No. 317: Beastie Boys - "Paul's Boutique" (1989)

This is the Beastie Boys' masterpiece: one of the most innovative albums of all time and one that had a massive impact on the future direction of hip-hop.
These three white boys from Brooklyn ran the risk of being one-hit juvenile-rap wonders after their first album Licensed To Ill, but they returned with this fine piece of work: a complex, layered and sample-heavy album laced with clever rhymes & puns delivered in that distinctive (sometimes nasally) high-pitched white boy style.
The production work by LA duo the Dust Brothers is simply groundbreaking. Samples from artists such as the Beatles, Led Zeppelin, James Brown & Johnny Cash were used liberally on this record - in the days before clearance was required for use of such samples - and the success of this method in the hip hop community eventually led to the introduction of sampling laws in the music industry. Representatives for the Beatles even attempted to launch legal proceedings against the Beastie's for use of their samples on this album, but later withdrew. As Mike D famously remarked, "What's cooler than being sued by the Beatles?". Good call, Mike.
A brilliant album that should be in every music lover's collection. And spending time trying to identify the samples is a rather entertaining added bonus.

No. 318: Trent Reznor & Atticus Ross - "The Social Network [OST]" (2010)

This is one hell of a soundtrack album.
Trent Reznor & Atticus Ross teamed up again (after the 2008 Nine Inch Nails Ghosts project) to create this moody, electro-industrial masterpiece as the companion music to the 2010 David Fincher film, The Social Network - a movie about how Facebook got started.
To my ears this is music more suited to a cult sci-fi, so I wondered why Reznor would lend his name to a movie about Facebook?
Well believe it or not, in the hands of director David Fincher (the guy who did Fight Club & Seven) it's not bad, and after flogging this album to death for the last few months, I finally succumbed and watched The Social Network last week. Although it's no Fight Club it was a decent flick, and the music added another dimension to it (at least I think it did - I may have been too preoccupied listening out for the music in the film). The simple piano motif that weaves its way through "Hand Covers Bruise" sets the stage nicely for over an hour of pulsing electronica, dark ambient movements, and even a dramatic cover of classical composer Edvard Grieg's "In The Hall Of The Mountain King". Sheer brilliance.
This soundtrack is everything a movie soundtrack should be: emotive, cohesive & well produced. It even gives the film a sinister vibe that I doubt would have been there to begin with without this music.
And for me, that sinister vibe makes all the difference.

No. 319: T.Rex - "Electric Warrior" (1971)

"Oh Girl I'm just a Jeepster for your luuuuuv"...
Ahh, Glam rock at it's finest - and the peak of Marc Bolan & T.Rex's recorded output.
Bolan's message was simple: he was all about putting music forward that the kids could boogie to, and just like "Beatlemania" before it, "T.Rextasy" took the world by storm.
"Get It On" is a certified rock classic - a catchy, swaggering 12-bar riff that helped to break the band in the US and pave the way for other English Glam rock acts - most notably David Bowie's "Ziggy Stardust" phase.
"Cosmic Dancer" and "Jeepster" groove along nicely and prove to be the other highlights of this cohesive and well-executed pop/rock album, guided by the safe hands (& ears) of producer extraordinaire Tony Visconti.
Marc Bolan & T.Rex's ultimate undoing was the fact that they never deviated from this formula and went on to deliver many similar sounding albums over the the next six years. But it wasn't the same: the kids grew up, the excitement wore off - and Bolan got fat.
He tragically died in a car accident in 1977, but this record will forever be etched in rock history as a reminder of that brief moment in time when it seemed that Boogie was destined to rule the Earth...

No. 320: Kraftwerk - "Computer World" (1981)

The sounds of the future, as it was imagined in 1981....
This was ahead of its time when it came out: Tron was just around the corner, home computers were beginning to become a reality, and the future looked (and sounded) very exciting indeed.
This is a certified retro classic and one of the highlights of Kraftwerk's career, managing to deliver perfect electronic pop within an overriding theme of "the rise of computers in society". "Pocket Calculator" is one of my all-time favourite tracks - so simple, yet only Kraftwerk could have come up with it.
This album always reminds me of my early years in pre-school, when the world seemed a much simpler place. The electronic bleeps are simultaneously futuristic - yet forever stuck in 1981 - which is what makes it so great.  I'm obviously not the only one who thinks so: English band Coldplay asked for written permission to use the melody from "Compuer Love" for their single "Talk" off their 2005 album X&Y, exposing a whole new generation of music fans to the influence of Kraftwerk - albeit subconsciously.
Definitely one to listen to on a warm sunny day: it takes the edge off the cold, detached concept of a world taken over by machines.
The future starts here!

No. 321: Jethro Tull - "Stand Up" (1969)

Does flute belong in rock music??
If you've heard this album then you'll know the answer.
This hard rocking classic has elements of folk, celtic and classical music mixed together under the direction of singer/guitarist/flutist Ian Anderson - the man with a recognizable silhouette: shaggy hair and shabby clothes, up on one leg belting out an insane flute solo. New guitarist Martin Barre adds some punchy riffing to tracks like "Nothing Is Easy" and "A New Day Yesterday", but the softer tracks are just as impressive, especially the cover version of classical composer J.S Bach's melodic "Bouree". A fine listen indeed.
Jethro Tull are often overlooked in the history of British hard rock, presumably because the world had Sabbath and Zeppelin at around the same time, but Tull brought a more "English" feel to the genre and proved that a flute is not necessarily out of place on a rock & roll stage.
They went on to bigger & better things with the Aqualung album in 1971, but this is probably my favourite Tull record - its rawness seems to give it a timeless feel. Check out their performance at the Isle of Wight 1970 on DVD if you're unfamiliar - a powerful set from a group near the height of their popularity.

No. 322: John Cale - "Guts" (1977)

You can't just jump into any old John Cale album - first you need a bit of background info to help get your bearings...
Cale - classically trained Welsh musician and composer - co-founded the Velvet Underground with Lou Reed in the mid-1960's, after moving to New York. His interest in avant-garde experimentation, drone and minimalism had a big influence on the Velvets sound until he departed in late 1968 after "creative differences" with Lou (that old chestnut).
His solo output has always been a mixture of classical, folk-pop & rock, however he made three of his most commercial albums under the Island Records label in the mid-70's - the best cuts from these ended up on this compilation, Guts, in 1977.
The lyrics are dark and aggressive, and his performances around this time were often confrontational: for instance he took to wearing an ice hockey mask onstage (before Jason from Friday The 13th had even come out) and also chopped the head off a dead chicken during a live performance, which prompted his band to leave the stage in disgust. Look out Ozzy!
He later stated his paranoid, erratic behaviour during this period was due to his heavy cocaine use - but hey, there's nothing new there, rock & roll has always thrived on this type of drama, regardless of how many bats or chickens need to die for the cause...

No. 323: Led Zeppelin - "Houses Of The Holy" (1973)

Not the best Led Zeppelin album - but definitely not the worst either.
This was the transitional album after the first four self-titled Led Zeppelin records - and sustaining the quality of those previous four would have been a daunting prospect for any band - but hey, this is Led Zeppelin, and they rose to the challenge admirably. Featuring slicker production, more complex musical arrangements and frequent use of synthesizer & mellotron, the band released this album in early 1973 - round about the time they became the hottest act on Earth.
The layers of guitar on "The Song Remains The Same", the spooky electronic treatment of Robert Plant's vocals of "No Quarter" and the grandiosity of "The Rain Song" all help to make this a great listen - along with some brief left-field excursions into reggae ("D'Yer Mak'er) and funk ("The Crunge").
As for the cover, I remember reading an interview somewhere with Jimmy Page where the interviewer remarked that he always thought of this album as a very "orange-sounding" album - to which Jimmy responded something like "yeah, I know what you mean".
And that's how I like to remember it too. Without being funny, it's the best orange-sounding album I own.

No. 324: Foo Fighters - "There Is Nothing Left To Lose" (1999)

Well, the Foo Fighters have just released their seventh studio album, Wasting Light (with ex guitarist Pat Smear back in the band), and although I've already heard a few tracks, I'll reserve judgement until I've listened to the whole thing.
I suspect, though, that I'm not alone in thinking that the last two Foo's albums have been a bit "ho-hum / let's roll out the barrel again". As much as I love "drummer Dave Grohl" (Nirvana / QOTSA), I've never been as excited about "front-man Dave Grohl".  The over-done, screaming vocals worked well on some of their earlier stuff, but over the last few albums this style has gotten a bit old. Yes, those albums still have some great songs and great melodies, but did he really need to sing the skin off "Best of You"?
Anyway, enough of that. I read in a recent interview that Dave thinks There Is Nothing Left To Lose is the best thing he and the band have ever done - and I wholeheartedly agree. 1997's The Colour And The Shape may have more tracks that are "fan favourites", but this album is a more mature offering which showcases the softer, more experimental side of the band. "Next Year", "Aurora" and "Ain't It The Life" have some great, melodic Dave singing, plus you can still get your fix of meatier stuff too, courtesy of "Stacker Actors", "Gimme Stitches" & "Breakout".
And the "Learn To Fly" video is a classic - there's not many bands around these days with a sense of humour, which is one thing eternally in the Foo's favour. God bless them.
I think the new album will be more Colour And The Shape than Nothing Left To lose, but either way I just hope it's a good one. The last thing we need is any "Wasting Space" gags.

No. 325: Massive Attack - "Mezzanine" (1998)

A strong contender for "Album of the 90's" in my book...
Bristol trip-hop outfit Massive Attack dropped this moody, atmospheric masterpiece on us nearly 13 years ago (damn!), and to prove it was ahead of its time you could actually download the album from the band's official website well before the album came out in stores. Remember this was rare way back in 1998: now it seems like standard practice for most band/artist releases.
Stylistically this was a bit of a dark departure from the band's previous two albums, but 3D, Mushroom and Daddy G outdid themselves on this one - augmented again with the smooth guest vocals of Reggae legend Horace Andy.
"Angel" has an awesome slow paranoid intro that builds before erupting into full-scale panic, and "Teardop" has that trippy feel which perfectly frames guest vocalist Elizabeth Fraser's melodic sweetness. And who could forget the accompanying music video of the foetus lip-synching the song in the womb? Brilliant!
"Mezzanine" & "Black Milk" keep up the quality, but it's "Risingson" which is the highlight for me. I saw them live in 2003 on the 100th Window tour and I've never heard a more attacking and powerful synth break than the part that kicks in at the 2:35 mark on the album. It was 100 times more powerful live, and the crowd stood still to listen in awe as light rain fell silently on us all.
A surreal moment I'll never forget.

No. 326: Empire Of The Sun - "Walking On a Dream" (2008)

"What is THIS??!"
That's exactly what I remember saying aloud back in 2008 when I first saw this album cover at my local music store. It looked so naff that at first I thought it was some rejected movie-poster prototype for "Star Wars XII: The Return of Jar Jar Binks" or something. I scoffed and I moved on.
Then over the next few months I kept hearing songs from this Aussie electronic duo on the radio, and as much as I hated to admit it, I thought they were really, really good.
Tracks like "We Are The People", "Standing On The Shore", "Half Mast" and "Swordfish Hotkiss Night" have great melodies, plus that classic 80's retro-pop feel which is very much in vogue at the moment.
And the title tack "Walking On A Dream" is possibly the only song I've heard in the last 5 years that I wished I had written myself. It's the perfect pop single: simple, catchy and has a great beat. A damn fine piece of work.
If you're keen you can check out the band's music videos on YouTube. I'll admit it though: I don't know what's going on there. My advice? Try and block the pretentious visual image of the band out of your mind and focus on the songs, because there is some truly great music on this album, courtesy of some extremely talented (and weird) Aussie dudes.

No. 327: Vangelis - "Blade Runner [OST]" (1994)

Ridley Scott's dark, brilliant futuristic film noir Blade Runner (1982) is without a doubt one of my top 3 favourite films of all time - and it's probably because of this reason that I hold this album in such high regard.
This is the music that Greek progressive electronic composer Vangelis recorded back in 1982 for the Blade Runner soundtrack, although most of it wasn't released in its entirely until this album appeared in 1994. The original 1982 soundtrack album featured an "orchestral adaptation of music composed for the motion picture by Vangelis", but this 1994 set is the version you need to hear.
Vangelis's synthesizers sound ethereal in places, and a tad dated in others, but throw in a few audio snippets from the movie and some moody ambient movements and it becomes a very cohesive listening experience from start to finish.
"Tales of the Future" has some Eastern-inspired vocals from fellow Grecian & former band-mate Demis Roussos, and album closer "Tears In Rain" features head Nexus-6 replicant Roy Batty's classic monologue before his death at the end of the film (courtesy of a superb performance from Rutger Hauer), over a moving synth backing.
A great album to nod off to on the headphones after a big night of watching 80's sci-fi movies.

No. 328: William Shatner - "Has Been" (2004)

The Shat!!
In 2004 William Shatner returned with his second album - his first since his controversial debut, The Transformed Man, in 1968 - and although it was a long time between drinks, it turned out to be well worth the wait!
Produced & arranged by Ben Folds and featuring special guests Henry Rollins, Joe Jackson & Lemon Jelly, this is a brilliant snapshot of Shatner: The man, The poet, The armchair philosopher. Although his version of Pulp's "Common People" was the album's lead track, believe it or not it's possibly the weakest cut amongst a 40 minute set of surprisingly deep musings.
It's hilarious in places and unexpectedly poignant in others, and Folds's sympathetic musical arrangements add a depth of feeling to this album that suits Shatner's style to a tee.
This project wisely steers clear of becoming too schmaltzy or self-indulgent, instead its a fresh piece of work which rewards the listener a lot more than enduring the Shat rambling through his own "unique" interpretations of classics such as "Lucy In the Sky with Diamonds" and "Mr Tambourine Man" (see The Transformed Man).
And listening to the Shat rant with Rollins about leaf blowers ("Is there anything more futile!?!) is worth the album price alone.
Denny Crane strikes gold!!

No. 329: Motorhead - "Ace Of Spades" (1980)

I watched Lemmy the other night: the new documentary on Ian "Lemmy" Kilmister, lead singer/bass player of British hard rock band Motorhead. Lemmy is one of those classic rock & roll survivors and all-round hellraisers: a man who lives by his own unique rules, has a passion for collecting war memorabilia, and today remains as a walking middle finger to musical mediocrity in all its various forms. He first rose to fame with space-rock outfit Hawkwind in the early 70's before being booted out and going on to form Motorhead, who are generally regarded as the band that had the biggest influence on the "Big Four" thrash acts of the early 80's: Metallica, Anthrax, Iron Maiden & Megadeth.
It was an entertaining doco, with a "behind the scenes" look at Lemmy's private life & penchant for slot machines, plus guest appearances from Lemmy's biggest fans in the biz (such as Lars Ulrich from Metallica and Foo Fighter Dave Grohl).
One of his crowning achievements however is this album, with the awesome speed riffing of the title track, "Ace Of Spades": not only the definitive Motorhead track, but one of the cornerstones of speed metal. And the rest of the album keeps up the same relentless pace, capped off by Lemmy's brilliant barking vocal prowess.
This album is a knockout and should be Lesson 1 for all speed metal freaks everywhere.

No. 330: Gil Scott-Heron - "I'm New Here" (2010)

This is the first album in 16 years from Gil Scott-Heron: the American musician / poet / author who broke through in the 70's and whose work had a big impact on the early formative years of rap & hip-hop. He is best known for his track "The Revolution Will Not Be Televised", which became an anthem for black militant activists in the 1970's, and the album Winter In America - a commentary on the political, economic and social state of affairs in the USA during the Watergate / Vietnam era.
Fast forward 35 years and Scott-Heron's life has been marred by drug abuse and convictions for possession, and he brings some life experience, recollections and wisdom to the table with this bluesy/spoken work album, nicely presented with a dubstep/electro-ambient backing.
It only clocks in at just over 28 minutes, but you get a feel for where this guy's coming from as he croaks out some musings on life, love, death and the afterlife. Some pieces are half-sung, some are just brief audio snippets used as interludes between tracks, but as a whole this confessional offering is heartfelt and real, and at the end of the day that's all you can really ask for from a musician.
Check out "New York Is Killing Me" with its sampled hand-clap backing and mean acoustic guitar riff. A fine piece of work.

No. 331: Cypress Hill - "Black Sunday" (1993)

I normally like my hip-hop intelligent and with a social agenda, in the style of Chuck D and Public Enemy for example, however every now and again I just like to sit back and listen to some Cypress Hill.
You don't need a degree in English Lit to work out what songs like " I Wanna Get High", "Legalize It" & "Hits From The Bong" are about (or "Cock The Hammer" and "Hand on the Glock" for that matter) but be assured, it all just represents a "day in the life" for this successful 90's Latino West Coast rap crew.
DJ Muggs's tasty use of sampling is a highlight of this album, especially the use of Dusty Springfield's "Son of a Preacher Man" on "Hits From The Bong". That hypnotic guitar loop behind the big beats make it the classic chillout stoner anthem it is. Well, that and the sound effects of the bong actually being "hit"...
"Insane In The Brain" was the big breakthrough single, with rapper B-Real's high nasally rhymes appealing to both the rock audience and the well-established rap/hip-hop fanbase. This hit helped to build some momentum for the band which culminated with them performing the track on an episode of The Simpsons, thereby cementing their place in pop culture forever.
I don't know if the album is deadly serious or not, but to me it's a fun one to listen to. Who doesn't enjoy cranking it up and belting out "I love you Mary Jannnne!" while imitating that distinctive B-Real whine??

No. 332: Radiohead - "Amnesiac" (2001)

It's my birthday today, so I thought I'd put in one of my very favourite selections. For me it doesn't get much better than Radiohead.
In my opinion they are, hands down, the most innovative band of the last 20 years, and with this album (in partnership with 2000's Kid A, which was recorded at the same time) they finally answered the question that people had been asking since 1997 - "Where do you go after OK Computer??"
Well this is where they went: boldly into the exciting world of experimental electronica, ambient & post-rock, and it seems they didn't care if anyone followed them on the journey or not. Fans of their 90's albums The Bends & OK Computer were divided about the merits of this change in artistic direction, but for me it was this change that got me the most interested, and I have followed their music rabidly ever since.
If you asked me to identify one piece of music which reigns supreme over almost any other piece of music, across any genre, released over the last 20 years, I would have one answer: "Pyramid Song", an incredibly moving, perfectly arranged & superbly executed piece that I am still in awe of - even though its already 10 years old.
I urge anyone not familiar to get this album and Kid A at the same time and listen to them back to back. There is no better introduction to 21st century music.
And no this is not an April Fool's joke....