It’s always pleasing to hear/find the next big band before any of your close acquaintances do, and with it comes an immense feeling of self-satisfaction.  Many pimple-faced, tight-trousered youths repeatedly utter (with a wry smirk), “what do you mean you haven’t heard of so-and-so?”  The contemporary music scene essentially consists of our precious young ones receiving a form of aural propaganda from mainstream corporations (cough cough, Radio1) that even Joseph Goebbels would be slightly proud of.  I feel that now there is this need to be constantly clued up on the ‘scene’ and music has gone through a transition whereby it’s almost a competition to see who can find the coolest and most obscure artists out there.

So as an act of rebellion I have decided to go back to the basics and provide you with a list of some of the best albums of our glorious musical past that you ‘may’ never have heard before.  Now, given that this is from my personal collection I have tried to pick an essential album from as many genres as possible and here’s what I came up with.  Essentially this is meant to bring to light some truly amazing artists, tracks and albums that you may not have been previously aware of, and to appreciate them from a musical point of view – and not because your wireless told you to!  Enjoy. 

(P.S. - You should find audio of the ‘Key Tracks’ in the list on the right hand panel on my home page)...

Aaliyah – One In A Million // 1996 // R&B

This album is a prime example of the classic 90’s R&B movement that bought key industry figures like Mary J. Blige and R.Kelly to fame.  The majority of the album’s production comes courtesy of the boards of Timothy “Timbaland” Mosley and I think that some of his best tracks were produced for Aaliyah during her short but prolific career.  This, her 2^nd album release, is a true lesson in the R&B sound that made her so popular before her tragic death in 2001.  It sounds like her most complete album with a range of tracks that explore all the subgroups of the popular rhythm and blues genre – from the party sounds of the Marvin Gaye cover, ‘Got To Give It Up’; to the hypnotic and smooth title-track, ‘One In A Million’.  It would have been interesting to have seen whether Aaliyah’s style would have changed over the course of the last few years, as R&B has become more about intentionally producing hits for the club and generating sales, as she did that with practically all of her record releases and almost by accident.  I think our current pop newbie’s need to give this album a listen to as well, and hear how ‘real’ R&B music used to sound.

Key Track (That best exemplifies the album as a whole) = ‘Heartbroken’

Broken Social Scene – You Forgot It In People // 2002 // Alternative-Indie

Ok, this is likely to be a bit of a biased assessment, seeing as how these guys are my favourite band, but this shall not deter me from the task at hand (that rhyming couplet there was purely accidental).  For music purists Broken Social Scene may just be your favourite band, as they encapsulate that genuine ‘all-about-the-music-and-nothing-else’ ideal that makes them so popular in the US.  Boxing them into one genre is practically impossible as they produce such an eclectic and diverse range of sounds that seem to border on the cusp of every category going.  I like to think of them as an ‘experimental orchestra’, pumping out a range of indie-based, instrumental and Sunday-country-lane-driving-music – if that’s at all a particularly fair assessment.  With an expansive group of members consisting of up to 16, this makes their shows particularly awesome viewing as they feature an array of instruments (hence the “orchestra”) and can belt out a smooth instrumental such as ‘Pacific Theme’ or my album favourite, ‘I’m Still Your Fag’.  A delightful blend of music on one brilliant album that you will either ‘like’ or ‘love’, and make sure to check out their other albums too which are just as brilliant!

Key Track = ‘Stars & Sons’  

Common – Like Water For Chocolate // 2000 // Hip-Hop

Common offers listeners a plethora of rhymes on this magnificent album to make you ‘think’ and does so over a varied set of beautifully constructed beats that are designed in mind to truly affect the soul.  He was certainly reaching out to a higher ground when producing this LP and aimed to use his lyrical ability to educate, with recurring verbalisations of Afrocentricity, lack of respect for women, black civil rights and relationships, and containing such deep lyrics that you’ll be surprised to hear them emanating from the mouth of a rapper.  Commercially it isn’t one of his biggest selling albums, but substance-wise you could call it ‘abuse’, because his utterances will take you to whole different level.  For those with a love for sample-heavy production, then the Soulquarian movement consisting of J Dilla (more on him later) and Questlove both provide the perfect notes for Common to “drop knowledge”.  The option to flick between tracks such as the summer anthem ‘The Light’, a glorious take on a Bobby Caldwell classic, and the political retelling of Assata Shakur’s story on ‘Song For Assata’ provides the perfect balance to this album, something that many of today’s rappers find hard to replicate.

Key Track = ‘Nag Champa (Afrodisiac)’

Flying Lotus – July Heat // 2005 // Instrumental-Hop

From what you may gather from this post I am a bit of a hip-hop junkie, but I truly prefer the chilled out and soulful sample-styles of this genre, than that of the commercial club oriented trash of 50 Cent, Lil’ Wayne, et al.  Flying Lotus discards any hint of that rubbish by offering this tasteful blend of unique instrumentals that subtly border the technological and ambient worlds of hip-hop.  The tracks on July Heat are a varied bunch that all have different ‘sounds’, but ultimately end up with the same result – uncontrollable amounts of head bopping and toe-tapping.  This may be one of the finest, or complete, instrumental albums I’ve come across, particularly for Flying Lotus’ distinctive production.  You’ll get your usual share of drum, synth and MPC sounds that have made similar producers so popular, but with Lotus you get that little bit extra – a drop of organic pleasure pumping out of the speakers that almost sounds as if the beats are being produced right there on the spot, especially for you.                 

Key Track = ‘Litermeter’       

Iron & Wine – Our Endless Numbered Days // 2007 // Folk

Folk music has gotten an ill-suited reputation for being all about Texan barn dances and the like, but I think Iron & Wine has actually made folk music cool.  This recording name is the alter ego of American singer-songwriter Samuel Beam, who produces such wistful and melancholic riffs that it makes you almost want to fall asleep, but for all the right reasons.  This is one of those albums that is best listened to after a date: back at your place, a couple of glasses of red wine and under subtle and ambient lighting.  Beam is accompanied by his guitar throughout, with the majority of tracks performed acoustically and with his whispery voice accentuating the heavenly sounds his fingers produce.  From the soft love song ‘Fever Dream’ to the lullaby-like ‘Each Coming Night’, each track contains that Americana folk-sound that also makes this the type of album you’d listen to whilst road tripping across the US.  Sumptuous and simply brilliant.

Key Track = ‘Naked As We Came’

J Dilla – Donuts // 2006 // Hip-Hop  

To say this genius is a hero of mine is nothing short of an understatement, because if you want an artist to admire and indulge in, then J Dilla is the guy, and Donuts is the album.  Having produced seminal tracks for artists such as A Tribe Called Quest, The Pharcyde, Common and his very own group, Slum Village, J Dilla was heavily regarded as an underground heavyweight way beyond his years.  Not only was he recognised as a producer, but he was also an MC and a talented multi-instrumentalist, which gave him the ability to craft music for so many genres – hip-hop, jazz, R&B, neo-soul, etc – and he was the mastermind behind the creation of some truly astonishing pieces of music.  His musical aura and unrivalled talent are almost something of a myth now, due to his premature demise in 2006 – 3 days after Donuts release, which make this last masterpiece even more epic.  Some of the track titles allude to his impending departure (‘By’ and ’Don’t Cry’) and he even worked on the LP on his hospital bed while strapped to a dialysis machine!  That just epitomises his love for his craft and what made him so popular the world over.  His sample-based production style is best exemplified through this 31-track instrumental offering, with the perfection being its short playing time (42 mins) which provides an album with a machine-gun-like-fire of succinct songs.  From the uplifting Motown vocals on ‘Two Can Win’, to the orgasmic tones and reverb of ‘Time’, there aren’t enough superlatives to describe the innovative nature of the LP.  Easily one of the most influential hip-hop artists of our time, his work and legacy captures the soul and, thankfully, he was able to share his supernatural gift with the world.  

Key Track = ‘One Eleven’

Kaskade – It’s You, It’s Me // 2003 // Deep House

When you’ve had one of those tough days at work, or just a tough day of lazing around, then this is one of those albums that you want knocking out of your speakers late at night.  It’s You, It’s Me is a sultry blend of deep house tracks from Ryan Raddon, a Chicago-born producer who takes on the moniker of Kaskade.  It definitely has the feel of an album you’d want to play in the summer months, with the title-track’s funky notes sounding like a tune that would emanate from a club on Miami Beach.  I rarely class an album as being of the ‘sexy’ variety, but almost every track oozes it in abundance.  The tracks do differ slightly; from the more upbeat bar anthem of ‘What I Say’, to the driving bass lines and hypnotic vocals on ‘Seeing Julie’, but all of them capture the essence of Kaskade’s brilliant sound.  There is no doubt a plethora of other major label deep house albums out there, but you’d be hard pressed to find one that does so many jobs so well, and one that sounds this good.

Key Track = ‘I Feel Like’      

Marlena Shaw – Anthology // 2000 // Soul/Motown

Ok, I’m slightly cheating here as this is a compilation album, but a fantastic one all the same!  Possibly not as popular or well known as her fellow contemporaries, but Marlena Shaw had such a dynamic voice that always exuded a sexy, soulful passion.  During the late 60’s and early 70’s, a time in which she really made a name for herself, she released the classic summer joint ‘California Soul’, a track that was covered by many artists.  The song was filled with a socially-conscious message of love and peace, during the time of the Vietnam War, one of the reasons that possibly helped in Shaw’s success.  The album also contains material that highlighted the plight of being black in America, such as ‘Woman of the Ghetto’ which focused on the Civil Rights Movements of the time and became her most famous release.  Anthology is a brilliant catalogue of blends: a selection of Shaw’s best tracks that each cover and delve into the different genres of funk, soul, jazz and Motown.  Many of today’s artists have used her songs and lyrics as samples, including St.Germain, DJ Shadow and 9^th Wonder, and it’s no surprise as her music has such a soft and natural quality to it.  An LP you can listen to by yourself, with a Bf/Gf or with a group of friends around the BBQ.

Key Track = ‘California Soul’

The Whitest Boy Alive – Dreams // 2006 // Minimalist-Indie

A hundred thanks to The Culture Show for introducing me to this gem of a band back in 2007, because this album helped me through all those all-nighters whilst producing my dissertation at university.  I like to think that their music is quite genre-defying; but not as much so as Broken Social Scene (above).  As a group they are part-indie, part-alternative and part-minimalist and that’s probably the best way to sum them up.  Led by talented electronic whiz, guitarist and lyricist, Erlend Oye, this Norge/German based band started life as a dance act, but have since dumped their machines of simulation for real instruments.  Producing a more organic sound resulted in the band enjoying underground success all over Europe with the release of this album back in ’06, with it being on constant rotation (as they say in the industry) once I eventually got a hold of it.  The laid back and head-nodding rhythms of ‘Fireworks’ coupled with upbeat tracks like ‘Don’t Give Up’, a song that wouldn’t sound out of place on an indie film soundtrack, make Dreams an awesome album full of bittersweet and beautiful lyrics placed on top of some inspired tunes, where each member and their respective instrument perfectly compliments the others’.  I know these guys are playing London in April, due to the release of their latest LP, and I will try desperately hard to get tickets for those shows because I reckon they will be amazing to see live (if only for the music and not for their showmanship performances).  A totally underrated band who I think will only continue to excel in the thriving underground indie scene.

Key Track = ‘Golden Cage’

Toots & The Maytals – Sweet & Dandy (The Best Of...) // 2002 // Reggae/Ska

Another slight cheat here with another compilation album, but I couldn’t help myself with this one.  It may look a bit grey and dull in this month of March but come May, when the sun starts to rear its wonderful head from wherever it has been hiding, you’ll most certainly want to be bopping and dancing to this classic collection.  In what can be only described as the perfect accompaniment to your summer, Toots & The Maytals provide a refreshing and rhythmic selection of Jamaican “home-grown” reggae songs that practically anyone will enjoy.  It’s one of those albums you’d want playing at a family reunion or BBQ, with everyone from your little cousins to your grandparents jiving away.  Just make sure to keep an eye on your folks though, as it may cause some David Brent inspired dancing or a freestyle of ill-conceived routines (you know how the ‘olds’ get after a bit of Pimms!).  Sweet & Dandy is an LP that shouldn’t be confused with a release of theirs back in 1969, but is a fine example of how a greatest hits album should sound.  Amassing 24 of the best reggae and ska tracks from their previous releases, the majority of which were released during the late 60’s and early 70’s, it contains some popular favourites such as ‘Louie Louie ’ and ‘Monkey Man’.  With some of the most laid back and uber-chilled grooves that you’ll possibly ever hear, the Maytals vocals are also a highlight, with their finely tuned harmonies accentuating the sound of their bouncy riffs and groovy bass lines.  Although they were not as internationally famous as Bob Marley & The Wailers the group still hold the record for the most No.1 records in Jamaica, which stands at a total of 31.  This goes to show just how popular Toots & The Maytals were back in their heyday and how their classic material can bring joy to a new and younger generation of music lovers the world over. 

Key Track = ’54-46 Was My Number’

Weekend Players – Pursuit Of Happiness // 2002 // House/Downtempo

Often when I am bored and there are no more albums to write about (!), I grab a magazine, find a cosy spot in my bedroom and make sure to have this album playing in the background.  It’s quite strange but even though my eyes are reading the printed words in my GQ, I am still listening to and devouring every ounce of nocturnal sound that the Weekend Players produce (which is brilliant multitasking if you ask me).  The group consists of house producer Andy Cato, of Groove Armada fame, and sultry vocalist Rachel Foster, who combine to create a superb album chock full of atmospheric, house blends that can act as background music at a gathering or the perfect soundtrack to the end of a fantastic nights clubbing.  Upon listening you will no doubt make a comparison to a popular 90’s music act, as the Weekend Players’ female-led vocals are reminiscent to that of Everything But The Girl’s.  But the acts differ in production, as EBTG were more of a left-field group who often delved into D&B and other alternative music, whereas this duo tend to stick to the variations of the house genre that make Pursuit of Happiness such a good listen.  Ranging from the atmospheric track ‘I’ll Be There’, to the ambient and dream-like ‘Angel’, the album is best described as engulfing the listener and taking them on a journey through house music, where each track is distinct and different from the last.  The tracks that counter the soft and slower approach by providing more of a ‘kick’ include the clubber-happy and uptempo rhythms of ‘Into The Sun’ and ‘21^st Century’, their biggest selling single which reached an undeserved number 20 in the UK charts back in 2002.  Although not garnering much success, critically or commercially, Weekend Players greatest success will be this album.  Combining the lush and expressive vocals of Foster with the production bravado of Cato, I’d probably go as far as to say that this may be the most complete album on this little list, if not for the sheer variation of sounds, then for the uncontrollable body-swaying that you are likely to be doing in your very own bedroom at 3am.

Key Track = ‘Pursuit Of Happiness