puntiniCAZpuntini

"The news of Patton APPEARED on Cacavolante..."

Yes, yes, the news about Patton on Cacavolante in the last days of 2004 was mentioned by Del Naja at the end of a tour in South America for Danny The Dog. Maybe now there’s some more concrete news, I never check them, but when it’s a super scoop like this, they send it to me. Another thing I don’t understand is why that awesome Danny The Dog didn’t get any attention, does it only appeal to me and Cleo? It’s an album by Massive Attack in every sense, you know. (even if it’s a One Man-Band)

Boh Zion, I’d say no: the first 5 tracks are in full Massive Style, then comes Roberto saying "Hello, Tricky is gone, these will be the new Massive Attack, take it or leave it." And the next one, 90% of the time, will likely be more in the style of the second half of 100th in my opinion: more delirious, crazier, more extreme and countercurrent. It’s no coincidence that in the upcoming album there will be the presence of His Majesty Michele l'Alano Pattone, delirious and extreme like few in these years, and wherever Pattone goes, there’s always a turning point, positive or negative depending on the case but still a turning point, just look at Medulla by the pornonana. As Miles Davis said, "either you change and evolve, or you die" (or something like that, but the gist is there). We spend a lot of time saying about many albums "the band recycles itself, this is the usual album by this band, I’m fed up with the usual stuff"... and when someone turns the corner every now and then, we then say "well, I preferred it before." In my opinion, after someone churns out one or two masterpieces, an expectation is created that is so immense it can never be satisfied, as happened with 100th. Now, for example, I am waiting for the new Tool album, and there were already people who, having discovered them with Aenima, complained about Lateralus (and it takes a lot to complain about Lateralus, huh). With this new one, at the very least, all the new little Lateralus fans will pop up to pass judgment on the new work just because it will be different from its predecessors. Instead of praising those who seek to go beyond, many always say "things were better when they were worse." ;-)

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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