Jive Time Turntable

Cecil Taylor “Unit Structures” (Blue Note, 1966)

Atonal to the nth, but Cecil Taylor was probably the most classically trained and proficient player in Free Jazz at the time. Miles Davis said reviewers were crazy for their rave-ups, and claimed they were drinking too much coffee. True, Cecil here isn’t in full tumult mode so much as providing foundations for his players at hyper velocity. And later recordings would have less players or have him solo, showing off the man’s real soloing potential.

That’s what we have in “Unit Structures” in most cases; grounding that appears as quickly as it’s replaced for his associates to blare across. It takes about half of the first composition “Steps” before room is given for Cecil to play in some negative space of his own, while two bassists give color to his building blocks of sharps and flats.

Listening to this, “Conquistador” or any material to come later, it puts a grin on my face to think he played for President Carter in the White House. What a treat! -Wade

Mi Ami “Watersports” (Quarterstick, 2009)

Mi Ami have an ability to execute aural peaks and valleys like few pop groups have ever known how to do. Within each individual song is a crescendo, from the whispered and paranoid panting of Martin-McCormick and subtle metal beating from Palermo, to a racket of all the brutal parts looking each other in the eye and screaming. Just as quickly, though, they can drop it down and develop a groove, usually with the assistance of the bass, that envelops one’s sense of rhythm, all-encompassing.

A brilliant example of this is the two-song assault of “The Man In Your House” and “New Guitar.” “The Man In Your House” begins understated and disconcerting; an effects-laden guitar line covers the track in an odd, quiet blanket. From there, Martin-McCormick’s whispers grow to shouts of sex and sadness, while his guitar screeches and wail. The suspense grows as the track gets louder, and then it immediately segues into “New Guitar,” a jittery, stilted statement of seemingly nothing, carried out with Martin-McCormick’s competent hands manhandling and tearing at his guitar. The song’s beginning is a brilliant resolution to the song before it, and once this primal energy beams out, the trio jumps back four steps and carries out a mid-tempo groove, complete with a bass line rooted in funk and dub.

So much of Watersports’ appeal is in its embrace of the physical, but the album’s final third is a dirge into the mental abyss. Indeed, the album consists almost entirely of the members going ballistic on their respective parts, but this happens so sparingly, if at all, in the final two tracks. “White Wife,” a manifesto towards sincerity and honesty, is quiet, sad, and slow. Here, the trio is exploring their sonic workspace in a very profound way: not through flexing their chops, but through creating space. The song, probably the most cerebral track on the album, dips and undulates until you get to “Peacetalks/Downer,” which, like the best of shoegaze music, creates volume in lines that should be quiet. It all builds without changing, until the album slowly fades into oblivion.-Tyler

Konono Nº1 “Congotronics” (Ache, 2004)

Konono Nº1 used makeshift mics and placed them on a number of simple thumb pianos to create raw but beautiful sounding amplified percussion, backed with joyous cries and traditional drumming. An African guitar band they are not, but another music style worth investigating, definitely so. These swirls of grooves went unheard for a time, and have only recently surfaced in the previous decade.

For those of us who turned to Africa looking for new sounds and inspirations, King Sunny Ade and Fela Kuti may have been quite a jump. This music was deeply political, and could be heavy, in contrast to its uplifting grooves and non-confrontational delivery. It was guitar music, but so un-rocking and unrelenting in groove that it set a new template for some of the more interesting groups of this last century in the U.S. You can call it cultural appropriation, except our last batch of boundry-pushing musicians come across as inquiring, collegiate, and earnest in their borrowing… Understanding and respect of culture is taken away, basically, along with these mined musical forms. An empathic give and take.

Konono Nº1 are not a guitar-pop band, but they are one of those recently appropriated sources, all minimal groove, all positive vibes that keep on giving from front to back. This is an album that can send you on a journey, so get ready to be wowed and altered by music still yet to be fully heralded. Worth picking up. -Wade

Amon Düül II “Wolf City” (United Artists, 1972)

The most noticeable difference between this 1972 release and classic albums like Phallus Dei (1969), Yeti (1970), and Tanz der Lemminge (1971) is the shift from lengthy “freak outs” to shorter pieces that emphasize melody and harmony. In fact, most of the seven pieces on Wolf City are in the 3-6 minute range with only Surrounded by Stars reaching 8 minutes in length.

I for one do not mind the change at all because it turns out that Amon Duul II was just as good at writing shorter pieces as they were at writing the longer pieces. The major selling point for me on Wolf City is the haunting, drifting melodies that are developed on this album – they are simply wonderful and make me forget the pieces are only a few minutes long. Furthermore, the interesting thing (and this is really clever) is that spacey, instrumental preludes and interludes are worked in here and there to create the illusion of a larger piece. The use of loads of synthesizers does not hurt either.

All in all, this is a very good album that is recommended along with Carnival in Babylon (1972) which is somewhat similar. -Jeffery

Scritti Politti “Cupid and Psyche 85” (Virgin, 1985)

A change of attack was needed for Scritti Politti when pop form went back into vogue. Green Gartside ditched the first version of his group to work with session musicians, crafting perfect pop on top-of-the-line equipment. No longer presenting the jumble of styles heard on earlier singles, Scritti 2.0 would be crisp, clean, and pristine beyond recognition.

Green’s own living habits changed to reflect his new music as well. Originally a squat-dwelling punk with circles under his eyes, Green had kicked speed, started a workout routine and took much better care of his hair. He made the switch from ripped up blazers to sweaters and track suits. He still waxed lyrical of far-left ideals, but these statements are much more esoteric in this new pop format… It’s easier to focus on his vocal ability now, all saccharine-sweet in the mix next to sleek and dizzying sequencer beats.

All across the country, the U.S.A. played “Perfect Way” and “Wood Beez” on the air? It’s strange messages were pressed overseas by someone who once thought of himself as a Marxist, but the singles pressed beforehand with his first group were much harder for the average listener to swallow. Half listening, Scritti here sound like a rather innocuous pop act… but what were they subjecting us too beneath this shiny new surface? Hearing the contrast between the Rough Trade material and this monolith of a hit album is startling, but it’s similarities even more so. -Wade

Jimi Hendrix “Midnight Lightning” (Columbia, 1975)

So this is interesting… The idea of a rock producer bringing in session dudes to fill out the sound on collected, unreleased recordings of a dead man’s tapes. The sixth album released after Hendrix’s death, these sessions have been tampered with after the fact by Alan Douglass, a record producer who controversially turned down Hendrix’s original accompanists and brought in his own talent.

These days the idea of remixing and retrofitting old material seems like a non-issue. And it has to be said that the work presented here is strong; it doesn’t smell like a quick cash-in by Douglass at all. Original bass and drums (with only one unmolested Mitch Mitchell track) disappear… and new guitar overdubs are placed as well! But these additions don’t take away from Hendrix’s lead, hardly fiddled with, only on demos where his repeated phrases were obviously unintentional. In a way I’m reminded of Teo Marceo’s album work for Miles Davis, but Miles was alive then and agreed with his studio ideas. Depending on what your opinion may be on his work, it may reflect about what you’d think of the Douglass edits. Is it so wrong to string such strong performances together in a studio? Or would you rather have the demos with some obvious blemishes? Serious questions when the music created originally needed so little studio tampering. These people were geniuses without it.

But then maybe Douglass was a fitting studio-head, the one able to handle such bold work with a legend’s material. He saw an opportunity to wrap up loose ends and executed it how he saw fit. The results are striking and worth hearing, especially when you hear the power of “Machine Gun” and the rest of side two to follow. It’s a trick, but a good one. -Wade

Acker Bilk “Stranger On The Shore” (Columbia, 1961)

The title track on this 7” was written in a taxi cab, concerning a French girl walking down a beach in England. This perfect piece of clarinet-led pop, easy-listening used in a popular BBC serial, was also taken to the moon and enjoyed by the crew of the Apollo 10. English Clarinettist Acker Bilk worked with the Leon Young String Chorale to create the sweet and sensuous mood, as welcoming as a lit wood-fire stove, long after the sun has set on your fondest beach memory…

The b-side is a moodier affair thanks to the addition of a slow, driving waltz pattern accented by an unchanging high-hat. No drums are to be found in the title track, and so the feeling of unbridled infatuation wasn’t grounded. “Take My Lips” has Acker still leading his Chorale, but coupled with the locked drumming, his group creates a feeling of want less innocent than “Stranger…” more like pent-up desire than innocent passion.

This single can touch the heart with its simple pop arrangements, and it’s classical/jazz components are placed with sophistication. Scour the 7” bin for this one! -Wade

Meat Puppets “Up On The Sun” (SST, 1985)

From Simon Reynolds:

One of the strangest, fastest mutational odd-yseys taken by a single band, from the thrashadelic punk of the debut through the countrypunk furore and dewdrops-on-cobweb delicacy of Meat Puppets II to Up On the Sun ‘s brutal plangency and frenetic speedfunk (a manic, flashing secateur snip’n’clip, a dragon-fly shimmer like sunbeams chasing each other through your veins, a peyote-and-desert-sun crazed Talking Heads with Jerry Garcia and Tom Verlaine as dueling lead guitarists). Awesome.

Say no more? By “Up On The Sun” the Puppets had gone away from breakneck hardcore speed and cooled down, guitar work improving to the point of jam band virtuosity, still keeping tracks within relative rock brevity. I can’t help but mention that SST insider Joe Carducci saw a period between albums where they resembled Steppenwolf and he (we) have yet to hear that phase of their career on recording.

Until then, third effort “Up On The Sun” remains their strongest stud in their discography, before they started playing around with drum machines you know… Unswinging funk bass with perfectly meshed frantic-sounding guitarwork, and a drummer that keeps time because someone had to keep their feet on the ground. And oh yeah, they are earnest and joyful. -Wade

Blue Cheer “Vincebus Eruptum” (Philips, 1968)

Made up of blues covers half this album may be, but what a new way they had to warp and distort such standards! Key words there, as Blue Cheer were pioneers of the Metal genre we all have come to associate with the monoliths… Zeppelin and Sabbath, somewhere, they stand in between.

A little ways into opener “Summertime Blues” you get a confirmation that yes, things will be forever different, as a break becomes filled with masochistic riffs unheard prior. On “Rock Me Baby” the use of guitar distortion reaches new heights, and the interplay on “Doctor Please” hits you like scorched earth, molten lava running and tumbling downhill.

More blues covers and an original number follow, but the reinvention heard here is absolutely notable. When you hear some metallers discussing roots, this will probably be one album cited in conversation. -Wade

Iron Butterfly “In-A-Gadda-Da-Vida” (Atco, 1968)

Iron – Symbolic of something “heavy,” as in sound.

Butterfly – Light, appealing and versatile… an object that can be used freely in the imagination.

On the back of their LP sleeve is this statement, and it’s fitting for a group that shows their varying chops on either side. Their particular brand of psychedelic rock on side one works, but it does seem to allude that a change in style was coming. Erik Brann’s vocals are deep and don’t really bring flowers to mind, even during the groups more flourishing numbers. Organ sounds rip holes through the mix and give a slight ominous tone to everything. Late bassist Philip Taylor Kramer (mysteriously found dead in a car at the bottom of a ravine) gave a warm tone that brings Grand Funk to mind. (EDIT: Kramer joined after the recording of I-A-G-D-V, but was most know for it in performance.)

Side one has moments of beauty with “My Mirage” and “Termination” but it’s the all-encompassing title track that really gives Iron Butterfly their claim to fame. A heavy opening with an unforgettable riff, it later turns into a psychedelic wind tunnel of driving instrumentals; guitar, drum, bass and organ-led mayhem to serenity. Along with Blue Cheer and Steppenwolf, Iron Butterfly are one of those groups that show interesting tangents from garage and psych to the world of heavy. -Wade

The Descendents “Milo Goes To College” (New Alliance, 1982)

No other punk band to my knowledge has had their style emulated by hordes of lesser groups than The Descendents. But who could blame those groups for trying? Once they chugged a pot of coffee and played out this great molding of melody and speed set with “Milo Goes To College,” they probably didn’t have a choice…

Hearing their “Ride The Wild / Hectic World” single and jumping into this album can be startling. A capable rock band before, once they brandished new vocalist Milo and went hardcore they were just too damn good to be entry level punk hop-ons… They led the pack. And Milo was their ace in the hole, a wholly new style of rock vocalist; one that wasn’t concerned with having sex, scoring drugs or looking cool. And he rains fire on those that do, severing many a rock cliché. “I’m Not A Loser,” “Tony Age,” “Hope,” “Marriage” and “Bikeage” show that this group is 1) a powerhouse instrumentally and 2) ready to wreck the glamorized foundations of rock culture, with their own raw power.

Most songs don’t make it to the two-minute mark but each one has so many great changes and twists that none are alike, and each one has meat on it. Many of the subjects covered from rent to girls to love to fashion to drugs are standard pop punk material now, but The Descendents crammed it all in to this one, heavy, positive tumult. Play often and you’ll feel better, really. -Wade

The Rolling Stones “Emotional Rescue” (Rolling Stones, 1980)

Along with The Who pulling an “Eminence Front,” the Stones made some undeniably catchy tracks for more straight-ahead dancing. “Emotional Rescue” is the most blatant album example of this, and if you aren’t such a rock purist, it’ll sound pretty good to hear them put four on the floor in their opening tracks.

It’s all still The Stones though, even with their great chicken scratch rhythms and drum patterns squared off for tracks like “Dance” and “Send It To Me.” With less solos and almost no psychedelic intrusion, they still come off as an organic group, not sterile studio sessioners making a few bucks from Studio 54. Not all of the numbers are for the dance floor obviously, but then again “Indian Girl” doesn’t really scream for repeated listens the way their tackling of dance tunes do.

For Stones devotees, “Emotional Rescue” isn’t too bad to see them moving further sideways after the “Some Girls” punk reaction, into dance territory… and they avoid rubbing shoulders too much (ahem, title track) with white-soul New Wave, which is a blessing here. “Down In The Hole” helps confirm that they were exploring, and not drifting too far from their roots. -Wade