back feel, yet never drags for a moment is a testament to Beck's fantastic sense of musical structure, and many artists could learn a great deal from his brilliant work on "Bottle Of Blues."

Throughout nearly every song he has ever written, Beck has shown that his singing voice and writing ability are equal to his skills as a musical arranger, and it is this fact that places him far above nearly every one of his peers.  Without question, Beck has one of the most naturally beautiful voices of his generation, and whether he is using it at its "normal" speaking tone or pushing it to the far ends of the vocal spectrum, he clearly knows no limits with his voice, and this enables him to have songs that bring an amazing depth and variation in sound.  On "Bottle Of Blues," there is an amazing authenticity and simplicity in his singing, as one can easily picture the song being sung around a campfire, and his honest and straightforward sound is one of the keys to the song being so fantastic.  Along with being a superb composer and singer, though they are often lost in the somewhat silly nature of his music, there is no question that Beck is also one of the most talented lyricists in history.  With equal grasp on the profound and the simple, Beck has been able to weave some of the most profound phrases in music history, and on "Bottle Of Blues," he paints one of his finest songs of heartbreak and longing.  Showing both sides of his talents, Beck lays things out in a way all can understand with the lines, "...ain't it hard to want somebody who doesn't want you..."  However, he builds the repeated bridge section over a brilliantly put together phrase of, "...holding hands with an impotent dream, in a brothel of fake energy..."  Throughout "Bottle Of Blues," Beck's voice glides magnificently across every word, and it is in these words that he proves to have an uncanny grasp on both the simple and profound feelings that live inside us all.

Strangely enough, both Beck and his record label have implied over the years that Mutations was NOT supposed to be the follow-up record to his Grammy winning Odelay.  While this makes very little sense, as it surely could have been stopped before production, as well as the fact that it is an amazing record, Mutations went on to find respectable commercial success, proving that Beck's fanbase was willing to follow him in whatever musical direction he chose.  Placing his eclectic, almost dance-style songs on the back-burner, Beck used Mutations to show many of his musical roots, and the more mellow, almost country-style songs found throughout the record showed his abilities in an entirely new light.  It is this balance between the traditional sound of country music and Beck's infusion of what is almost a psychedelic sound that makes Mutations such a unique musical experience, and his strangely sober "Bottle Of Blues" is unquestionably one of the high-points of the record.  As he has always done throughout his entire career, Beck uses the song to spin an age-old theme into something that had never before been heard.  Placing his perfectly toned acoustic guitar over a light drum shuffle, he sets a fantastic backdrop over which he deploys some of the finest, yet most subtle sound effects of his entire career.  Capped off by his simple, yet soulful voice and the similarly shaped lyrics, there are few songs in Beck's catalog that can compare to the over all impact of his 1998 song, "Bottle Of Blues."

August 28: Motörhead, "Ace Of Spades"

Artist: Motörhead
Song: "Ace Of Spades"
Album: Ace Of Spades
Year: 1980


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Though no genre is without fault, there are few musical styles that offer as polarizing a sound as one finds within the music of speed metal.  The split occurs due to the fact that when it is done incorrectly, it is nothing short of unlistenable, and yet when played properly, there are few styles of music that are more energizing and technically stunning.  Rising to popularity around the same time as punk rock, the two genres shared much in common in their early days, as they each tried as hard as they could to be everything that was not "normal" blues-based rock music.  Similarly, these "speed metal" bands seemed to come into being simultaneously on both sides of the globe, making New York City and London, England the hot-spots for the development of the sound.  Honing their sound during this time period, there was one band that continues to in many ways stand as the most important band in the history of speed metal: Motörhead.  From their amazing attitude to the sheer speed with which they played, during the end of the 1970's and beginning of the 1980's, there was simply no other band on the planet that could "touch" Motörhead, and it was during this period that the band recorded some of the most enduring songs in the history of the genre.  Though they had already released a handful of fantastic records, there was nothing that could have prepared the world for the brilliant sonic assault that was unleashed the form of the magnificent title track to Motörhead's 1980 classic album, Ace Of Spades.

The instant "Ace Of Spades" begins, it is clear that this is a song like no other, and the lightning-fast bassline from the legendary Lemmy Kilmister remains one of the greatest ever recorded.  Lemmy seems to truly fly across the fret-board, and yet there is a sense of wild aggression that immediately adds a fantastic depth to the song.  Moments after Lemmy locks in the listener with his stunning playing, guitarist "Fast" Eddie Clarke joins in with an equally devastating performance, and it is this combination that in many ways defines everything that makes speed metal so great.  While Lemmy drives the song with an almost unsettling mood, Clarke tears across his basslines with a screaming guitar and almost feels like a bomb being dropped with every sequence.  Adding the final, amazing element to the song is drummer Phil "Philthy Animal" Taylor, and his work in "Ace Of Spades" remains a high-water mark for drummers of both the punk and metal genres.  At many points, it sounds as if Taylor is trying to smash his drum kit to pieces, as the power and speed he plays with is nothing short of stunning.  Throughout "Ace Of Spades," the trio brings a volume, speed, and overall power that groups twice their size have rarely achieved, and the song in many ways represents true metal perfection, as the song has been able to crossover and reach fans that normally would not listen to heavy metal music.  The fact that this crossover occurred, and "Ace Of Spades" stays unquestionably rooted in the metal genre serves as a testament to what an amazing song it is, and why it has been able to endure over the decades.

Though many have tried over the years, there has simply never been another vocalist that has even come close to the uniquely perfect sound that is Lemmy Kilmister.  Bringing an ideal balance of gruff, growl, and gallivanting, much like the music, Lemmy's vocals on "Ace Of Spades" immediately capture the listener and pull them into his fun-loving, yet seemingly dangerous world.  It is this unique swagger that has made Lemmy the legend that he is, as there is an underlying tension and often a feeling of seediness that makes Motörhead's songs so amazing.  Throughout "Ace Of Spades," Lemmy's vocals appear to be standing on the edge of chaos much in the same was as the music, and the fact that he is able to keep things steady with such an amazing sense of tension is the main reason why the song remains a standard thirty years later.  This element of reckless danger is further enforced within the lyrics, though Lemmy takes a stab at a philosophical idea when he sings, "...the pleasure is to play, it makes no difference what you say..."  However, later in the song, Lemmy in many ways sums up the ethos behind both punk and metal when he delivers the lines, "...you know I'm born to lose, and gambling's for fools, but that's the way I like it baby, I don't wanna live forever..."  The energy and sinister spirit never drop for a moment anywhere on "Ace Of Spades," and the song continues to bring this unrivaled power more than three decades after it was first released.

Along with being one of the most enduring songs in history, upon its initial release, "Ace Of Spades" found commercial success across the globe.  It is the fact that the song found this sort of success that remains proof that a band can do so without sacrificing any of their musical integrity.  "Ace Of Spades" is in many ways as far a cry as one can get from "normal" pop songs, as the speed, power, and somewhat smarmy swagger that "is" Motörhead is in full swing, and yet it is perhaps due to the fact that the band stayed so close to their sound that the song became a success.  Over the decades, the impact of "Ace Of Spades" has been reinforced by the fact that it has been covered countless times by bands across the musical spectrum, and over the past years, it has even begun to appear in commercials.  These two facts prove that there is some intangible element at play throughout "Ace Of Spades," and the presence of the song has not diminished in any way over the years.  The almost unnerving interplay between Lemmy and Clarke remains the blueprint for speed metal guitar work, and the drumming from Taylor is nothing short of awe-inspiring.  The combined sound of these three players presents a balance of volume, speed, and pure energy that has not been equaled since, and it is why Motörhead's 1980 single, "Ace Of Spades" remains a truly indispensable and iconic song.

August 27: Ice Cube, "When Will They Shoot?"

Artist: Ice Cube
Song: "When Will They Shoot"
Album: The Predator
Year: 1992


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Throughout the history of the hip-hop genre, it has been claimed that the "true" emcees were much like reporters, telling the world at-large what was going on in their particular part of the universe.  From tales of struggling to get by to the many reasons why their town was the best in the world, such "reports" were the center-point of most of the biggest songs of the so-called "Golden Age" of hip-hop.  While in these earlier days, the stories were just as vivid and often just as provocative, as the 1990's began, a new attitude and aggression became the standard for the genre.  Largely the byproduct of groups like Public Enemy and N.W.A., in many ways, the world as a whole was not ready for such sounds, and many average people began to take very ignorant and conservative stances towards the records being released.  It seemed that as the urban cultures grew more tense, so did the hip-hop records, and in the summer of 1992, both reached a boiling point.  In the aftermath of the Los Angeles Riots, nearly every musician from every genre was finding some way to relate their music to these events, yet few brought as clear and blunt a picture as those found within hip-hop.  Among these emcees that truly served as the role of reporter, there was one man who stood as their leader, rallying against "the powers that be" and releasing one of the most confrontational albums in history.  Standing as the finest song on that album, there are few songs that are as searing, aggressive, and outright crushing as one finds in Ice Cube's 1992 single, "When Will They Shoot."

Preceding Dr. Dre's legendary The Chronic record by more than a month, Ice Cube's The Predator remains one of the greatest albums ever recorded, and it is largely due to the pulverizing beats and sounds that are present throughout.  On "When Will They Shoot?," the trio of DJ Pooh, Bob Cat, and Ice Cube spin together one of the greatest musical pieces in hip-hop history, and it all revolves around a sample of the claps from Queen's "We Will Rock You."  This loop takes on a far more forceful and robust tone, and it highlights the overly aggressive nature of the song.  However, this is not the only sample used, and it is quite impressive how the production team mixed together pieces from Bob James, Slick Rick, Delegation, and even one of Ice Cube's previous tracks.  The result is a head-bopping, fist-pumping anthem that is unlike anything else in hip-hop history, and it is one of the greatest lead tracks on any album ever released in any genre.  One of the most discernible pieces is the repeated hook of "...stalkin', walkin' in my big black boots..." and this furthers the unnerving mood put forth by the wall of sound, and in many ways, this served as a middle-ground between the sonic mayhem of Public Enemy, and the smoother, more delicate sounds of Dre's "G-funk."  Regardless of what was behind it, one cannot deny the massive power and sense of rebellion that lies within the musical backing on "When Will They Shoot?"

Working in fantastic contrast to the almost chaotic sounds, the heavy, yet clear rhyming style of Ice Cube found here is so full of raw emotion that it becomes almost unsettling.  The way in which Ice Cube is able to keep a measured rapping sound whilst delivering these inflammatory rhymes.  It is this ability to ensure that his message is never muddled or lost while at the same time bringing an unprecedented power and presence that makes Ice Cube one of the most highly respected emcees in history.  Though he had made his name as one not afraid to speak his mind whilst in the ranks of N.W.A., on "When Will They Shoot?," Ice Cube absolutely lets loose and his rhymes stand today as some of the most brilliant and unrelenting words ever recorded.  Leaving nobody safe from his pen, he takes shots at everything, from the way in which the government "deals" with poor neighborhoods to police brutality, to black on black crime.  Giving each subject an equal verbal shellacking, he drops one of his most controversial and unapologetic lines when he rhymes, "...'cause to us Uncle Sam is Hitler without an oven..."  Ice Cube pushes things even further, when he implies that a non-violent solution would not work with the lines, "...now if I say no violence, devil, you won't respect mine..."  There is not a moment where Ice Cube relents even the slightest bit, and it is his forceful, pulverizing rhymes that make "When Will They Shoot?" a true hip-hop classic.

Placing the superb music and crushing lyrics to the side momentarily, there is one other aspect of "When Will They Shoot?" that makes the song a clear cornerstone of the hip-hop genre.  Giving a nod to what has become an almost annoyingly cliché "shout-out" within the hip-hop world, in the second verse, Ice Cube quotes the movie Scarface with the lines, "I...I...I bury those cockroaches..."  In many ways, this moment can be seen as the final piece that ushered in the full-blown "gangsta rap" era, and every aspect of "When Will They Shoot?" remains a blueprint of how the genre should be done even nearly twenty years after its first release.  In many ways, "When Will They Shoot?" also sets the perfect tone for the overall mood found on The Predator, as the sense of dire urgency and unbridled frustration overflows on the track at every turn.  Teaming up on the musically assault with DJ Pooh and Bob Cat, the combination of so many different songs creates a strangely stable musical chaos that reflects this delicate tension even more, and there have been few songs that have ever equaled this impressive balance.  Yet at no time anywhere on "When Will They Shoot?" does the focus move from the rhymes of Ice Cube.  Clobbering the listener with every line, he drops a huge list of names of other hip-hop groups, political figures, and athletes, and this in many ways can be seen as the beginning of the modern hip-hop style.  Though often overshadowed by the two hit singles that came from his 1992 album, The Predator, there are few songs from anywhere in hip-hop history that come even remotely close to the power and message found in Ice Cube's masterpiece, "When Will They Shoot?"

August 26: X-Ray Spex, "Art-I-Ficial"

Artist: X-Ray Spex
Song: "Art-I-Ficial"
Album: Germ Free Adolescents
Year: 1977


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Looking back across the entire history of recorded music, one cannot deny the overwhelming dominance of male performers and fronted bands in nearly every genre from every era.  While there are a few exceptions to this rule, in almost every case, the "best" albums from any given style of music were created by men, and the female contributions are often little more than side notes.  However, one cannot deny the fact that in what one can argue is the most male dominated genre in history, punk rock, one of the most essential records came from a female fronted group.  Though they only lasted a few singles and one full length record, one would be hard pressed to find a finer example of the punk spirit than within the music of the amazing X-Ray Spex.  Making their presence known via their 1977 feminist anthem, "Oh Bondage, Up Yours!" which opened with the lines, "...some people think little girls should be seen and not heard, but i think...oh bondage, up yours!" there are few groups that have had as short lived, yet massively influential as X-Ray Spex.  Filled with an aggression and energy that remains largely unrivaled, the group was also able to inject all of their songs with an amazing pop sensibility that was missing from much of the punk music at the time.  Standing as one of the greatest songs ever written, as well as one of the finest ways to open a record, few songs can compare to the greatness found on X-Ray Spex's 1977 song, "Art-I-Ficial."

Truth be told, there are few songs in history that set as perfect a mood for an entire album as one finds within "Art-I-Ficial," as the guitar riff that kicks off the song is one of the most upbeat and energetic to ever be recorded.  Played by the man known as "Jak Airport" (real name: Jack Stafford), the riff tears across the song and instantly pulls the listener completely into the album.  Compared to most of the punk songs being recorded at the time, the riff is quite different in that the tone is very clean, and the musical progression is someone more complicated than those being recorded by their peers.  However, the spirit of punk rock is undeniable, and B.P. Hurding quickly jumps in with a strong back-beat that makes "Art-I-Ficial" a piece of punk rock legend before the vocals even enter the picture.  Bassist Paul Dean adds even more nervous energy to the song, and as the song moves into the first verse, it is his playing that begins to build into a frenzy.  While all three of these musicians play brilliantly, the one element that set X-Ray Spex even further apart from their peers is the presence and playing of saxophonist Rudi Thomson.  Having replaced band co-founder "Lora Logic" (real name: Susan Whitby), Thomson steps into the role perfectly, bringing to mind the work of The Stooges, and helping to give "Art-I-Ficial" a sound and mood unlike anything else being made at the time.

However, while the music on "Art-I-Ficial" is absolutely fantastic, there is no arguing that the band would not exist both literally and figuratively had it not been for the vocals of the one and only Poly Styrene (real name: Marion Elliot).  Standing today as one of the most influential females in all of music history, her work throughout Germ Free Adolescents is nothing short of stunning, and she also used the album to make her case as one of the finest writers of her generation.  Seamlessly switching between singing and shouting, Styrene has everything her male counterparts had to offer vocally and then some.  The power and spirit in her singing is completely captivating, and there is a phenomenal sense of authenticity and raw emotion that runs throughout the song.  This is largely due to it being clear that every song from X-Ray Spex had a deep meaning for Styrene, as she used the musical form to fight for women's rights in every avenue of life.  On "Art-I-Ficial," she holds nothing back, giving a huge middle finger to society with the lines, "...when I put on my make-up, the pretty little mask not me...that's the way a girl should be, in a consumer society..."  This, in many ways, is the true punk spirit, and few artists have so brilliantly expressed themselves, and it is lines like these that have made "Art-I-Ficial" such a cornerstone within the progression of music as a whole.  Furthermore, countless female performers have used Styrene's "battle cries" as their own inspiration, and both her writing and vocals remain unrivaled more than thirty years later.

In many ways, it is almost tragic that X-Ray Spex released such a little amount of music, as they clearly had far more to offer than an overwhelming majority of their punk rock peers.  Having a firm grasp on how to create frenzy-inducing, high emotion punk rock with a musicality that appealed to non-punk audiences, on many levels, the group was light-years ahead of the other bands of their era.  Whether it was finding ways to perfectly blend saxophone progressions into their music or the mesmerizing vocal work of Poly Styrene, there has truly never been another band equal to X-Ray Spex, and it is much the reason that their only record, 1977's Germ Free Adolescents, continues to show up with a quite high ranking on countless "best of" lists.  The album is truly flawless, and one cannot deny how much impact and influence it clearly had on so many bands that followed.  The album is also significant in the fact that, while it is unquestionably punk rock, it does not follow the sonic trend that dominates much of the famed releases of 1977.  X-Ray Spex took their own approach to the punk style, and their unique blend of crisp, yet frantic guitar work and a high octane rhythm section along with the bleating saxophone set them in a class all their own.  Capped off by the uncanny presence of Poly Styrene, there are few albums that rival the brilliance of Germ Free Adolescents, and few songs from anywhere in history that can compare to X-Ray Spex 1977 song, "Art-I-Ficial."

August 25: Zero 7, "In Time"

Artist: Zero 7
Song: "In Time"
Album: When It Falls
Year: 2004


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Though it does not necessarily make them "bad," it is quite common amongst the non-blues based musical genres for artists to seemingly forget that the world that follows their genre title is, in fact, "music."  Or perhaps it is better stated that many artists in these more experimental styles of music walk a fine line on what can be considered musical.  However, regardless of how "far out" a certain style of music is, there are always a few performers of that genre that help to "pull back" the sound and keep it rooted in musical creation and show the connection with the larger idea of music.  It is often within the world of electronic music that these questions of "what is" music are most often raised, as performers within these genres often lose sight of their purpose.  Furthermore, there are few genres that have more fleeting "stars" than in electronic music, as there are countless one-off players and even more sub-standard wannabe's.  Yet over the past decade, few acts have churned out more electronic albums of as high a quality as one finds within the catalog of the English duo known as Zero 7.  After blowing the world away with their stunning debut, the group upped the ante with their more creative and sonically adventurous follow-up, 2004's When It Falls.  Featuring a number of guest vocalists and some of the most beautiful compositions in the history of the genre, few songs better define the group's ability to fuse together new and old sounds than their absolutely beautiful, folk-sounding single, "In Time."

From the first notes of the song, it is clear that "In Time" is nothing like the stereotypical electronic song, as it brings a slow acoustic guitar over a soft, simple beat.  Throughout "In Time," the musical focus rarely shifts from the guitar playing, and it is so perfectly toned that it evokes the spirit of the country-folk singers of the 1970's.  The fact that this sound is undeniably present within such a modern genre serves as a testament to the unparalleled musical talents of Zero 7's Henry Binns and Sam Hardaker,  as it is clear that their musical creativity knows no boundaries.  However, these two have not created a re-hashing of an old style on "In Time," they have in fact found the ideal way to merge old and new, and this feat has yet to be topped since it was first released.  Yet along with this classic sound, throughout "In Time," they delicately place a number of other musical elements that highlight the best there is within the down-tempo or ambient sub-genre of the electronic style.  From gentle keyboard chords to to perfectly placed sound effects, Zero 7 finds a fantastic way to make the song very full, and yet it comes off as a very simple and almost minimalist sound.  It is their ability to create juxtapositions such as this that set Zero 7 far apart from their peers, and they offer a very unique blend of musical bliss within "In Time."

Along with giving the world some of the most gorgeous musical creations in recent history, Zero 7 has also gained a reputation for featuring some of the most gifted vocalists of their era, and many who have sung on Zero 7 songs have gone onto very successful solo careers.  Throughout When It Falls, the group has a number of different vocalists performing, and yet it is the work of Sophie Barker that shines brightest on the record.  Both of the songs she sings on ("In Time" and "Passing By") stand as the highlights of the album, and she would later work with artists ranging from Bliss to Groove Armada.  On "In Time," Barker's voice is nothing short of perfect, as there is a soulful sweetness in her sound, and she adds to the idea of the song being simple, yet overflowing with emotion.  Barker's voice soars, showing no limitations, and there is an honestly and purity within her singing that pulls the listener in and provides a stunning musical experience that persists even after repeated listenings.  Yet it is also the words she sings that help "In Time" to have such a "classic" feel, as they perfectly capture the feeling of a person who simply needs a bit of time to themselves.  While there are few songs that better accompany a mood such as this, there are few more accurate lyrics than when she sings, "...like to sit this silent moment out..."  Perfectly capturing the essence of introspection, as well as providing a fantastic musical companion for such times, vocalist Sophie Barker gives a stunning and unrivaled vocal performance, turning "In Time" into one of the finest songs in the history of electronic music.

Though a vast majority of electronic artists make no secret of their style and keep all of their songs firmly rooted within this sound, it is often those performers that blur the lines of genres that stand as the finest representatives of the electronic style.  For more than a decade, the English team known as Zero 7 have constantly pushed the down-tempo/ambient genre forward, and their early work remains some of the finest recorded music in the genres' history.  Creating truly stunning musical arrangements that completely engross every listener, it is Zero 7's ability to appeal to a wide range of listeners that has enabled them to crossover into more mainstream notoriety.  This has also been accomplished by the fact that the duo that "are" Zero 7 have shown an uncanny ability to spot and highlight some of the finest "underground" vocalists in the world, and on "In Time," Sophie Barker is instantly added to that elite group.  It is her voice that proves to be the special element that makes this song stand out on what is a superb record, and in both her pitch range, as well as emotion, few artists of her generation have shown similar ability.  Combining her soft, yet strong voice with a guitar progression that could have easily have been written three decades earlier, Zero 7 shows their true musical talents by not "ruining" their creation by "over-doing" the electronic element.  Finding a perfect balance between old and new sounds, few songs of any genre can compare to the amazing mood and beauty one finds on Zero 7's 2004 song, "In Time."

August 24: Derek And The Dominos, "Layla"

Artist: Derek And The Dominos
Song: "Layla"
Album: Layla And Other Assorted Love Songs
Year: 1970


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While in many cases, it takes a handful of records from any band before they gain any notoriety, there are a few isolated instances where for one reason or another, a band will release a single record and be absolute legends for that effort.  This may be due to the music being so far ahead of its time, or perhaps due to some sort of event surrounding the record, or it may also be due to the combination of musicians playing together.  However, though they are very few in number, there are also a handful of songs in music history that have become so large, that the song itself eclipses the performers who were responsible for its creation.  When a song achieves this status, there is no question that it has become one of the most important and influential songs in history, and yet there are always a number of reasons why a song finds itself in this place.  While one cannot deny the exceptionally high level of musicianship within the makeup of the band, it can be argued that 1970's Layla And Other Assorted Love Songs has become far bigger than the band that created the record: Derek And The Dominos.  Filled with some of the most memorable songs ever written, few records can boast as brilliant a fusion of so many different musical styles, all executed with a precision that is rarely found elsewhere in any genre.  Though every song on the album is a fantastic musical achievement, none of them can compare to the magnificent musical display that has become one of the most treasured songs in music history: 1970's "Layla."

From the moment that "Layla" begins, it is already iconic, as there are few, if any guitar riffs that even come close to the instant distinction that one finds here.  Played by one of the most powerful and unlikely duos in history, the guitar work here is courtesy of none other than Eric Clapton and the late Duane Allman.  While Clapton does a great job on the lead riff, it is the undertones from Allman that make "Layla" truly soar, and it is he who stands as the most stunning musician on the track.  Furthermore, while the main riff is absolutely brilliant and unforgettable, the fact of the matter is that the riff is almost lifted verbatim from a T-Bone Walker vocal recording (which is likely why Clapton re-worked the song for his over-hyped Unplugged performance).  Even with this in mind, one cannot deny the force and presence of the riff, though one similarly cannot ignore the lengthy, lamenting coda that follows the verses.  Stretching out over nearly four minutes, the movement was orchestrated by Jim Gordon and played him along with Bobby Whitlock and Carl Raddle on bass.  Playing in a stunning contrast to the first half of the song, this helps to re-enforce the duality of the feelings expressed through to vocals on "Layla."  The fact that both parts of the music have etched their way into music history each in their own way makes one wonder whether these could have been two separate hit songs, as the combined power of the legendary riff and timeless refrain push "Layla" into a musical category all its own.

Working in perfect balance with the duality of the music, the vocals, sung by Eric Clapton, stand as perhaps the finest of his entire career.  Finding the ideal middle-ground between his blues-based roots and the soulful, rocking mood of the music, Clapton completely commits to the vocal, and there are few tracks in history that can compare to the raw and unguarded sound that he brings here.  Though later in his career, Clapton wrote other songs of pure heartbreak, it is almost impossible to argue that he was ever more soul-bearing and outright tortured as one finds on "Layla."  The song itself is a not-so-subtle cry to Patti Boyd, the then-wife of Clapton's friend, George Harrison, and though rather questionable in motive, Boyd and Clapton would marry nearly a decade after the song was released.  Clapton holds back nothing in the lyrics of "Layla," and he seems to even take a few "shots" at Harrison with lines like, "...I tried to give you consolation, when your old man had let you down..."  However, he also brings some of the most simple, yet beautiful sentiments on love with phrases like, "... please don't say we'll never find a way..."  Regardless of the "true" recipient of the songs' words, "Layla" has become one of the most universally recognized songs of longing ever composed, and even more than forty years after being released, on nearly every level, the song remains unsurpassed.

Truth be told, it is hardly surprising that when one teams Eric Clapton with Duane Allman, the results remain one of the most enduring and endearing songs ever recorded.  While Clapton absolutely tears across the track with an aggression and soul that he rarely matched, it is the slide-guitar work of Allman that is the highpoint of the track, though this point is often lost in the hype and ego that has surrounded Clapton over the decades.  Furthermore, the second half of "Layla" remains the epitome of true musical beauty, and even after hundreds of listenings, the piano and guitar passages do not fail to convey the emotions as perfectly as they did on the first experience.  This is in many ways the "magic" that is "Layla," as it almost defies description how well the song has held up over the decades, and why there are simply no other songs in history that can even remotely be compared to this extraordinary musical achievement.  Not surprisingly, the song has rarely been performed live since the short-lived era of Derek And The Dominos, and Clapton himself once said of this fact, "...'Layla' is a difficult one, because it's a difficult song to perform live. You have to have a good complement of musicians to get all of the ingredients going..."  Along with having the right musicians, "Layla" also brings a raw level of emotion that has rarely been matched elsewhere, and it is the combination of all of these elements that makes Derek And The Dominos 1970 song, "Layla" such a phenomenal moment in music history.

August 23: Daily Guru, "Gurucast #34"

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One hour of amazing music and SOME commentary from "The Guru" himself.

Tracklist:
1. Les Rallizes Denudes, "Otherwise My Conviction"  Flightless Bird
2. X-Ray Spex, "Germ Free Adolescents"  Germ Free Adolescents
3. Reflection Eternal, "Some Kind Of Wonderful"  Train Of Thought
4. Vic Ruggiero, "Oklahoma"  Hamburguru
5. The Evens, "You Won't Feel A Thing"  The Evens
6. Soundgarden, "Outshined"  Badmotorfinger
7. The Clash, "Revolution Rock"  London Calling
8. Sublime, "Boss D.J."  Acoustic: Bradley Nowell & Friends
9. Chuck Ragan, "California Burritos"  Feast Or Famine
10. Primus, "Pudding Time"  Frizzle Fry
11. Nick Cave & The Bad Seeds, "Stagger Lee"  Murder Ballads
12. Godfrapp, "Pilots"  Felt Mountain
13. DEVO, "Blockhead"  Duty Now For The Future
14. The White Stripes, "It's True That We Love One Another"  Elephant
15. Counting Crows, "Another Horsedreamer's Blues"  Recovering The Satellites