Public Enemy - "It Takes a Nation of Millions to Hold Us Back" (Def Jam, 1988) [Key tracks: Black Steel in the Hour of Chaos, Night of the Living Baseheads]

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"I got a letter from the government the other day. I opened and read it, it said they were suckers. They wanted me for their army or whatever; Picture me givin' a damn - I said never! Here is a land that never gave a damn about a brother like me and myself because they never did... I wasn't wit' it, but just that very minute...it occurred to me the suckers had authority"

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The floodgates are open and here come the classic LP's I have been ranting about. I haven't much to say non-LP related, so on with the show. This one will make Matt smile, I am sure (Matt and I, the 2 whitest kids in the world, know all the words to this LP. Pretty cool huh?).

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Carl's Favorite Songs - #31 - Tusk by Fleetwood Mac

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Where to even start with this one? Public Enemy's "It Takes..." is a landmark LP in many ways. I would even say that this album is of historical importance. With this LP, hard core hip hop was swept off the streets and into a bin called "consciousness." Public Enemy was street level, but was also militant, intelligent, and talented. They were able to on the same song criticize the system for marginalizing blacks, yet call the black community to task on its own demons. Unlike Bill Cosby, who seems to be seen as a bit of an Uncle Tom with his criticisms, PE leaned further into the Afrocentric realm; which was not a surprise considering the band's fascination with the Black Panther movement and the Nation of Islam.

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At the time of recording, "It Takes..." had all of the PE elements locked into place. They had worked out some of their kinks on their debut album, and taken on their stage persona's fully. Chuck D: the educated former-DJ, defender of the marginalized and fearless of the machine. Flavor Flav: the hype man, seemingly a cross between Daffy Duck, a crack addict, and Kool Moe Dee. Professor Griff: back up MC and leader of the S1W's (which was a paramilitary dance troop... the lines of fiction and reality really got blurred). Terminator X: hands down the most vicious and abled DJ of the times. Better than Grandmaster Flash.

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Things started to get interesting as PE gained attention outside of the urban circles they came from. White America was very threatened by the militant nature of the lyrics; even at times depicting unapologetic violence against the establishment. Where NWA was easy to write off as hoods, PE posed a new threat; the Educated Black. While most of PE's material is an exercise in martyr fantasies, stories revealing a deep persecution complex, and conspiracy theories gone wild, they hit a nerve. Afrocentrism was not going to go away, and the system was indeed exposed for being an Old Boys Club for whites. PE was one of the few acts that could point out the disparities of America and also express adequate anger to mobilize troops. The album had very little distraction; critics had to deal with the message. There was no gang-bang glorification, there was no misogyny. "It Takes..." was a voice unheard in many corners of the nation, and because it was so perfectly executed musically, the message spread.

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Even though it is cartoonish at times, PE's "It Takes..." represents the first real intelligent rebel music since Bob Marley. It made those of us in the white Midwest ask some questions. Does this stuff really happen? Are drugs that out of control in big cities? Is our government actually using prisons as a file cabinet for blacks? Is TV really ruining the minds on lower and middle class America? Is there more to life than partying? Who is Malcom X? What is the Nation of Islam? Do people really run around with berets and bazookas in NYC? Did the government kill black leaders?

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Many of the answers we came to may have been different than depicted on "It Takes..." but the fact remains that we became informed, enlightened, and aware. Any true concern for racial justice that I have within my heart is rooted in my exposure to Public Enemy. Malcom X was born in Omaha, and I hadn't even heard his name until I heard PE. Chuck D 1, System 0. I began to read about Douglas, X, King, Ghandi, and Farrakhan. While I still think that Afrocentrism is just injustice of another color, I think I have become a lot more culturally sensitive and aware since.

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As a side note, PE's controversy went far beyond the lyrics on their LP. Professor Griff was very outspoken on his beliefs related to the nation of Islam. As we all know, any blanket criticism of the Jewish community had better be well founded. His was not, and a poorly written expose on his views (think a non-drunk Mel Gibson) got him into a bit of hot water, and he was soon out of PE. Not to be upstaged, on the follow up LP "Fear of a Black Planet" Chuck launches a salvo at the Jews; "Crucifixion ain't no fiction... so-called Chosen frozen, apologies made to whoever pleases...still they got me like Jesus." By the time they were done calling out Hollywood, the government, media, Jews, and the United States health system it was hard to take all of it seriously. Thus the eyebrow raising lyrics became (in the eyes of detractors) shtick. Oh, and then Flav got in trouble with drugs and illegitimate children. Go figure.

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As a less interesting side note, this album was also one of the first to take an unapologetic stab at the then new sport of music copyright litigation. I know, I know, Ray Davies sued the Doors. It had happened before. But now they were suing the hip hop industry over use of samples... trying to break hip hop at its core; rap had always been deeply rooted in the MC scene... reggae MC's rapping over the songs a DJ chose. It evolved into hip hop when just the break beats were used to create a wave of body rockin' rhythm, where an MC could brag and boast and call out his rivals. Without the source material, hip hop would have to rely on producing its own beats, its own breaks. The only other option was to pay royalties, which seemed ludicrous and impossible, as hip hop in its infancy was the voice of the poor and outcast (much as punk was in its early days). As Chuck would say "this is a samplin' sport." The rise of litigation against hip hop acts (sadly, even my beloved Flo and Eddie sued De La Soul) forced a shift in approach to hip hop. It evolved, but in a very limited manner. To this day you hear the same recycled synth and drum machine riffs and beats. If there ever was a conspiracy to shut down the voice of Black America, this was a masterstroke in operations. However, thanks to the litigation we have less good hip hop, and more Diddy. A classic LP, a historical turning point, and a great listen.

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And it makes me miss track meets. Horns up.

Traffic - "John Barleycorn Must Die" (Island Records, 1970) [key tracks: Glad, Stranger To Himself]
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"There were three men came out of the west, their fortunes for to try. And these three men made a solemn vow; John Barleycorn must die! They've plowed, they've sown, they've harrowed him in, threw clods upon his head. And these three men made a solemn vow; John Barleycorn was dead."
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As I sit and stare at a pile of records, most of which need sleeves, all of which are incredible musical milestones in my life, I cannot decide what to photograph. I have been looking at the pile for an hour. Four new Anthrax LPs, a modern classic Melvins set (that I accidentally defaced opening...thanks for nothing lazy Ebay seller), a southern rock hidden gem, and the usual cast of stoner rock and alternative masterpieces. I have an embarrassment of riches. So today, I am going the safe route, and using one of my "backup" plans. Behold, Traffic.
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Carl's Favorite Songs - #32 - Karma Police by Radiohead
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As hinted at above, I need to save excitement and hyperbole for the coming months of posts. I wish all of you would just start coming over to my house and get the adoration and reviews in person. It would be easier on this man with his limited vocabulary. But much like my fingers need a preemptive pause before the onslaught of posts, my ears needed a break from extreme metal, avaunt-garde post punk, and blunting stoner rock. Traffic perfectly fits that groove. A jazzy, bluesy, rock outfit featuring Steve Winwood (who has a fantastic voice despite his questionable solo milk-toast-pop 80's hits) and a lot of flute. Not that they are Jethro Tull, or even progressive. Instead, they are musicians. Pure and simple. The compositions are very technical, and enjoyable. Think of early and mid era Fleetwood Mac, but enjoyable. For anyone who enjoys rock and roll, Traffic is a no brainer.
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The standout track is the title cut, an arrangement of an old folk song about, well, you decide. The controversy is that it is a call to alcohol abstinence, others say it was a literal reading of a murder done to benefit the community, yet a few retain that it has to do with the nature of business (the big guy pushing out the little guy). Closet whisky fans, like myself, prefer to see it as a call to enjoy as much uisce beatha as possible before Johnny is killed.
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Some trivia about this burlap-sack-themed LP; it was originally intended as a Winwood solo LP, but as the compositions grew more interesting and varied in genre (hippy psychedelic folk jazz pop prog hard rock), members of Traffic started signing on one by one. Soon it was a fully realized Traffic project. Go figure. So put it on, let it spin, and toss one back. Rest up honey, you'll need your strength for the coming storm of vinyl. Don't worry (hic), I'll be here to guide you. Me and John (hic).
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Horns up.
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The Haunted - "The Dead Eye" (Century Media, 2006) [key tracks: The Medusa, The Shifter, The Flood]
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"High on fire and solid confidence; truthful rantings, but no one is listening. Check collateral, sweep the corners... the fear of words in a fu**ed-up reality. Steal my freedom of speech, my liberty, fail my rights to express myself... All this Half-Life semper-fi stone-faced bullsh** infecting me to deplete my design. I'm drowning in the fear of gods; the more I see the less I want. I was not raised to shut my mouth, but as long as it holds me I'll fight it and scold it, all my life!"
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Next week is going to full of fun posts for me. As I mentioned, in the last month I scored 4 of my top 5 most wanted LPs, and even scored 2 of my favorite LPs ever which I was not even aware existed on vinyl. Happy month for me! Back to the metal today as we look at a modern classic...
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Carl's Favorite Songs - #33 - Cure for Pain by Morphine
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The Haunted. How did I ever miss these guys' existence? Oh wait, I know, because their earlier albums were above average modern Euro-metal. That isn't to say they weren't good, there were just so many others like them. Hailing from Sweden, you sort of build a pre-conceived notion of what to expect... nihilistic black metal right? Screams and blast beats? Until the LP before this one, yep. "rEVOLVEr" was a watershed moment... you could still hear the old recipe at work, but something in their eyes changed focus... you could tell they were jumping off into a new direction. And which direction is that? Where were they looking to for the future?
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How about brutal, industrial-influenced thrash-and-emo-metal. That maybe undersells how great it is. Let me put it another way... "The Dead Eye" is better produced, heavier, and more thrilling than any Tool album since "Undertow." Stunned? I was too. They resisted the urge to turn sludge metal cum whining (ala Isis), or over dramatic concept driven metal (ala Neurosis) and just unleashed a grind/thrash album with a message and a soul. Thank God thrash music still exists without the horrible Nordic cliches that usually come packaged with it. There is still plenty of screaming and violence, but there are also down tempo pieces; movements that do an unexpectedly good job at evoking true emotion, just to set you up for a tidal wave of fury. It never becomes tiring, repetitive, or self-indulgent. It was as if they were aware at all times to throw out even one solo that smelled of past offerings. The bar for modern thrash has now been set higher.
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My favorite song, "The Medusa," is a must hear for anyone being neglected or rejected by a woman. The macho helplessness-slash-murderous-hate that comes out of lead singer Doving's mouth are sinister in every aspect of the word. "She is a saint, her womb is a place of rejection. She washes her perfect skin quietly, and hates me for being real!"
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I would say that "The Dead Eye" is a sleeper smash, and the most overlooked LP of 2006. If you are looking for something that has some real power behind it, and a hell of a lot of talent, this is a must buy. From art direction to production values, this is a perfect modern metal LP. And in my humble opinion, it ranks up in the pantheon of all time metal classics (somewhere lower than "Number of the Beast" and higher than "Justice for All"). Not since Sepultura's "Chaos AD" have I heard a diversion from form this drastic come out so perfect. I hope they can keep it up!
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Horns up!

Guns n' Roses - "Appetite for Destruction" (Geffen Records, 1987) [key tracks: My Michelle, Welcome to the Jungle, Paradise City, Sweet Child O' Mine]

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"Wake up late, "honey put on your clothes. Take your credit card to the liquor store." That's one for you and two for me... by tonight I'll be loaded like a freight train, flyin' like an aeroplane, feelin' like a space brain one more time tonight"

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Here it is, in all of its hessian glory. "Appetite for Destruction." 20 years ago, and a few months because I am running way late, this audio-kick-in-the-throat was released, and rock has never been the same. The second pic, the one with the robots and rape victim, was the original cover, which later was stuffed into the inner sleeve and replaced with the now famous G'n'F'n'R cross. Read on about the LP below.
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Carl's Favorite Songs - #34 - Fix Me by Black Flag

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The best thing to me about Guns n' Roses' debut LP was not that it was so freaking awesome, a true benchmark in rock and roll. It wasn't that it had so many hits, both popular and hard core. It wasn't the genuine and gritty street feel of the songs, or the incredible talent. It wasn't the unique voice, strange look, brutal lyrics, or legendary stage presence. Nope, to me what was most excellent was the way they instantly self destructed, becoming a cartoonish parody of both themselves and the rock and roll archetype.

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Axel became notorious for shooting off his mouth, throwing tantrums, getting into altercations, and showing up late. The whole band struggled with drug dependency and alcohol abuse. Their lives had until "Appetite" revolved around playing incendiary live shows, getting talked up by every talent scout in the rock and roll business, then going home and crashing with heroin, strippers, and whisky. The scouts went back, told the executives about how great they were, and how they know they would make a million, but it was agreed across the board that they were too volatile. It wasn't a question of IF but of WHEN they would explode into a million shattered pieces of wasted talent and opportunity.

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Finally the demand for hard rock and the untapped originality of G'n'R forced someone to make a move. Geffen signed them, cranked out the pinnacle of 80's rock and roll, and sat back and counted the cash. As soon as they came onto the scene, they were the reigning kings of rock. No one looked, sounded, acted, or played like them. Their songs were in movies, on MTV, and the radio. Before the songs were released as singles, pretty much everyone I knew already had the LP and had memorized it. By the time Paradise City hit the air (the fourth single, released a remarkable 2 years after the LP), the LP had already cemented itself into our minds as legend. It was, and is, up there with "Master of Reality," "Zoso/IV", "Back in Black", and "Dark Side of the Moon." It was a must have, must listen. And 20 years later, you can still listen to every song, no matter how overplayed ("Sweet Child o' Mine") or how ridiculous ("Rocket Queen"), and it still rocks. Beginning to end... the best hard rock album ever. Or, if you like superlatives, the Zepplin "Zoso/IV" of our generation.

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Then just as soon as they came, they went. They couldn't handle the attention and fame. The money and sudden adoration just made more opportunities to get into trouble, or to become pissed off. By the time the "hold on, we're making them work" EP "Lies" was released, fans were pretty impatient. The half-old material/half-acoustic B-sides album woudl have been the death of them if it wasn't for "Patience." Then there was a long, quiet intertestamental period where they released a couple new songs ("Knockin' On Heaven's Door" and "Civil War"); but in actuality it was ages before the 2 LP train wreck of mediocrity and smug self-importance "Use Your Illusion Vol. 1 and 2." Throw in an embarrassing EP of garbage called "The Spaghetti Incident" and you have a candle that burned twice as bright for half as long. Die hard fans are still waiting for the second coming, the elusive "Chinese Democracy" which is basically just Axel and whoever his ego hasn't chased off, and which may never actually be released.

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There you have it. It was the Holy Grail of modern hard rock, and yet it was also the eulogy to a street-level anomaly. I did lose one bet however... Axel Rose is still alive. I swore he would die before 2000. At least he looks dead, which makes me feel like I wasn't that far off. The saddest news of all was that rock and roll still has yet to offer up an "album" experience to match. 20 years, and nothing close. The only candidates are Nirvana's "Nevermind," Radiohead's "OK Computer," and U2's "Achtung Baby"... none of which added anything new to rock, and all were niche/genre hits (and to be honest, all but "OK..." have wore thin). If Coldplay is all rock has left to offer, then send me back to 1987.

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Horn's up.