The Breathtaking Blast

from the LP Captain Ganja & the Space Patrol, Venture Records, 1980



The deeper one digs, the more insanely whacked out dub records from the late ‘70s and early ‘80s one finds, so I’m going to go out on a limb here and share with you my half-baked theory for why this is the case. Although it’s common knowledge to even the most juvenile of stoner now, the fact that seedless weed has a significantly higher THC content than her knocked up siblings was just being realized in the mid – late ‘70s; frankly, it’s very weird to me that many young potheads today will probably never smoke schwag, but that’s a different discussion. One might presume that Jamaica was ahead of the curb on this one, but you’d be wrong, and as the news leaked out from America to pot scenes around the world, the purposeful cultivation of “sensi” became de rigueur; it just so happens that precisely around that time, the nature of dub music took a severe turn into outer-planetary overdrive, making even the mid-‘70s output of Lee ‘Scratch’ Perry sound tame in comparison. Whatever the source of dub’s transformation, it is cause for celebration my brothers & sisters, so torch a fresh bowl or smoke a fat cone, grab your headphones, and groove to the sounds of Tradition.

Somebody Up There Likes You

from the LP New Gold Dream, Virgin Records, 1982



I always feel a sharp emotional distance from the world right after major holidays pass, only for a brief moment, but it’s a tangible shift---it’s almost as if I expect us all to change in some way, but every year we’re back to the same routines and attitudes before the turkey & stuffing are even done digesting in our stomachs! I’m as guilty as the next person, and all one has to do is venture out shopping this weekend to get a distinct taste of how fast the courteousness has left the building; that being said, I did manage to get some gifts and all of our X-mas cards bought, so hooray! Anyways, instrumental tracks by Scottish crew the Simple Minds always seem to connect with my distant mindstate, and although my favorite of theirs is probably “Theme for Great Cities”, this one is a close second, currently receiving heavy rotation in my abode; I’m hooked on the scant production and minimal feel here, particularly the sparseness of the quasi-breakdown, it’s exceedingly deconstructed. They never looked back after this album, embracing pop and leaving their art-punk beginnings (along with a small contingent of old school fans) in the past, with even greater changes to come later on.

Tarot Woman

from the LP Rising, Polydor Records, 1976



After spending seven years conquering the world as guitarist for Deep Purple, the band he co-founded and largely helped become famous thanks to his thunderous riffing, the infamously moody Ritchie Blackmore decided it was time to scrap things and start all over again with a new band behind him; apparently, after the departure of Purple’s original singer Ian Gillian he felt increasingly disrespected by the remaining band, so he left. Blackmore had taken a liking to the band that opened for Deep Purple on their last few tours, a crew from Buffalo, NY called Elf, so he promptly took it upon himself to fire their guitarist and absorb the rest of the band as his own, including now legendary (but then unknown) vocalist Ronnie James Dio---thus, Rainbow was born. Living in the age of gay pride that we do, it’s difficult to contemplate a heavy metal band deciding to call themselves “Rainbow” (shit, even “Rainbow From HELL” for that matter), but back then it was an apt name, both due to the rocker bar in LA from which they took inspiration, but also because, in ’76, kids were still ingesting a lot of acid and seeing rainbows all over the place. Dio wisely left for the opportunity to front Sabbath after one more record, and his creepy yet loveable little mug has been with us ever since; what happened to Blackmore? He’s probably off somewhere doing what he does best: firing musicians.

1983… > Moon, Turn the Tides…

from the LP Electric Ladyland, Polydor Records, 1968



Jimi Hendrix would have turned 67 today, which is always easy for me to keep track of because he was born in the same month & year as my mom; quite frankly, that’s where the similarities between the two end. There will always be lively discussions about where Jimi may have taken his music over the decades which have followed his death, and I for one like to think he would have kept going farther and farther out, exploring the reaches of all genres and galaxies in his fearless manner; perhaps that is why I’ve always been intensely drawn to his more experimental pieces. Not since “Third Stone from the Sun” on his debut album had Jimi taken his listeners on such an extended and mind warping trip as this, charting the depths of some unknown planet’s ocean, replete with aquatic imagery, underwater- like processing & a rather aqueous guitar riff that feels as if the whole sea we are exploring was spiked with elephant tranquilizers; mad props to Mitch Mitchell’s incredibly tight drumming, especially considering all the slow-tempo breaks and pace changes during that extensive psychedelic interlude---I love me some Buddy Miles, but Mitchell’s jazzy insistence & exploratory edge has always felt like it was the preeminent match for Hendrix’s unrelenting musical obsession, to me anyways. Lyrically, Jimi paints a dour picture of the world here, embroiled in wars and wracked with pain, something he seems to consider a product of people’s own ambivalence and self-defeating attitudes; he offers us another way, back into the waters, “…not to die, but to be reborn, away from lands so battered and torn…” In an interview with Jane de Mendelssohn given in early ’69, Hendrix discusses his songwriting process, “…like, you might tell them (people) something kinda hard, but you don’t want to be a completely hard character in their minds and be known for all that, ‘cause there’s other sides of you…like for instance “1983…”, that’s something to keep your mind off what’s happening today, but not necessarily completely hiding away from it…I spend most of my time writing songs and so forth, not making too much contact with people, ‘cause they don’t know how to act…talking isn’t really my scene, playing is…” This epic voyage fully demonstrates Jimi’s mastery of the studio, but more than that, it reveals just how sensitive of a guy he was, alienated & misunderstood; having the blood of Cherokee, white, black, & Mexican ancestors coursing through his veins, Hendrix embodied the notion of one unified human race and walked a path more complex than most. He remains the ultimate messenger, may he rest in peace; “…well it's too bad, that our friends, can't be with us today…well it's too bad…”

Be Thankful for What You Got

from the 7” single, Roxbury Records, 1973



Seeing as how this holiday could be viewed as a sadistic celebration of the European genocide of this nation’s indigenous population, I usually tend to take a more literal interpretation of this day: giving thanks. What better way to express that gratitude than with a good old fashioned pig-out surrounded by those you love?! Anyone who knows me is well aware that I could go on for days about the importance of taking the time out to sit down with friends & family and eat a meal, holiday or not (yes, I fully support the slow food movement), and all the more fun when you cook the food yourselves; albeit, I typed that last bit while I was laughing out loud, recalling the Honeybaked ham and pre-baked pies sitting in the fridge that will be my offerings today. At any rate, I’m thankful to have loved ones both near & far, and I’m thinking of all of you today; basically, I’m appreciative to have an abundance of things for which I am thankful, a reality that is rather humbling when you stop and think about it. This smooth number by D.C. area crooner William DeVaughn really captures the right feel here, both in lyrical tone and his delivery, helped along by a young Vincent Montana Jr. on the vibraphone, and it’s actually most of MFSB backing him here; this song may also qualify as the first recorded mentioning of a “gangsta lean”. I hope everyone has a great day today, and remember, “…though you may not drive a great big Cadillac, gangsta whitewalls, TV antennas in the back; you may not have a car at all, but remember, brothers and sisters, you can still stand tall…just be thankful, for what you've got…”

Ballarat

from the LP Lovey, Atlantic Records, 1990

Ben Deily never had a fucking chance; for real, though it would have been impossible to know how talented Evan Dando really was when they were just high school pals forming a band, the fact that they played the same instruments (guitar & drums both) and wrote songs meant that conflict was sure to rear its banal head. This was the first album where Deily was officially gone, giving Mr. Dando complete control of the sound direction and songwriting duties; forgive my harshness, but you get a clear sense of how little Ben was needed. This song was the opener, and it jumps out at the listener like a rabid dog, cheerleader cadence collapsing into horrorshow screaming care of Dando’s then- girlfriend Juliana Hatfield (of indie rockers Blake Babies), and that’s her backing on the chorus sounding like a church singer. The tunes were still fast enough to sound tough but not nearly as quick as before, a more solid coming together of the loud/soft ethos implied by the band’s name, “sour on the outside, sweet on the inside”. The lyrics are pretty cryptic, “…I looked down the mountains, there’s a hole, there’s a tired old fountain, there’s a soul, the time draws near; give me all of your fear, give me, all of your fear…” Considering all the shit Evan Dando has taken for being a pretty boy, I’m always happily surprised by the sharpness of those sparkly white teeth!

Chonspóid

from the LP Controversy, Warner Bros. Records, 1981



The artist currently again known as Prince has sure taken his fans and detractors alike on quite an excursion, both musically and socially, the likes of which only come around once or twice in a generation; I’m gonna preface this whole post by highlighting one important fact: Prince is a musical GENIUS, period. While he may take eccentricity to levels rarely seen on this side of the pond, and he may have completely lost his marbles when he started suing the fans that posted pictures of him on the web without his expressed permission, no one can deny this dude’s mad skills, proficient on over 10 instruments and particularly scorching on the guitar! This track pretty much summed up the gossip surrounding Prince’s initial rise to fame, and his ‘don’t give a fuck’ attitude about it all, “…I just can't believe all the things people say, am I black or white, am I straight or gay...I can't understand human curiosity, was it good for you, was I what you wanted me to be; do you get high, does your daddy cry…do I believe in God, do I believe in me; some people wanna die, so they can be free; I said, life is just a game, we're all just the same… controversy… controversy…” He had to expect some disagreement & debate over his outrageous, freeform sexuality; I mean, this is the guy that had an ode to sex called “Sister” on the album before this that, well, the title basically lets you know… To be sure, as history has gone on to play itself out, one has to wonder if Prince actually enjoys some of the hullabaloo that he has fostered for over 3 decades now. Even if the guy is sort of a douchebag, it will never stop me from loving his discography, or posting his music for that matter (smirk), even if I do have to title things in different languages!

Dancing

from the LP Mask, Beggars Banquet Records, 1981



Dancing probably isn’t the first activity people associate with the modern gothic subculture, because let’s be honest, with all the chains and random metal accessories these kids wear it would present some real safety issues to anyone that was standing near them, so it’s most likely better that they just continue to mope about, hands plunged firmly inside their pockets; however, back in the early ‘80s, goth rock could be heard spinning on the turntables of many DJs, the frenetic pace often making it better for nightclub dancefloors than new wave. Bauhaus was one of the best, fashioning some of the most idiosyncratic and alluring soundtracks within that scene, and looking every bit the part, with singer Peter Murphy & guitarist Daniel Ash appearing like the near-dead offspring of some hairdresser vampires and the cast of Rocky Horror Picture Show, all the while, “…dancing to the dark side of this tune…”

Genesis

from the LP Double Dose, Grunt Records, 1978



For a lot of fans, the work that guitarist Jorma Kaukonen & bassist Jack Casady did under the mantle of Hot Tuna both equaled and, for many, eclipsed that of their former band, the Jefferson Airplane; frankly, most of the music is so different that I feel it’s a bit like comparing apples with peyote buttons. First of all, can I just say, there are few cooler bands names out there than Hot Tuna, and it was actually their second choice after the record company gave their initial idea, ‘Hot Shit’, the boot. Tuna have always been at their best jamming live on stage, and this set was taped on the last tour of the decade; extra points for the album’s lysergic title and blotter-like cover art. This reflective love song was culled from Jorma’s first (and best, in my humble opinion) solo album, an achingly beautiful piece of acoustic folk, electrified here and set to the warm, honeyed timbre of Kaukonen’s voice, “…the time has come for us to pause, and think of living as it was, into the future we must cross, must cross, and I'd like to go with you…you say I'm harder than a wall, a marble shaft about to fall, I love you dearer than them all, them all; I’d like to stay with you…and when we came out into view, and there I found myself with you, when breathing felt like something new, new; along with you…going along with you…”

Computer Power

from the 12” single, Egyptian Empire Records, 1984



Even though most of the big electro cuts that dropped back in the ‘80s came from NYC, Miami or Detroit, there was a small yet impressive hub of artists in the LA area that held it down for the west coast, centered around producer Greg Broussard, a.k.a. the Egyptian Lover; he was the brains behind this track, and several other electro classics. The looped piano riff sounds dark & foreboding, which goes along with the lyrical theme of a twisted computer who seeks to mate with an earth woman, assuring the ladies that his, “…kinky parts will blow your mid…”; he also appears to be smoking weed and mentioning world domination, and considering this came out the same year as James Cameron’s Terminator, one has to wonder if Mr. Broussard came right back to the studio after watching that movie, smoked a phat blunt, and proceeded to deliver unto as this stunning bit of electro insanity.

Ghetto Burnin' (Mojito Remix)

from the CD Phonat, MofoHifi Records, 2009



This bright & tracky style of house seems to have become all the rage over the last couple of years, sometimes being referred to as ‘nu-disco’ or ‘disco-wave’, neither of which really do it justice; whatever you want to call it, I’m just thrilled that house music appears to be getting the BOOM back, after an extended detour in breezy lounge hell. Phonat is the moniker of 23 year old Italian guitarist and beats-maker Michele Balduzzi, and this kid ain’t fucking around; the initial comparisons to Ratatat don’t even begin to scratch his surface, with every song on this debut album sounding different and unique from one another. He even selected one of the baddest-ass CD covers of the year, befitting of a 7 foot tall giant (yes, he is actually 7 ft. tall!); I am helplessly hooked, and rabidly look forward to any new material of his in the future.

Magic Man

from the LP Dreamboat Annie, Mushroom Records, 1976



This song has got it all: monster guitar riffs for days, lock tight drumming, references to marijuana and the occult, a hazy interlude with earthy percussion, a grandiose Moog synthesizer, and some spooky chanting, not to mention Ann fucking Wilson bitches (that’s the banshee-like brunette older sister on the left, for all those uninitiated in the Heart-ness)!!! Ann actually penned this as a quasi-biopic tale, the “Magic Man” being her boyfriend & the band’s manager Michael Fisher, who barely escaped jail for dodging the draft, which is why Heart really came together up in Vancouver instead of their home, Seattle. Fisher’s brother, guitarist Roger, lifted that slowly strummed, atonal chord heard in the verses from Dark Side of the Moon to great effect here, but also turns in some absolutely stunning solo work. The lyrics unfold like a dream, “…winter nights we sang in tune, played inside the months of moon; never think of never, let this spell last forever…‘come on home, girl’ he said with a smile, ‘you don't have to love me yet, let's get high awhile, but try to understand, try to understand, try, try, try to understand--- I'm a magic man’…” Taking a page from heroes like Zeppelin, Sabbath & Blue Oyster Cult, Heart understood one of the greatest keys to rock stardom, which is, be mystical.

Let's Do It

from the 12” single, SAM Records, 1980



“Yes ya’ll, put your hands up in the air, and rock it like you just don’t care…let’s do it, do it, there’s nothing to it…” Ahhhh, weren’t times simpler when the above phrase was enough, no pretension, no big words, no greater social importance, just getting down. Producer and arranger Greg Carmichael was another partner that Patrick Adams teamed with sometimes, mostly notably in their influential project the Universal Robot Band; here they enlist the killer pipes of Leroy Burgess & a grip of his family members, backed by a solid crew of sassy divas, “…let me know you want to do it too…don’t cha like it, don’t cha like it?!” Along with Mr. Burgess’ infamous vocal stank, the real star of the show here is the flanged out synthesizer, which seems to have a life & mind of its own---it’s always a safe bet to assume a synth (often an army of them) will take center stage in most Adams & Carmichael productions.

Thoughtforms

from the EP Scar, 4AD Records, 1989



Lush’s glittering experiments in melody and sound were never short of awe-inspiring, volatile & capricious in all the right ways, inviting you deep within their forest of densely layered guitars and airy vocals, leaving your head spinning from all the unexpected twists and turns in harmony which they take along the way---it’s not easy to fuck with melody and time signatures in this manner, gently bobbing between 3/4 and 3/5 time while deconstructing the minor chords just enough to keep things feeling mildly inebriated. Although the sonic atmosphere feels slightly sinister, guitarist & vocalist Emma Anderson’s lyrics are a happy psychedelic mess, “…I need purple veins and scenic greens, they can make me soar and touch extremes; I just fell down from whitest skies, and now I start to realize, and all the colors talk to me…now you're times nearly through, colors are dripping down red and blue; I'm standing in the middle of a great glass ball, I'm told that I've nothing but I'm having it all…”

Smoothness Mixtape

Side A, 1999



This mixtape might just as well have been called “Anthemness”, as famed house DJ Roy Davis Jr. smoothly rolls through a handful of 1999’s biggest house tracks, the first half of ’99 anyways; coming up under the tutelage of icons like Lil’ Louis & Farley Jackmaster Funk, Roy developed a leaning towards uplifting and soulful house tracks that are often heavy on the vocals---but don’t be fooled, as the switch around 13 minutes into this mix shows you, he can take things deep into the ghetto real fast, and I mean that as a compliment! This tape is filled with tunes which beg to be heard while surrounded by the concrete & glass skyscrapers of an urban metropolis, hard beats for big city streets, the kind of filtered disco madness that, sadly, isn’t heard much in house music anymore.

Police & Thieves

from the LP The Clash, CBS Records, 1977



Though I loved both bands with all my eager, pubescent heart at one time in my life, when push came to shove, I would always fall down on this side of the Clash vs. Sex Pistols debate / rivalry, something about their unyieldingly curious nature I suppose---oh, and they could actually play their instruments. What really set them apart though, right from the beginning, was their willingness to fiddle around with different genres and influences, even as the punk scene was still trying to find its own voice; I’ve almost wondered at times whether P.I.L. was initially just Lydon trying to play catch up in the “boundless interests” game…? This peppy cover of a Junior Murvin classic was a nice respite on the Clash’s paint-peeling debut album, forging a bridge between punk rock and reggae which still exists to this very day; hell, Sting & the Police went on to work this idea into a very successful career for themselves. Even though these lyrics were informed by the mean streets of Jamaica’s ghettoes and shantytowns, they are relatable to anyone that’s felt the pig’s heat or the tendrils of violent crime, “…scaring the nation with their, guns & ammunition…”

One of the Boys

from the LP All the Young Dudes, Columbia Records, 1972



Taste in music is neither purely cyclical or purely linear, and thus, it sometimes seems as if there is no explaining for the revolving door of popular trends and tastes which can come to define a band’s rise and/or fall; case in point, Mott the Hoople. These guys were indisputable cult heroes across the pond back in the ‘70s, scoring top ten UK hits with both singles and albums, but here in the USA they never had one recording breach the top 20; in all honesty, previous to the last couple of years, Mott’s legacy in the States has primarily consisted of classic rock radio’s infinite spinning of their quasi-hit “All the Young Dudes”, and even that is often wrongly presumed by Americans to be the work of it’s writer, David Bowie. Now that I think about it, perhaps it was their connection to Bowie which doomed them in the US, because the nature of their hard rocking boogie should have made them huge over here. That being said, it seems as if Mott may finally breakthrough, thanks to some crack music journalists and the glam-sound revival, Ian Hunter’s face has been all over the place here of late, and I for one think that that’s just peachy! This celebration of all things testosterone related comes across with only the slightest of a wink & nudge, “…well I grow my hair just to scare the teacher, my goodness gracious me ain't little Johnny a creature, and I lost count of the times when I never bathed; I'm one of the boys, one of the boys, I don't say much but I make a big noise…” So what does it mean if the teacher is the one growing his hair long…?

Someone Else's Ride

from the CDR, self-released, 2007



The subgenre known as “dream wave” starts right here, with now-defunct Austin, TX trio Ghosthustler, a group mostly remembered for having been Alan Palomo’s first major project (he’s the guy from VEGA and Neon Indian), as their existence was so brief that they never even got to drop an album proper; although it pains me to say this, these kids were raised on Daft Punk & Felix da Housecat (oh crap man, I am getting old), and this interpretation of the ‘80s comes not from real memories, but what they think the ‘80s might have felt like. Where a lot of bands who are trying to do this come off sounding cheesy and insincere, Palomo’s songs utterly glisten, which says to me that this boy really did his homework; not only does this track stand easily alongside any classic new wave anthem you put next to it, it surpasses the lion’s share of its own influences. I’m fully aware of the fact that vapid zombie-hipsters have co-opted all of Palomo’s music as their current soundtrack, but any true fan of ‘80s music, or synthesizer led rock in general, will fall helplessly in love with Ghosthustler’s carefree smoothness.