Burning Down the House

Twisted firestarters?

Burning Down the House
The Talking Heads
Speaking in Tongues
Rhino / Wea : 1983
[Listen] [Buy]

Burning Down the House
Tiga
Sexor
Last Gang Records : 2006
[Listen] [Buy]

Some of you may have noticed an item in the news today about some nut who escaped from jail, shot some cops and broke into a home in a small farm town, upstate New York. As the suspect held himself up in the house, special forces surrounded the joint, exchanging gunfire with the nut-case and subsequently barraging the house with teargas. At which point, the house caught fire and burned to its doom, allegedly with the guy still inside.

What the fuck, that was my aunt's house. I haven't been there in quite some time - but I have fond memories from over a decade ago - of sitting on that front porch during thunderstorms with my cousins as we marveled at the wrath of nature. Or that one night that everyone in the house (except myself) swore that they had an encounter during the night with the ghost of a family member that everyone who had stayed at the house (with the exception of only myself) had met . I guess we'll just have to do that stuff somewhere else now. But, I'm just thinking about this - why did that ass have to choose this particular house? And come on Johnny Law, can't you procure a suspect from a physical structure without burning the sucker to the ground? At least my uncle doesn't have to fix all that stuff that needed fixin' now.

Stay away from my house...and Stay Tuned.
-- Silent K

Old Shit, Good Shit

Proof that I'm not hanging out with the right people or in with the right circles is that I just discovered this gem tonight.

For shame.

Little Tension

Selfless, Cold and Composed
Ben Folds Five
Whatever and Ever, Amen
Sony : 1997
[Listen] [Buy]


Stay Tuned -- Silent K

Retox the Freak in Me

The Archives: they grow up so fast, don't they?

Thou Shalt Always Kill
Dan Le Sac vs Scroobius Pip
Thou Shalt Always Kill [Vinyl EP]
Lex Records : 2007
[Listen] [Buy]

Atman
Dextro
Consequence Music
Grönland Records : 2007
[Listen] [Buy]

The Good Soldier
Nine Inch Nails
Year Zero
Nothing Records : 2007
[Listen] [Buy]

Under Constructo
DJ Icey
Twisted
Zone Records : 2005
[Listen] [Buy]

Retox
Fatboy Slim
Halfway Between the Gutter and the Stars
Astralwerks : 2000
[Listen] [Buy]

Okay, Crayon Shin-Chan is some nutty animation, I've got it on CN with the sound off and the above tunes blasting in my headphones.

Getting some serious popularity on the British airwaves is this collaboration from deck cutter supreme: Dan Le Sac & that interesting spoken-word/poetry British dude: Scroobius Pip. 'Thou Shalt Always Kill' is a progressive and dense electro clash of danceable chiptune-like melodies and Pip's laundry list of mantras - some of which are pretty valid, others are a bit cockesque but it sounds really good none the less. Check out their respective Myspace pages for more tunes from each of these 'blokes.' (I feel dirty using that word).

The third post in a row to feature sombre IDM - Dextro's tunes are multi layered, ambient offbeat electronic solidity. It's a little like the previously posted I Am Robot And Proud and a lot like Boards of Canada. The track starts off pretty light, so if you get bored jump right to 3:40 elapsed, where the track picks up quite a bit.

I was a huge Nine Inch Nails fan from the release of Pretty Hate Machine in 1989 to about 1996 - at that point (and I've said this before) I just got sick of Trent's whining. The music was always pretty decent, but the lyrics were always about the same depressed introverted self reflexive crap - just b/c he broke up with Tori Amos or his dog died. Sure dude, be sad, but maybe try to evolve your tunes a little? So I in turn skipped With Teeth and The Fragile altogether. But, the newest album from Nine Inch Nails appears to have done that (evolved a bit) - it's a bit more up to date with a 'Rock meets really dark electronic' sound, rather than a bunch of gears banging together edited to a beat made up of car doors being slammed. On top of that, Reznor has engineered an incredibly deep viral marketing campaign to promote the album including such antics as leaking tracks by leaving them on USB thumb drives left on the floor of concert location bathrooms, the creation of over 25 hidden websites each containing clues that lead to each other, hiding images within the tracks on the album itself which are revealed when the songs are run through spectral analysis, and the creation of a deep back story detailing a catastrophe set to take place 16 years from the present with highly political undertones (finally he gets down on gov't and not just the church) and true-to-Reznor-form spooky as all hell spiritual elements. He definitely gets an A for effort here, but is it all worth it? Details on all of the previously mentioned debauchery may be found HERE. Year Zero is part one of a two part concept album and it's shockingly easy on the ears. 'The Good Soldier' is by far my favorite track on the album right now. I haven't had a Nine Inch Nails track on repeat like this since I was 14 years old.

DJ Icey, the 'Master of the Funky Breaks' has been one of my favorite breakbeat DJs since I first heard 1998's Generate - which is still my favorite of his material. His style is unmistakable and his technical proficiency at live shows is always bad-ass. If you've never heard 'Icey, you're missing out on a staple in Electronic music. He released a new album Disco Rodeo, earlier this year featuring new original Icey material and remixes of other tracks in a solid mixed package. But today's beat treat is from his 2005 effort, Twisted. 'Under Contstructo' is a great example of Icey's dark breakbeat style that, once you've got a few drinks in you, will surely get you moving.

I'll wrap it up with a Fatboy Slim track from 2000's Halfway Between the Gutter and the Stars. 'Retox' sounds just as good now as it did when it was first released [ringing true for the majority of Norman's material]. Originally it was the lead in track to 'Weapon of Choice' - but today it's serving as that heavy handed electronic ass-slap to kick start your weekend.

Party on Wayne, Party on Garth...
...and Stay Tuned -- Silent K

Public Service

Even when floating through space, the Bad Plus remember to strike a pose.

J Dillalude
Robert Glasper
In My Element
Blue Note : 2007
[Listen] [Buy]

1980 World Champion
The Bad Plus
Prog
Blue Note : 2007
[Listen] [Pre-Order]

Bamboo Pants
John Medeski and Billy Martin
Mago
Amulet Records : 2007
[Listen] [Buy]

Every once in a while, the public service side of JT needs a little breathing room, a little time in the sun to grab that Vitamin D and replenish. As such, there's a lot of good music in the offing for the rest of this year, and I know I'm not the only one geeked out about it. We've seen snippets so far, but there's much more for '07. Here, I present another couple of samples of what to expect.

---
Robert Glasper is the next wave of piano jazz on Blue Note, and his trio serves up a touching, beautifully-stated tribute to the late J-Dilla. It's a stop-start combination of recognizable Dilla beats, including a Glasper take on Dilla's sample of "Swahililand" by Ahmad Jamal. Glasper's albums to date have been gorgeous, projecting him as another soulful, passionate face of the modern jazz world. Pick this up pronto -- this LP came out at the tail end of March.

---
The Bad Plus, another renegade jazz trio outfit, serve up entirely different meals. They're easily the best live show I've ever seen, and I've seen them more than once as a result. TBP should be required listening for the I-think-I-know-music set, perhaps giving a firm wake-up to any self-proclaimed sound disciple. Incendiary, perception-shattering shit. [Sorry, eloquence has no place here, I love this band too much so the raw feelings must flood out]

Their new album promises more fireworks, and this track is pleasure to me. I saw them play a couple of these new tracks a few times last year, during the Brooklyn summer concerts and at their Village Vanguard residency, and the more I heard them, the more I wished they were on their new album at the time, Suspicious Activity? Alas, that LP came out, and they were not to be found, and so all I had was my memories of the earth-shattering syncopation tricks they pull on each other, dragging that noise up, down and all around the park, beating it, toying with it and finally pulling the trigger.

This is the culmination of their "athlete" theme [remember the other dotted throughout past LPs? 1972 Bronze Medalist? 1979 Semi-Finalist?], and it's pure fire again. King's rapid shuffle beat pulls you along like a wild horse that's escaped the field, backed by handclaps, and Reid Anderson's groovy, understated bass lines.

On a few listens, I'm still getting into it; their cover song choices are weird and fantastic as usual [ESPECIALLY the version of the Tears for Fears 80s classic "Everybody Wants to Rule the World"], but it's growing on me by the second.

---
To top it off, a track from the brand-new duets album by two-thirds of MMW, the MM bit. Medeski and Martin recorded this LP in a couple of summer days last year, and the results are satisfying to say the least. It's hard to listen to this and not think that it's somehow incomplete, just because it's always been the norm to hear the three of them get down and dirty on tape together. However, putting that weird sense of melancholy aside, the duo find nastiness around every corner. Medeski's B3 and pedals provide the gurgling, guttural low end in Wood's absence, and Billy Martin's beats are as machine gun and high-octane as ever.

---
Also, a brief PSA: I know we've been slow lately, but fret not. All of us are floating around in weird transitional periods, getting new jobs, working harder, finding time for love or carnal pleasures, not to mention trying to find a suitable NYC launchpad for global FmGT operations. It's weird, it's made us all a little slow and gelatinous, but we'll pick up the slack. I don't know how else to explain it, but we still love you all.

Double Also: to those of you lucky enough to make it to Galapagos on Friday night, hope you had fun. Codec tore it up, the potables were potent, and the lineup of bands made it an excellent night. We look forward to further future opportunities.

Now run along. Silent K will open his yap tomorrow.

Going to the End of the Line

Handle With Care
The Traveling Wilburys
The Traveling Wilburys, Vol. 1
Wilbury : 1988
[Listen] [Buy]

Heading for the Light
The Traveling Wilburys
The Traveling Wilburys, Vol. 1
Wilbury : 1988
[Listen] [Buy]

Rattled
The Traveling Wilburys
The Traveling Wilburys, Vol. 1
Wilbury : 1988
[Listen] [Buy]

End of the Line
The Traveling Wilburys
The Traveling Wilburys, Vol. 1
Wilbury : 1988
[Listen] [Buy]

Tweeter and the Monkey Man
The Traveling Wilburys
The Traveling Wilburys, Vol. 1
Wilbury : 1988
[Listen] [Buy]

She's My Baby
The Traveling Wilburys
The Traveling Wilburys, Vol. 3
Wilbury : 1990
[Listen] [Buy]

Inside Out
The Traveling Wilburys
The Traveling Wilburys, Vol. 3
Wilbury : 1990
[Listen] [Buy]

If You Belong to Me
The Traveling Wilburys
The Traveling Wilburys, Vol. 3
Wilbury : 1990
[Listen] [Buy]

Devil's Been Busy
The Traveling Wilburys
The Traveling Wilburys, Vol. 3
Wilbury : 1990
[Listen] [Buy]

Wilbury Twist
The Traveling Wilburys
The Traveling Wilburys, Vol. 3
Wilbury : 1990
[Listen] [Buy]

Don't Treat Me Like a Stranger
The Traveling Wilburys
1990
[Listen]

Nobody's Child
The Traveling Wilburys
Nobody's Child [single]
Wilbury : 1990
[Listen] [Buy]

For those not in the know, the Traveling Wilburys were a supergroup consisting of Bob Dylan, Tom Petty, George Harrison, Jeff Lynne, and Roy Orbison. They were called together to work on a b-side for one of Harrison’s singles and came up with the lovely Handle with Care. In ten days they wrote and recorded their first album, Volume 1, which was a critical and commercial success. Before they got together for a second go, Roy said “aw, mercy” and left the building. The remaining four Wilburys kept on keeping on and recorded a second album titled Volume 3, which wasn’t as successful. (Thanks, Wikipedia)

Both Volumes 1 and 3 had the special status of riding in dad’s green milk crate of tapes that sat behind the seat of his van, so I heard quite a bit of them. While consensus holds Volume 1 as the better of the two, I have to say I enjoy Volume 3 quite a bit. Each has a distinct feel. Volume 1 sounds lighter, smoother, and a bit gentler. Handle With Care, End of the Line, and Heading for the Light are all examples of tunes that have a wise and weathered shuffle to them. Rattled is a great throwback to old time rock and roll, and my favorite use of Orbison’s signature pipes on the project. Tweeter and the Monkey Man was one of my favorites as a kid, and the darkest tune on the record. It also might be their most recognizable tune.

Volume 3 starts with it’s foot on the gas, keeps a quicker pace and louder sound throughout, as you can hear with She’s My Baby and Devil’s Been Busy. Devil’s Been Busy and Inside Out touch on less than uplifting issues, but with a friendly, honest feel, which fascinated me when I was little and continues to today. It’s a rare quality.

The last two are new tunes to me, and thanks to these crazy magic tubes, can be new to you too. Nobody’s Child was recorded for a benefit by the Volume 3 era lineup, and has a pretty cool folksy feel to it. I dig it anyway. Don’t Treat Me Like a Stranger sounds like a Tom Petty b-side, which it very well could be. Many Wilbury’s diehards consider Petty’s Full Moon Fever (tunes like Running Down a Dream and Free Fallin’) as the Wilbury’s Volume 2 because of how many members of the group appeared on his album.

There’s your trivia for the day! Hope you enjoy the tunes. They make for good back road driving on those early spring days when it gets just warm enough to crack the windows. That is, if it ever stops raining and being all 40 degrees out.

Move down, come down

Not wanting to bump Silent K's treats down the page or anything, but our humble associate Codec will be spinning tonight at Galapagos in Williamsburg, for any of you in town. He's leading off, then keeping the room abuzz between a series of bands, generally keeping the smile off your face and the troubles out of your mind.

So, to recap:

DJ sets by:
DJ Codec

Performances by:
10:30 - Fruitkey
11:30 - Creaky Boards
12:30 - Contramano / The Ambitious Orchestra

Come one, come all.

Galapagos Art Space, 70 North 6th Street, Brooklyn
No Cover, 10PM-Late

[Take the L to Bedford St]

More details here or here if you need it. Hope to see you there if you're in the 'hood - 3/4 of FmGT will be there [minor web celebrities holla!]. If you know the handshake, I can't wait to meet you.

Blame the Business

Original imagery by Todd Lappin.

Love, Love
DJ Shadow
This Time [I'm Gonna Try It My Way]
Island Records (UK) : 2006
[Listen] [Buy]

Thems My Peoples
Jel
Greenball 3rd
Anticon : 2007
[Listen] [Buy]

Exceeder
Mason
Exceeder [EP]
Sound Division : 2006
[Listen] [Buy]

Can't Stop
Ozomatli
Don't Mess with the Dragon
Concord Records : 2007
[Listen] [Buy]

Useless Talent #32
Robert Rodriguez & Rose McGowan
Grindhouse: Planet Terror OST
Varese Sarabande : 2007
[Listen] [Buy]

My Radio [Schneider TM Mustang remake]
Solvent
Elevators & Oscillators
Ghostly International : 2005
[Listen] [Buy]

Stele Of Revealing [Carl Taylor Remix]
The Black Dog
Thee Singles
Dust Science : 2006
[Listen] [Buy]

Got that coffee yet? Yeah, me too. Time for the Friday track goodness.

DJ Shadow - the god, the artist, the "bad motha' fucka' DJ." Dude kinda alienated his biggest fans with 2006's The Outsider - I say that noise too much as it is. That's cool though, follow your path, it wasn't all bad. Lucky for us, B-sides seem to pop up from nowhere, like 'Love, Love' off the 'This Time' single. Honestly, if you didn't read the file tags, there's no way that you'd guess that this is a Shadow track - it's seriously a sweet guitar jam fest - the only thing that really screams Shadow about this track is the drum-beat. It's really well put together and will surely get you slappin' the outside of your car door to the beat. I actually had to take a break from writing this just so I could drum all over my kitchen counter tops.

NEW JEL. Fuck yeah. Anticon's J. Logan gripped my ears hard when I first heard 2001's original Greenball. Almost everything from the man since has made these ears wet. He's got a way with Hip-hop beats that, like older DJ Shadow and RJD2 material, is chock full-o-soul. This man's entire back catalog is worthy of purchase but I highly recommend the first Greenball album as well as 2006's Soft Money. Greenball 3rd, while not as hot as the first, is quite the welcome addition.

Mason is an progressive electro-house DJ/composer from the Netherlands. He's still working on his debut album - but, his track 'Exceeder,' has already been quite the dance floor favorite of some upper echelon DJs for the last few months. I found out about this guy while digging for info on the soundtrack to the upcoming PSP game - Wipeout Pulse - on which 'Exceeder' is rumored to appear. This track would be great for high speed futuristic anti-gravity racing and taking pills on the dance floor alike - hell, aren't they the same thing?

I've seen Ozomatli live three times - each show has concluded as they picked up their instruments (still playing) marched out the door and left marching down the street (again, while still playing). The energy that these guys convey is hard to ignore - but that's what you get when you have a 10-something piece Latin/Hip-hop/Rock group. I can't speak for the entirety of Don't Mess with the Dragon yet - but I'm really digging the first track. What I really want is more collaborations between these guys and J5 [it might help save J5].

Okay, I've been waiting to say this - GRINDHOUSE was absolutely incredible. The gore and effects were disgusting, funny and well done. The action was great [run up a wall, do a back flip and do a double stab into a zombie's chest while landing? Car chases with kiwis holding on for dear life? HELLS YEAH.]. Stylish and fun, indeed. The written reviews have all raved about Tarantino's side of the equation: Death Proof - and that it was the better than Rodriguez's half. I'm sorry, but FUCK THAT. Rodriguez's Planet Terror was by far the twin with the good genes here. Now, I've got quite a wooden affinity when it comes to Zombie flicks - but Planet Terror really pulled it off. I might place it right up there with 28 Days Later or even with some of the best moments that I've had with some of the Resident Evil games. Unlike Death Proof's very-Tarantino-selection of tracks, Rodriguez composed the original soundtrack for his baby. Listening to this at work has been a lot of fun and I've found that I've gone back for double dipping quite often with 'Useless Talent #23' which features Rose McGowan on vocals. At first I thought that Rose might sound like Juliette Lewis' vocals on the Prodigy track 'Spitfire' (which was downright horrible, sorry Mr. Howlett). But, though the vocals are limited, Rose sounds good - and looks even better with a machine gun-peg leg. See this movie, even if you walk out after the (awesome) fake trailers.

"Gleefully blurring the lines between modern techno and vintage techno-pop" (-- The Wire). Solvent is an electro/synth-pop producer currently based in Toronto, Canada - making tunes in a style akin to IDM, chiptune and electroclash - but not quite resting still with any of those labels. If you enjoyed any of the I Am Robot And Proud tracks, then Solvent is a great next step. Today's track isn't average Solvent fare but owes it's sound more to German electronic solo artist Schneider TM with this 'remake.' I love the sound-sample that's used for each note in this track - it sounds like a guitar string breaking, and almost like the Japanese Shamisen. The lyrics tell the common story of impermanence, a story echoed in the sound sample used for each note.

Carl Taylor's remix of The Black Dog's 'Stele of Revealing' transforms the track into a sexy and dark dance floor groove. The Black Dog is an electronic trio which used to be made up in part by the two guys who now call themselves Plaid (another good electronic group riding the edge of IDM). The consistent band member, Ken Downie, now paired with the Martin & Richard Dust are the current Black Dog (and no longer known as Black Dog Productions) pumping out progressive indie-electronic that will surely help you pick up the pace.

And with that I jump back into my business on this Friday the 13th. Oh, and I got my ticket for Daft Punk in August at Keyspan earlier this week - I'm very psyched for that show. As far as immediate psychetude is concerned, I'm amped for Codec's gig tonight [see info 3 posts previous] - JT, Codec and I will be there - I'll be the gentleman with the mustache.

Word. Stay Tuned.
-- Silent K

A quickie

"Clutchy Hopkins"

Track 01/Untitled
MF Doom and Clutchy Hopkins
2007
[Listen]

Happy Home [feat. Candice Anderson]
Talib Kweli and Madlib
Liberation
self-released : 2007
[Listen]

Shing-A-Ling
Desmond Dekker
This is Desmond Dekkar!
Trojan Records : 1969
[Listen] [Buy]

I'm hungry as all hell right now, so time is of a premium. Must dash to the local juke joint and get some wings and bourbon. Thus, a swift trio.

Who is Clutchy Hopkins anyway? There's a whole lot of smoke and mirrors out there surrounding this persona, as well as several websites trying to pin down his true identity [another Madlib spinoff? a Beastie Boy? Cut Chemist?] and get to the bottom of the mystery. In all honesty, I don't care. All that matters at this point is the beats and the rhymes. MF Doom's flow is a little off the pace compared to the past [I think all the DangerDoom business left him a little light, but I'm sure he'll get it back], what with the simpler structures and sprinkling of offbeat pop culture references, but the beats are weird and spooky [could Clutchy be another face for Danger Mouse?], the samples are interesting and equally strange, and the dynamic works. Whether Clutchy's a real person or another applied moniker, it matters not. Good tune, and I'm looking forward to more in '07. [Especially dig the transition into a funky, short spooky break at 1.31]

Up next, a choice cut from the internet-released collaboration between Madlib and Talib. It was available on the internets "officially" for about a week to ring in the New Year, and it was a solid effort from both. I'm all in favour of collaborations and duo work as far as the eye can see, especially when my personal faves are lighting up the airwaves with their productivity. This was the pick of the litter for me.

Finally, a groovy little ditty from the master, Desmond Dekker. You can't go wrong with late-60s era DD, where he's undoubtedly at the peak of his craft. A voice that could cut through a room like a kitana at a sushi house.

Oh, and adios to Mr. Imus. Not sad to see you go - with the eyes and ears of the nation at your disposal, being responsible is key.

Alright, grub awaits. I apologize in advance for the slapdash nature of the post, but hopefully the tight sonic treats will atone. Wheeeeeeeeeeeeeeeeeeeeeeeeeeeeee.

Robot+Proud

"Houses, stars and heads make music"

Winter at Night
I Am Robot And Proud
Grace Days
Catmobile : 2003
[Listen] [Buy]

Osaka [I Am Robot And Proud remix]
Girls Are Short
You Make Me This Happy
Piehard : 2002
[Listen] [Out of Print]

Places We're Trying To Find
I Am Robot And Proud
The Electricity In Your House Wants To Sing
Darla : 2005
[Listen] [Buy]

The Work
I Am Robot And Proud
The Electricity In Your House Wants To Sing
Darla : 2005
[Listen] [Buy]

Dream Machine Lullaby [I Am Robot And Proud remix]
.Tape.
You Make Me This Happy
Piehard : 2002
[Listen] [Out of Print]

I Am Robot And Proud [a.k.a. Shaw Han-Liem] has dominated my play list for at least a month. Shaw's style is pure IDM like no other - electronic mini piano's paired with that sound that you get when you hit partially-full glass bottles with a spoons, deep atmospheric bass lines and beats that are equally right for chillin or moving about the room. At times I am reminded of Orbital for his simultaneous depth and simplicity, Prefuse 73 for his percussive distinction and Mylo for the often inspirational sound. I learned of IARAP from Warp Records' newsletter regarding the re-issuing of two previously out of print IARAP albums: The Catch and Spring Summer Autumn Winter. Since then I've had the following tracks on repeat, because they're that fucking rad.

'Winter At Night' is a thick and bass laden sound scape that slowly builds on its density with a playful, upbeat melody until it hits hard and good at 2:49 (elapsed). 'Osaka' receives the remix treatment, featuring that thick bass, quick beat and great kawaii-spoken-Japanese sampling that kicks in at 2:06 (elapsed) - which is where the song really picks up. 'Places We're Trying To Find' is the first track that I knew that I had to post. It starts off light with vocals and acoustic strings doubled up by that smooth electronic bass later flowing into that playful melody. But this one always hits me at 1:25 - where the track transforms into the sound of pure electronic tears - while Prince is busy workin' on that zipper (bitch), this is what it sounds like when robots cry. 'The Work' reminds me very much of Mylo when it hits 1:42 - it's dense, inspiring and relaxed. 'Dream Machine Lullaby' is another remix originally by .Tape. where the 'playing spoons on partially-empty glass bottles' sound is in full effect. I'm ending with this one because its just so damn upbeat - like when the credits roll on a happy ending, happy beginning or during your speedy caffeinated drive to your morning destination.

More tracks can be heard on the I Am Robot And Proud myspace page - the absolute must-hear (my favorite) being 'Can't Afford It' from the elusive My Sky Your Sky release (which Warp should get to re-issuing on the double-pronto). Also, check out the IARAP home page by clicking the image above.

Enjoy & Stay Tuned.
-- Silent K

Since We Last Spoke

I've been quiet lately, wearing the sleeves out the lab coat in preparation of a very special evening of musical chaos.

If you've got next Friday free, come down and catch me spinning at Jezebel Music's monthly Consignment show - details are here. The lineup's changed a bit from the flier you see above - last-minute Photoshop fixes stop making sense after the third or fourth revision - but you're assured a couple of mind-altering minisets of Hip-Hop, Top 40, Metal, Game Music and whatever the fuck else I manage to beatmatch under pressure.

Take off the headphones and move yourself to the L line - it's the Bedford Ave. stop and a short walk through the springtime cold. See you next week?

Y.T.,

Codec

The FZ Primers, Part Six: The Five Essential FZ Albums You Must Own

***This is the FINAL part [for now at least... I feel a few more installments coming later on in the year] of my FZ Primers that have exhausted just about every brain cell I possess. For Part I, look here. For Part II, look here. For Part III, look here. For Part IV, look here. For Part V, look here.***

Alright folks, it's Part 6 time. Today, a look through the catalog from a rookie's perspective, as I try to identify the 5 essential FZ recordings that you absolutely must own. I expect a lot of flak along the way with these choices, but hey, it's our differences of opinion that make the world go round, and I look forward to debating and defending my picks at every junction.

So how did I pick these? I tried to look at FZ from a different angle, looking at the 5 albums that represent him, and his many different moods, in the broadest possible sense. There's some pop in here, there's some more adventurous jazz-funk fusion, there's a sprinkle of humor, there's more of his cutting satire, and well, there's some fantastic music.

Taken as a lump sum, FZ is certainly an acquired taste, but there are more manageable bites for everyone.

Hopefully this list goes some way to illustrate that.

So please, pick it apart. Loudly and harshly criticize my lack of choices from after 1979, take me to task for the jazz bias to the list, I don't mind. Talking about FZ is something I could do all day, every day. Also, I tried to keep this to official releases only, and from that still-enormous group, official albums [so excluding FZ compilations like the You Can't Do That on Stage Anymore series, as good as it was] arranged and laid out by FZ with a clear vision in mind.

Without further ado, here I go... *deep breath*

5.
We're Only In It for the Money
Original Release Date: March 4, 1968
MGM-Blue Verve Records
[Buy It]

After two solid albums released previous to this in 1968, FZ finally nails down the satire and lyrical sharpness that got his message across louder and clearer than ever before. The music is rough and coarse around the edges, with several examples of tape recording trickery and overdubs a-plenty, but it serves as the perfect vehicle for his snarky, deceptive delivery of his views on the overbearing "moral majority" and the cult-like behaviors of hippies and self-proclaimed flower children across the country.

CHOICE TRACK -- Who Needs the Peace Corps?

4.
Sleep Dirt
Original Release Date: January 12, 1979
DiscReet Records
[Buy It]

This is probably my favourite FZ album if I had to choose [what can I say, jazz-funk is one of the FmGT's founding pillars], but it is also perhaps the best example of his intricate fusion identity, pairing detailed, pleasure-inducing music with flawless musicianship. Sure, it's a little harder to digest with this LP, but the payoff is infinite.

Powerful, magical music.

CHOICE TRACK -- The Ocean is the Ultimate Solution

3.
Apostrophe'
Original Release Date: March 22, 1974
Warner DiscReet Records
[Buy It]

This pick might get the most disagreement, but I think it deserves a spot. Sure, it's a great deal cruder and juvenile than some of his Mothers or jazz-fusion work, but those qualities are a firm portion of his catalog.

It's also an extremely divisive album; people either love or hate it for many of the same reasons. There is tons of catchy composing, and several of FZ's trademark tempo changes and breaks. The band is superb [including guests like Jack Bruce on bass] and the lyrics are puerile, sure, but it is still a good introduction to his lighter side.

Expect songs about pissing in the snow, poo, fungus and dog biscuits. But, expect funky, groovy musical ideas at the same time. Take it or leave it, it's still part of FZ's personality, whether you like it or not.

CHOICE TRACK -- Father O'Blivion

2.
Hot Rats
Original Release Date: October 15, 1969
Warner Bizarre/Reprise
[Buy It]

FZ's first foray into jazz-fusion, putting aside his experiments and satirical rock with the Mothers. Jean-Luc Ponty [violinist to just about any prog-rock/fusion act in the 70s and 80s, including the Mahavishnu Orchestra] plays a sizable role here, and FZ's music is absolutely glorious, easy to appreciate and difficult to resist.

Of the 6 tracks that make up the LP, there is rarely a duff note in the bunch. Album opener "Peaches en Regalia" is a knockout, "Son of Mr. Green Genes" takes a song from the Uncle Meat sessions and expands it into a sweet extended jazz jam, and "The Gumbo Variations" is 17 minutes of eclectic jamming and the first few flashes of FZ on guitar, acting as a tantalizing preview of the music he had still yet to create.

Within its genre, it's an extremely important album, and is almost certainly one of the best jazz-fusion albums around.

A gentle introduction to FZ's wizardry.

CHOICE TRACK -- Peaches en Regalia

1.
One Size Fits All
Original Release Date: June 25, 1975
Warner DiscReet Records
[Buy It]

Hope this wasn't too predictable in being my number 1. It contributed two quality songs to the Top 20 list, including my all-time favourite track in the FZ universe ["Inca Roads" blows my mind even more when I think that it is the freaking album opener], and for someone with 43 minutes to get quickly acquainted with FZ, it serves that purpose to the fullest.

There's definitely something for everyone here: rock, doo-wop, FZ's wah-wah guitar style [a hallmark of mid-70s FZ], blues, funk, and jazz, although served in the tightest, most coherent manner he ever achieved. The flavours are diverse, but with FZ's strong presence, it makes for compelling listening.

As if "Inca Roads" wasn't enough, we segue into several bluesy, groovy tracks ["Can't Afford No Shoes", "Po-jama People" with its quirky lyrics], a well-conceived, sweet little instrumental ["Sofa No. 1"], and some fiery, fierce guitar solos ["Andy" in particular, is pure lightning-in-yer-headphones].

I defy anyone to find a better introduction to FZ's catalog, as One Size Fits All matches the high points of other albums, while weaving them together better than anywhere else in his sizable oeuvre.

CHOICE TRACK -- Andy

***I hope you all enjoyed this series as much as I did. While there were some minor holes here and there [ones I aim to eventually fill with yet more lists in the future], it went rather smoothly. Let me know what you think in the comments.***