puntiniCAZpuntini

My favorite to listen to (without the lectures on "seminal-historical" etc.) is 100th Windows, the most Trip album from Massive Attack, the hop is found in a thousand groups, but Del Naja's Trip is made only by Del Naja, priceless. I see Mezzanine as the best of the three albums that contain Hop, almost on par though are Protection and Tricky's masterpiece, Maxinquaye. Odradek, for me, the line of this style (which is quite different from the Trip-Hop that came later, really quite different) was drawn by Miles Davis with "Doo Bop," this is an excellent album, but the fact that an icon like Davis started doing this kind of thing gave a greater shock to the music scene, sure it's more about his career than anything else, but there's still a difference between saying "The debut of Massive Attack" and "Miles Davis has turned towards Hip-Hop-Soul-Funky-Jazzy-House." I was small at the time, but I remember that Tha Vibe published a 4-page article on Doo-Bop filled with phrases like "the era of classy Hip-Hop has begun" and things like that. :D (I got to know Miles Davis through Doo-Bop)

The truth about the Norwegians is a great truth, excellent observation Airone :D

Not really: this stuff had already been circulating for a few years before, not in England but there’s not much that’s seminal about it. This was the first work to be successful, but not the first to mix Soul, Rap & Funky. In the New York underground, this style had been around since the late '90s; the Massive had the idea (and the money and connections from the record label, especially—though there’s absolutely nothing wrong with that, mind you) to bring in a female voice. Ultimately, the difference on this record comes from Nelson’s voice; the Massive contribute very little. For example, in 1990, "People's Instinctive Travels and the Paths of Rhythm" was born, an album from which the Massive heavily drew for this Blue Lines, and they took a lot from various tracks contained in several New York albums from that time. This Blue Lines is still among the first, and perhaps the first album to contain only songs in this style, but the style had already existed for a while, there are no real "inventions." The seminal nature of the Massive (for me, Del Naja is a D I O, let’s be clear) emerged in the album after this one; the psychedelic imprint they gave to their Funky-Soul was a revolution—tracks like Sly, Better Things, and Weather Storm (and all the others) really revolutionized everything. However, this Blue Lines, while being a great album, has a score of zero in terms of seminal quality; it’s fully riding the Funky-Soul wave of New York during the late '80s and early '90s.

In fact, I'm not saying that "the group's attitude is to make a mess," I'm just saying that "it's 1967, and you can't ask them to sound perfect." The fact remains that, even though they’re not to blame, it doesn’t sound perfect and ends up being too chaotic. My point isn't a criticism of the album’s seminal nature and immense historical importance; rather, I’m just saying that, regardless, I can't enjoy listening to it. However, I also mention in the previous post that the lack of resources available to them in 1967 is likely the real issue—it’s certainly not their fault—but I find it difficult to listen to ;-)

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I find them flat; what was successful at most gets a three, this one two, two and a half.

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The problem lies entirely with John Hudson, the last Faith No More album is ultimately Angel Dust, King For A Day (Tirato?) is an album by Mr. Bungle (it's all written by Patton & Trey) and this is a kind of crafted summary of FNM.

The heaviest of their discography, an immense masterpiece, but I tend to prefer those where they went all out with Moog Mellotron and various electronic effects.

Beautiful, but it doesn't grab me like the others, it's the one I listen to the least of theirs. In the end, there’s so much Soul-Rap-Groovy out there, it’s not really an essential album, beautiful nonetheless, but it has too much competition to be called a masterpiece; the best comes later, when they found something new and original.