Lô Borges, "Lô Borges"

Lô Borges
"Lô Borges"
Yazoo (1972)
1000 Recordings To Hear Before You Die

The good news for Americans and English-folk is that rock 'n' roll (and popular music in general) developed in countries that spoke the same language as us. That's why all the music you listen to is in English. Don't be so ignorant as to assume that those in "foreign" cultures weren't listening to the same influential bands that the English-speaking people of the world were. Lô Borges, a Brazilian musician, heard what bands like The Beatles and The Beach Boys were putting out and it's easy to tell based on his self-titled album if you can get past the language barrier.

Out of the two aforementioned iconic bands, I would argue that Borges is more of a Beach Boy, but an argument could easily be made in the opposite direction. I'm going to start with what the multi-instrumentalist learned from The Beatles.

Perhaps it was a hint when I referred to Borges as a multi-instrumentalist. Just like McCartney, Lennon and Harrison, Borges would get bored if he played one style constantly. He plays happy-go-lucky pop numbers ("Aos Barões") and slow ballads ("Se Você Pensa") in old-fashioned Beatles style. He touches on the psychedelia of middle-Beatles ("Voce Fica Melhor Assim"). Just like how the British band would bring in unusual instruments if things were getting too uniform, Borges adds random accompaniment such as an organ or a harpsichord. That's not to say he's forgotten where he came from. "Nao Foi Nada" has the percussion, panpipes and chimes necessary to make it a Brazilian samba.

A quality he shares with both (later) Beatles and Beach Boys is the preference for dense instrumental backgrounds. Nearly every song features two guitars, sometimes two acoustic and sometimes one of each, playing separate parts. Two guitars playing the same thing is louder, but the distinct guitar movements add to the complexity of the songs and serve as testament to Borges songwriting ability. There's a feeling of Ronnie Specter's "wall of sound" approach in even the quietest of songs, such as "Face Seu Jogo."

The Beatles were ambitious and they weren't afraid to push a song to its temporal limits. That's just fine, but Brian Wilson was always more about making the perfect pop song, not the perfect rock song. That's why songs like "God Only Knows" are only 2:51; because it only takes that long to make its point effectively. Borges buys into the same school of thought. "Lô Borges" fits 15 tracks into just more than 28 minutes. It's not laziness...it's satisfaction with the product.

I'm sure you're a fan of either the Beach Boys or The Beatles, if not both. Whichever aspect you choose to appreciate, you'll find something to appreciate about Lô Borges.

INTERESTING FACT: Minas Gerais, the home of Borges, is also acknowledged as the birthplace of Pele.

Everything But The Girl, "Idlewild"

Everything But The Girl
"Idlewild"
Blanco y Negro (1988)
1001 Albums You Must Hear Before You Die

When we last visited our friends at Everything But The Girl, they were producing easygoing trip-hop music for listeners winding down from the jungle at clubs. This album, "Idlewild," actually came five albums and eight years before "Walking Wounded." The instrumentation is dramatically different, but the attitude is the same.

I labeled "Walking Wounded" as a pop album, despite its electronic approach. Listening to "Idlewild" demonstrates that I wasn't too far off. In 1988, Everything But The Girl operated in the realm of "adult alternative," and its electronic aspects were no more than the occasional '80s synth. Ben Watt, the guy behind the production on "Wounded," handles the guitars here. Most of the other instrumentation follows a lounge music theme, in line with a good deal of ad-alt. A piano and upright bass keep things cool, and an occasional saxophone solo leads the songs out.

The format is a tremendous plus for vocalist Tracey Thorn, lesser known than Sarah McLachlan but operating with the same voice, a mezzo that's vaguely happy in its sadness. "I Don't Want To Talk About It" was the big single, but album closer "Apron Strings" best exemplifies Thorn's ability, mainly because she's accompanied only by Watt's acoustic guitar.

If you recall, I found "Wounded" to be a boring album. Most human beings find adult alternative to be a boring genre. So yes, I find "Idlewild" boring. It had potential however. There's a degree of charm in the lounge approach, but this album is overlong and flirts with cliche. The record features 12 tracks, cutting several of which would make for a great improvement. My suggestions for trimming would be "Oxford Street" and "Goodbye Sunday," two of the more cliched songs. "Oxford" is another bittersweet reminiscence of youth and "Goodbye Sunday" is another regret that the weekend is over; both overused tropes in any genre.

The best writing is Watt's "The Night I Heard Caruso Sing," where the guitarist also makes his only lead vocal appearance. What begins as another reminiscing track takes an unexpected turn for the cynical, and plays away from the expected verse-chorus structure.

I may just find the appeal in Watt's track because of my own cynicism, and the general distaste for adult alternative that comes with it. This is a better album than "Walking Wounded," with less boredom to go around. But alas, still boredom.

INTERESTING FACT: Single "I Don't Want To Talk About It" was written by Danny Whitten, a guitarist for Neil Young's cohorts, Crazy Horse. Take that, those that label Crazy Horse as Young's lackeys!

Japan, "Quiet Life"

Japan
"Quiet Life"
Hansa (1979)
1001 Albums You Must Hear Before You Die

There are few genres that I find as distasteful as "New Wave." Traditionally, it talks a good game about being full of the punk vibes lingering during the '70s, but its tendency towards synthesizers, understated guitars and blasé vocals suggests otherwise to me (I don't consider the Talking Heads new wave because it doesn't fill these qualifications). I don't know much about Japan as people; they might be just as big of snobs as anyone (based on interviews, they are). But its music is certainly better.

I think part of the reason Japan succeeds where so many others failed is because they were an established act already, having released two albums under the classification of "glam rock." It would be nearly impossible for a band to entirely overhaul its sound just like that. If you listen to "Quiet Life" versus the group's previous albums, it's obvious that the guitar is toned down, vocalist Dave Sylvian has switched down to a baritone, and there is much, much more synthesizer. In case the band's preexisting fans were worried, the first two tracks are the most poppy on the album. "Quiet Life" is the dance/punk fusion that most new wave bands won't admit they were trying to be. The quick bass guitar and synth lines, coupled with Sylvian's "sexy" voice, make this pure club gold (at least at the time. I'd still listen to it at the club if I had the choice).

An interesting aspect I noticed when listening to "Quiet Life" is the instrumental contributions of bassist/saxophone player Mick Karn. Even with the Talking Heads, I've always thought of David Byrne as an excellent songwriter and arranger, not instrumentalist. And you consider how few bands receive significant contributions from the bass player, and Karn stands out. Often it's his bass lines, as in the title track as mentioned before, but also the simply awesome riff he contributed to "Alien." The saxophone was oversampled for a while once the '80s set in, but Karn's playing stands as an example of when it works.

Of course, having changed its direction almost entirely, Japan opted to try its hand at some more alternative-style tracks. The two I look at are "Despair" and "The Other Side of Life," both slower songs. "Despair" takes nearly two-minutes of mournful piano and percussion before it introduces the vocals, which are in French. It's a good track, but the French is an obvious homage to the Talking Heads, and maybe Roxy Music. I don't get "Other Side of Life" so much. A seven minute closing track is okay, but I really expected a bit more of a jam to happen. Otherwise it's just Sylvian singing in a pained voice, a little bit too long to carry on so slowly.

The group released two more albums after "Quiet Life," which made this the center of its career sandwich, and the meat is filling. The follow-up veggies and bun fell more in the range of new wave that I don't appreciate, so it's best to relish this one.

INTERESTING FACT: Karn earned two degrees in psychotherapy, and as such he took pleasure in referring to himself as a "member of the Associated Stress Consultants, Psychotherapy, and Regression & Hypno-analysts."

Everything But The Girl, "Walking Wounded"

Everything But The Girl
"Walking Wounded"
Virgin (1996)
1001 Albums You Must Hear Before You Die

Typically, I can find at least one example of an artist I appreciate within every genre and subgenre of music, but there are certainly times when I can't. The last example of this was my look at Anita Baker and the "Quiet Storm" format of R&B. Unfortunately for British duo Everything But The Girl and its album "Walking Wounded," '90s pop-tronica (a term that I made up but will unabashedly abuse) is another genre that I struggle to find redeeming factors within.

The ultimate example of this genre was the briefly-popular Italian group Eiffel 65, famous for its huge hit "Blue (Da Ba Dee)." This example is a bit dramatic, but illustrates some of the worst points in "pop-tronica." Like "Quiet Storm," it all comes down to the backing instrumentals being boring. In my opinion, the programmed snare used heavily in the trip-hop and drum 'n' bass movements popular in Europe at the time, have even less personality than the 808 drum machines used in early hip-hop.

Everything But The Girl is as big a victim of this as any. Many of Ben Watt's programmed breakbeats are gentle to the point that they'll appeal to huge audiences (the "pop" aspect) but it's hard to imagine them as club-worthy, especially in comparison to purer forms of electronica. Songs like "Before Today" and "Wrong" really sum up the era for me. Granted, the album includes a remix of "Wrong" by British DJ Todd Terry (a version that became more popular than the original) and the title track, which both feature quicker beats, but nonetheless it's tough to find any soul in this music.

There is some soul to be found in the lyrics of vocalist Tracey Thorn however (unlike Eiffel, there's no autotune in this effort). Much like Baker's work, the inorganic nature of the backing instrumentals are somewhat redeemed by the talented vocalist. Thorn isn't a powerhouse by any means, but she can carry a lovely melody, and her voice carries a trace of hurt that reflects the themes of loneliness that pervades "Walking Wounded."

All in all, Thorn's qualified vocals can't make up for the lack of feeling present in the music, just as Baker's vocals couldn't save her album "Rapture." For my money, Thorn's contributions would be better appreciated in a more modern electronic setting, or even moreso with traditional instrumentation (which EBTG used to do on previous albums; "Walking Wounded" is its sixth), but the acoustic guitar only makes one understated appearance in "Mirrorball." Oh well. Too late to do anything about it now. I'm just going to stick with Aphex Twin for my '90s electronica fix for the time being.

INTERESTING FACT: The duo got its name from a furniture store in its native Hull, which featured the catchphrase: "For your bedroom needs, we sell everything but the girl."

The Beach Boys, "Pet Sounds"

The Beach Boys
"Pet Sounds"
Capitol (1966)
1000 Recordings to Hear Before You Die + 1001 Albums You Must Hear Before You Die

Paul McCartney, Eric Clapton, Pete Townshend, and Elton John all have two things in common. For one, all are music legends, some of the most respected representatives in rock 'n' roll history. Second, all agree that "Pet Sounds" by The Beach Boys is a landmark album. McCartney bought a copy for each of his children, saying "I figure no one is educated musically 'til they've heard that album." Clapton described it as "everything that's ever knocked me out and rolled it all into one." I'm not one to disagree with these guys.

Although "Pet Sounds" is listed under the name of The Beach Boys, it could just as easily be described as a Brian Wilson solo album. Wilson was so moved by The Beatles' "Rubber Soul" that he challenged himself to one-up it. The elder Wilson had always been the de facto leader of the group, but this album fully displays his self sufficiency (and his iron fist) as a band leader.

First, there's the basics: songwriting. There are two writers credited in the liner notes of "Pet Sounds:" Wilson and Tony Asher. Asher, previously a radio jingle writer, has openly stated that he served more as a translator for Wilson's thoughts than as an original lyricist. The childlike nature of Wilson's themes on tracks like "Wouldn't It Be Nice" and "You Still Believe in Me" summarize the musician's life story: a man who continually grasped for his youth, perhaps as a result of his father's rough treatment.

Wilson not only wrote the lyrics; he decided who got to sing them. The Beach Boys' trademark sound is its harmonies and multi-vocal parts, but Wilson would take no chances with his masterpiece. Four of the tracks on "Pet Sounds" feature only his voice, either by design ("Don't Talk (Put Your Head On My Shoulder)") or because he was simply frustrated with his fellow bandmates ("I'm Waiting For The Day"). He knew when he wasn't the best option however; he gave brother Carl Wilson the lead role on "God Only Knows," albeit after having tryouts for the part amongst everyone in the group.

"Pet Sounds" is most renowned for its role in the development of "baroque pop" however, pop music featuring large amounts of instruments and many layers. Every track on the album features at least ten credited musicians playing both standard and unusual instruments. Theremins, timpani, accordions, French horns and dozens of eccentric additions make appearances throughout. Perhaps the greatest indication of Wilson's arranging genius is how he places these musical touches as backdrops. Others might use a celeste as the cornerstone of a song due to its unique tone, but Wilson treats each part in the same way as a Baroque composer would treat each individual part of an orchestra. All have an equal role in a completing a song's perfection. Only three tracks on "Pet Sounds" break three minutes, meaning that Wilson was more interested in creating short bursts of perfection than epic pieces, as would become popular later during the decade.

Although Wilson readily multi-tracked vocals (especially if it meant he got multiple parts), songs like "God Only Knows" are interesting because they feature up to 23 studio musicians all playing in unison in the studio. In modern times, computers make the removal and re-addition of misplayed parts simple. In the '60s, one instrument being off meant everyone playing again, and Wilson was not afraid to execute dozens of takes.

Wilson, along with his friend and "wall of sound" pioneer Phil Spector, paved the way for dozens of "super producers," such as Rick Rubin. His desire to control every aspect of the recording process, and to add flourishes via minute details in every track, has actually had a bigger impact on hip-hop more than any other genre. His creative OCD is typified by mainstream rapper/producers like Kanye West and underground artists like El-P.

"Pet Sounds" served as the second part of a "friendly" rivalry between The Beach Boys and The Beatles, and part of what many would call three of the greatest records of all time (the other two being The Beatles' "Rubber Soul" and "Sgt. Pepper's Lonely Hearts Club Band"). That puts this album in some pretty elite company.

INTERESTING FACT: Despite the existence of stereophonic recording at the time of "Pet Sounds," Wilson chose to stick with monophonic recording, as the process was easier due to his being deaf in the right ear. It is rumored that Wilson lost hearing in the ear as the result of a beating from his abusive father and former Beach Boys' manager Murry Wilson.

The Beach Boys, "Smiley Smile"

The Beach Boys
"Smiley Smile"
Brother (1967)
1000 Recordings To Hear Before You Die

There are many adjectives that are abused in music journalism. One descriptor in particular catches my eye and my ire: "psychedelic." From the '60s onward, writers have used and overused the term to describe music that features any number of the following: funny wordplay, guitar effects, foreign instruments, odd time signatures, musicians known to do drugs even if it has no effect on the music itself, et cetera. When serving as the editor of my school paper, I did my best to cut the word from every review I read, because it was always an exaggeration (The Lonely Island, psychedelic, really?). Now that you know my feelings on the term, understand how sincere I am when I say that The Beach Boys' "Smiley Smile" is a total trip.

The history behind the album makes it the most controversial release from the Boys. Brian Wilson was looking to one-up both The Beatles' "Sgt. Pepper's" and its own "Pet Sounds" album. Moon describes how band leader Brian Wilson obsessed over the album's first single, "Good Vibrations," and it's quite possible that his studio intensity drove him off the deep end. Then again, if the tracks on "Smiley Smile" are any reflection of his state of mind, Wilson was already in an odd place.

A handful of tracks demonstrate in various ways just how weird The Beach Boys get here. Start with "Vegetables," a song that features Paul McCartney. On bass? No. The track involves the Beatles member and Wilson chewing vegetables as percussion. Instrumental "Fall Breaks and Back to Winter (W. Woodpecker Symphony)" combines woodblock percussion and evil laughs. "Wind Chimes" uses running water and the titular instrument for odd effect. All in all, it's not these odd touches that make this album psychedelic, however. If anything, it's the addition of the Beach Boys' trademark vocal style.

The group was renowned for its harmonies, and "Smiley Smile" is no exception. But here, the Boys use their skills for unsettling ends. Sometimes it's via a network of intertwining vocal parts ("Heroes and Villains"). Sometimes it's via eerie A cappella melodies ("Fall Breaks").

One track in particular accentuates both Wilson's penchant for experimentation and his oddball mental procedures. "She's Goin' Bald" can be broken down into four segments. It begins in typical Beach Boys' style, with multiple vocal parts describing a woman's hair. At :50, studio effects change the vocalists' pitches, ending with a Chipmunks-esque climax. At 1:10, Wilson's anxious voice takes a solo, describing (in the style of a '30s radio program) how the song's protagonist began dumping various chemicals on her scalp, and the track ends with a soul-style lament for the now missing hair.

It's only fair to spend at least a little time discussing "Good Vibrations," which Moon dedicates his entire passage to, and that he goes as far as to call "the highest expression of the art of the pop single." More than 90 hours of recording tape exists from the sessions for "Good Vibrations." Wilson spent $50,000 recording different instrumental and vocal parts, and in the end narrowed it down to 3:36. The range is impressive. He utilizes standard piano, harpsichord and Hammond organ, and both upright and electric bass. Most impressive however is the space age theremin that jumps in during the hook. If Wilson had the mental capacity to invest this much time and money into every track, "Smiley Smile" would have been the end-all of pop music.

The first time I listened to this record, it was just a hoot. After revisiting it several times, I found that the bizarre nature of the tracks can't hide Wilson's experimental genius nor The Beach Boys' fantastic harmonies.

INTERESTING FACT: We've established that Brian Wilson was a little odd. Part of this was the sandbox he had constructed in his home for writing music. Plopping a grand piano in a giant sand box is also one of the best tales of rock star excess I've ever heard.

(Yes, "Good Vibrations" is the best song on the album. But, you've already heard that song and I want you to experience the true feeling of "Smiley Smile.")

BONUS COVERAGE! Van Dyke Parks was Wilson's replacement for Tony Asher, his cowriter for much of "Pet Sounds." Parks' propensity for acid and general oddness helped alienate the rest of the group during "Smiley Smile" and the only-recently released "Smile." I had the chance to interview Parks for Ohio State's student newspaper. I must clarify that this is far from my best work. My secondary sources got cut from the online version and my writing just isn't at its best. However, you can get an idea for Parks' character from his colorful quotes. http://www.thelantern.com/a-e/wexner-center-welcomes-van-dyke-parks-1.1639768#.TzXatuNSRXc

Waldemar Bastos, "Pretaluz"

Waldemar Bastos
"Pretaluz"
Luaka Bop (1997)
1000 Recordings to Hear Before You Die

Afropop is a genre almost as ambiguous as the "world music" label it sits within. Already, we've seen it represented in the Ethiopian R&B of Mahmoud Ahmed, the Nigerian Juju style of King Sunny Adé, and the funky rhythms of Fela Kuti. All you can really take from Afropop is that it borrows elements of traditional African music and incorporates modern touches, such as electric instruments. At first listen, it may be tough to find the "African-ness" in "Pretaluz," by Angolan musician Waldemar Bastos.

The other artists I mentioned are more easily distinguished as African. Ahmed sings in Amharic, the official language of his home nation. Adé features the Nigerian "singing drums" in his music, and Kuti was a proponent of West African chant in his lyrics. Upon first listen, it's easy to assume that Bastos has borrowed every aspect of his music from cultures outside of Africa, which reflects a misunderstanding of musical history. The congas and bongos featured in most tracks are specifically Cuban. However, their invention and usage was developed by Africans who ended up in the "New World." The polyrhythms and percussion popular in Cuban music is an African invention, and its presence in "Pretaluz" is entirely African. In a sense, the rhythm that travelled across the Atlantic has come home in this recording.

That being said, Bastos did draw some inspiration from outside his native Angola when he fled to Portugal during a brutal civil war. The genre of Fado, the Portuguese equivalent of the blues, plays a key role in Bastos' songwriting style. His lyrics, in Fado tradition, are typically on mournful topics: The war ravaging his homeland on "Sofrimento" ("Suffering") and "Quentide Angola" (Beloved Angola), or a deceased heroine on "Rainha Ginga" (Queen Ginga).

Bastos' guitar strumming is more in the style of the classical guitar playing typical of Fado, as opposed to the American blues style, which would develop into rock 'n' roll. One thing that American and Portuguese blues have in common is their dependence on rhythm, and therefore both styles can be great for dancing, no matter how severe their inspiration. Bastos takes this to heart on "Kuribota" ("Evil Tongue"), and after two minutes of solemn guitar, the percussion jumps in and makes the next five worth stomping your foot to.

The blues is certainly a worldwide phenomenon. People from American, Portugal and Angola all get it. The key is to make it yours, as Bastos has done here.

INTERESTING FACT: The song "Muxima" refers to Our Lady of Muxima, a shrine in the Angolan town of the same name. According to legend, if you go to the shrine to pray with bad intentions for others, you'll drown in the river on the way. So maybe think twice before praying that Lebron James breaks his ankle.

The Style Council, "Café Bleu"

The Style Council
"Café Bleu"
Polydor (1984)
1001 Albums You Must Hear Before You Die

There are many an alternative artist who can curry critical favor by incorporating as many genres as possible into their music. The difference between these groups and British alt-pop, cult favorites The Style Council is that the other bands transition smoothly, and can even blend the differing genres into one polished product. Council struggles to do this on its biggest album, "Café Bleu" (or "My Ever Changing Moods," as it was titled in the United States).

It's obvious right from the get-go that jazz is going to be a major influence on the album. In fact, five whole tracks are dedicated to jazz instrumentals, all hovering around bop and post-bop. The instrumentals tend to show heavy favor to the second-in-charge of Style Council, pianist Mick Talbot. Although guitarist Paul Weller gets a majority of the songwriting credits, Talbot has three cowriter credits among the instrumentals, which he takes advantage of. "Mick's Blessings" is almost solely Talbot, and the piano is especially strong on "Me Ship Came In!", a swinging bop number.

There is a horn section and other backing instrumentalists behind the duo on the album cover, but Weller's obvious predilection for jazz guitar is the most notable aspect of this pop album. His solos on "My Ever Changing Moods" evoke Stevie Ray Vaughn (not a jazz guitarist, but a guitarist with a very jazzy style) and the strummed chords of "The Whole Point of No Return" also have a jazz feel thanks to the tone of Weller's Rickenbacker 330, a popular instrument for the genre.

Weller, a leader of the Mod revival in England during the '70s, naturally enjoys classic R&B and soul as did his Mod predecessors. Therefore it's no surprise when tracks like "Strength of Your Nature" emulate Motown. But takes a turn for the absurd during "A Gospel," a hip-hop track that is awkwardly lumped in the middle of the album. The song isn't nearly as bad as it could've been, but it certainly isn't good and its randomness makes it sound like a mockery of the genre, even if the opposite is true.

"A Gospel" is one of three songs that pack not-so-subtle political messages (along with "No Return" and "Dropping Bombs on The White House," which ironically is instrumental, with no real meaning or explanation). The first two are well thought out attacks on societal structure, but stick out like sore thumbs against the innocence of their surrounding tracks.

This problem is a theme for the album. There is nothing wrong with the bop tracks, the pop tracks, and nothing too misplaced about the hip-hop track either. The problem is that the songs don't segue at all. As opposed to a gentle curve between styles, the listener must deal with clumsy 90-degree turns. Every song stands fine by itself, but makes for a messy album.

The record, and group, suffer from lack of a strong identity. There are plenty of great groups that gracefully float between styles. The Style Council is not one of them.

INTERESTING FACT: Although Pete Townshend gets credit for being the leader of the world's biggest Mod band, Weller is affectionately known as "The Modfather" for his revitalizing of the movement.

Britney Spears, "...Baby One More Time"

Britney Spears
"...Baby One More Time"
Jive (1999)
1001 Recordings You Must Hear Before You Die

This post will hurt the heads of readers who are looking for artistic or obscure musicians. At the same time, I hope that it will at least attract a few readers who aren't interested in hearing about free jazz. The album, Britney Spears' debut "…Baby One More Time," is not a critical darling. It is, however, a diamond-selling record and a monumental album for modern music, at deserves at least some recognition.

I'm going to get the stuff I don't like about this album first, so we can focus on the positives for most of the post. When I say "things I don't like," I'm referring to eight of the album's 11 tracks. Put bluntly, these eight tracks are bubblegum-teen-pop crap. In Spears' defense, she was 17 when this album was recorded and she didn't write any of the tracks here. But songs like "E-mail My Heart" and "Thinkin' About You" are cliches and occasionally schlocky (free relationship advice: don't try to solve relationship issues online). I am a forward-thinking guy and typically not misogynistic, but Spears was born to be a sex symbol. Like Marilyn Monroe, music (or film) is a side note. Spears is not cut-out for ballads and Colbie Caillat pop. This argument brings us to the two major tracks that are worth hearing (the third is her cover of Sonny & Cher's "The Beat Goes On").

"(You Drive Me) Crazy" and "…Baby One More Time" are songs about sex, and if you doubt it, watch the music videos. People who thought "hit me baby" had anything to do with domestic violence are somewhere in space. People who thought that Spears was "crazy" about a guy for strictly platonic reasons are also in orbit. She is at her best when she's edgy, and frankly, her age at the time of this record's release made it much edgier than any followup could be.

These singles also stand out amongst Spears' later releases from an instrumental perspective. From "I'm A Slave 4 U" on, her singles have embraced the slick electronic production of modern club music. This music is undeniably sexy, and yet it doesn't inspire grinding up on the nearest living member of the opposite sex. There are real guitars here, real bass guitar, and percussion that could be reproduced on a real drum set. It could easily have been created by an actual band, such as No Doubt.

Whether you like this music or not, there's no denying this album's place in pop music history. Madonna was one of the premier stars of the '80s, but there wasn't a similar figure for the '90s. Whitney Houston and Alanis Morissette had both had individual high-selling albums, but none were exactly "pop." The Spice Girls played off the boy-band obsession of the era, but in 1999, there was no strong individual female figure in music. Spears was the answer, and imitators like Christina Aguilera and Jessica Simpson were soon to follow. In the 2000s, all female pop artists either evolved (Lady Gaga) or devolved (Katy Perry, Ke$ha) from the Spears model.

Now you have to decide whether you want to thank her or strangle her for it.

INTERESTING FACT: Every bit of clothing in the "...Baby One More Time" video was purchased at K-Mart, and it was all less than $17. Lady Gaga can't do that.

Fiona Apple, "When The Pawn..."

Fiona Apple
"When The Pawn..."
Epic (1999)
1000 Recordings to Hear Before You Die

I would argue that there were two solo artists in the ‘90s that came to represent, albeit unconsciously through their passionate display of vitriol on behalf of wronged women everywhere, strong beacons of feminism. The one you’ve heard of is Alanis Morissette, and the one you’re better off having heard of is Fiona Apple. Morissette was raw power, but Apple managed to work in actual vocal talent and interesting instrumental arrangements along with her ire.

Perhaps even more relevant than Apple’s vocal ability is her sharp lyric-writing and grasp on the effect of moderation. Merely yelling at her subjects won’t do, therefore she humiliates them with snarky lines. Most notable for this aspect is the single “Limp,” in which she metaphorically relates the pathetic nature of a man with erectile dysfunction, telling him that once she’s gone “you’ll be lying limp in your own hand.” “Get Gone” demonstrates her modulation of mood, as she slides from enraged to gently and melodically singing over the bridge. No matter the volume, Apple always has the same attitude: cynical, often bitter. She lays off men for a couple tracks, lamenting her own status as “damaged goods.”

The background to her commentary also set her apart from Morissette. A mix-and-match background group, generally including several strings (violins, violas, cello, etc.), bassist and drummer are present in the majority of the album’s ten tracks. Occasional electric warbles (“A Mistake”) and other bit-players are thrown in to mix things up, but the general scheme sets the album apart from the majority of pop music.

Apple deserves a bit of instrumental credit herself, for her piano playing. Although it often plays second fiddle to the string section, the piano occasionally makes itself heard in a way that matches the emotions of the woman playing it. “Get Gone” opens with a slow, wistful piano line that correlates with Apple’s initial tone.

At the end of the day, Morissette’s sales dwarf those of Apple. In terms of the influence of both on future artists however, the score is much closer. For every Meredith Brooks, there is an Emilie Autumn, respectively.

INTERESTING FACT: Notice the ellipses in the title? The album’s full name is 90 words, which was a record when it was released in 1999. The current record is held by Chumbawumba, which released an 800-plus word title in a desperate attempt to stay relevant.

"Limp"

Los Amigos Invisibles, "Arepa 3000: A Venezuelan Journey into Space"

Los Amigos Invisibles
"Arepa 3000: A Venezuelan Journey into Space"
Luaka Bop (2000)
1000 Recordings to Hear Before You Die

“Arepa 3000: A Venezuelan Journey Into Space” might not actually head into space, but it certainly goes all over the place. Tom Moon looks at the album by Venezuelan band Los Amigos Invisibles as an overview of Latin music, from the samba to what he refers to as an “Ibiza rave,” but I see it as an overview of the club scene in the band’s hometown of Caracas.

A brief look at the group’s history shows that the band formed to counteract the overabundance of traditional fare at dance clubs, such as salsa and Brazilian merengue. As Moon points out, it was never the band’s idea to eradicate the city’s cultural background, but rather advance it into the 21st century. The process takes place on “Arepa 3000,” the group’s third album, by serving as a timeline of club music, and in the process teaching the old forms new tricks.
A majority of the album has a style blending cha-cha-chá and samba, forms of music popularized in Cuba and Brazil respectively, but understandably big in Venezuela as well. “La Vecina” exemplifies the play between the guitar and the bass, and the traditional percussion of congas and claves adds to the feel. A variety of electric blips and whirs contribute to the space theme. Much of the music reminds me of the theme that plays on the main screen when you turn on a Nintendo Wii. Light, easygoing stuff.

From there the band heads in the direction of funk. Moon compares the group to Parliament Funkadelic, and the similarities are inescapable. The obscenely titled “Masturbation Session” sounds like the Hispanic stepbrother of “Give Up The Funk” at times. “Mujer Policia” features some particularly funky guitar playing from José Pardo and the use of a Hammond organ in “Cuchi Cuchi” is an obvious funk throwback.

Toward the end of the album, genres such as disco (“Amor,” with a synthesizer line and very anglicized vocals) and electronica (“El Barro,” with early use of autotune) make their appearances as well.

A final masterstroke is the way the album winds down like a club-goer after a long night at the bars. “Llegaste Tarde,” the closing track, was recorded in a low quality that could be compared to the feeling of a tired club hopper at the end of the night, zoned out or just exhausted. But why shouldn’t they be? They went hard at four different clubs over the course of this album.

INTERESTING FACT: “Arepa” is a bread dish made of ground corn flour, popular in Venezuela and other parts of South America. So, essentially the title of the album is “corn bread of the future.” Sorry to disappoint those who were hoping for something deeper.

Mahmoud Ahmed, "Éthiopiques, Vol. 7: Erè Mèla Mèla"

Mahmoud Ahmed
"Éthiopiques, Vol. 7: Erè Mèla Mèla"
Crammed Discs (1975)
1000 Recordings to Hear before You Die

Afropop is among the most ambiguous varieties of music, as we learned when looking at King Sunny Ade. It’s essentially what Westerners would consider pop music, but with more African influence, naturally. Mahmoud Ahmed, an Ethiopian contributor to this overarching category, is another example of this formula in motion.

The obvious difference between this and American pop is the language barrier. Ahmed’s use of the Ethiopian Amharic language automatically earns him the title “world music” in Moon’s book, an especially lame use of the already lame term “world music,” considering the alternative language is all that separates him from his American and European counterparts.

If I were to compare Ahmed to any Western star, at least lyrically, I would argue he mirrors Roy Orbison is his approach. Like Orbison, his pop is sad and sympathetic, often reflecting the emotions of a rightful man who has been wrongfully scorned (see tracks like “Ere Mela Mela (I’m looking for a solution)” and “Atawurulign lela (Don’t talk to me about it again)”). Also like Orbison, Ahmed is excellent at reflecting emotion with his voice; it often trembles as he hits what I can only imagine are particularly sad moments in the song. Naturally, he has his high moments too, as seen in songs such as “Abbay mado (Beyond the Nile).”

I should be careful about saying that Ahmed’s voice is the only foreign thing about this recording. His band, the Ibex Band, certainly has African qualities, but its music would’ve worked just fine with American acts. The African-style percussion adds to the skillful rhythm of the band’s music (which I suppose is inherently African in nature). Although the rhythms have an R&B feel, the bands’ horns are at the forefront, making the instrumentals equally jazzy. The horns also help illustrate Ahmed’s mood to those who can’t translate his emotions because of the language barrier. When he’s happy, they’re hopping, and when he’s sad, they are too.

I admit, you have to listen closely to pick up on the best parts of the band’s music. At first listen, Ahmed sounds like he’d be at home within the carpeted walls of a Vegas lounge. But, focus on the instrumentals underneath Ahmed's voice, and it will change the experience for the better.

INTERESTING FACT: Ahmed is a member of Ethiopia's Gurage minority, a group historians believe is left over from the abandoned military settlements of the Aksumite empire. I guess that means Ahmed is a Gurage rocker, huh? No? Sorry. Couldn't resist.

The B-52's: "The B-52's"

The B-52's
"The B-52's"
Warner Brothers (1979)
1001 Albums You Must Hear Before You Die

As someone who graduated from high school relatively recently, I can attest to the current generation’s take on the B-52’s: they’re a band that is only in existence because of its prom staple: “Love Shack.”

The truth that many young people don’t realize is that the B-52’s are actually a two hit wonder. The second hit is the pop-culture classic, and centerpiece of the band’s self-titled debut album: “Rock Lobster.” The band is primarily considered to be a kitsch classic. This isn’t an insult to the group, because it wasn’t aiming for anything else. The rest of the band’s songs are equally as humorous in nature.

Unfortunately for the group, its later tracks were nowhere as fun as those presented in its first album. The classic is of course, “Rock Lobster,” by far the best track. Fred Schneider is the primary vocalist, but the joy is truly in the wordless harmonies of Cindy Wilson and Kate Pierson, providing humorous (yet talented) accompaniment to the nautical creature-themed tale.

The pronounced bass lines make the rest of the songs almost as fun. The tabs of “Planet Claire” and “52 Girls” aren’t complex, but they add an enjoyable spy-flick feel to the already pop-spoof songs.

The lyrics are also a treat. I’ve already tooted the “Rock Lobster” horn enough, but I especially enjoy the ironic space science spoof “There’s a Moon in The Sky (Called The Moon).” If you weren’t aware that there is more than one moon in the galaxy, you can learn about that in a different blog I’m sure.

Speaking of spoofs, this album made me consider the supposed differences between the new wave and post-punk genres. We tend to lump the 52’s in with new wave, but both are genres that began in the ‘70s “out of the punk scene” and incorporated some degree of electronic instrumentation. The only real difference is that new wave makes a move at ‘60s pop (which the B-52’s certainly do). The point is, Devo might be more technically proficient than the B-52’s, but a genre away? Probably not.

INTERESTING FACT: The rock lobster is a subspecies of the spiny lobster family that lives primarily in Australia and New Zealand.

ABBA: "ABBA Gold"

ABBA
"ABBA Gold"
PolyGram (1992)
1,000 Recordings to Hear Before You Die

I want to start this one with a note that will apply to several of the entries in the Moon book: I’m not a big fan of entering an artist’s greatest hits compilation as an “album” you must hear. Plenty of artists can compile great greatest hits packages. But that’s enough on that.

My first reaction to the prospect of listening to this was the same as yours: I rolled my eyes. But there were a couple of points I thought about as I listened to these 19 tracks.

1) ABBA is a big deal for East-European music. Yes, I would consider Sweden East-European in the grand scheme of things, especially considering the American love of Great British exports. Is there anything that’s particularly foreign about ABBA’s music, aside from some non-English titles? No. They certainly didn’t break any language barriers. But they were the first group to really break through from an East-European nation. And they did so in the midst of the Cold War. Sweden was firmly on the U.S.’s “side,” but its neighbor Finland was a Soviet territory. It was music from the brink. Again, nothing ethnic about the music, but it certainly opened doors for Sweden’s current, diverse music scene. Robyn can be seen as an edgier, more modern take on ABBA.

2) ABBA’s status as a disco band is terribly exaggerated. In the late ‘70s and early ‘80s, yeah, it jumped on that bandwagon. But its best work is centered around 1976 (“Dancing Queen,” “Knowing Me, Knowing You” and “Take a Chance on Me”). These tracks are just fine for dancing, but disco? Heck no.

3) ABBA can throw down some hard-hitting hooks. The group is best known for melodic numbers like “Dancing Queen,” but tracks like “Knowing Me, Knowing You” have choruses that make the head rock more than the hips shake.

This album starts to trail off after about ten songs, but the first five are a great sample of the band at its best, and worth a listen to even the most masculine of music fans.

INTERESTING FACT: "ABBA Gold" is the third best-selling album ever in both the U.K. and Germany.