Label: Virgin Records

Anyone looking to point the finger at the folks responsible for igniting the “trip-hop” revolution, should know to aim it at Massive Attack. Ever since their seminal 1991 album entitled “Blue Lines,” the British (mostly Bristol) community has been continually redefining what we call “dance music.” Trip-hop’s fusion of dub and soul, mixed with heavy electronic beats, has become a genre unto itself, spawning the critical and commercial successes of former Massive Attacker Tricky, and darker bands like Portishead, Esthero and Statik Sound System.

Massive Attack’s 1995 effort “Protection” was both quieter and less original than its predecessor, but still combined the band’s trademark deep beats with the vocals contributions from Shara Nelson, Horace Andy and others. On “Mezzanine” the band reaches deeper into their brooding grove laden hat, employing Cocteau Twin Elizabeth Fraser on vocals as well as staples Shara Nelson and Horace Andy.

This is a considerably darker album than anything they have done before. On the one hand this is a good thing, I like the downbeat mood set by something this intricately produced. But on the other hand there is a certain richness and joy that seems so intentionally excluded.
For longtime fans of Massive Attack, “Mezzanine” is a record filled with a whole lot of dark eerie soul. At the risk of misrepresenting the texture and feel of this album, I would argue that Massive Attack probe deeper into the core of dance music than anyone has in a while. This is definitely mood music, just make sure you play it to compliment a darker mood.

Label: PolyGram

This is without question the single fiercest funk record I’ve ever heard. We all realize and acknowledge the importance of James Brown in the evolution of funk and soul through the decades, and more recently with rap. However, these tracks recorded from February 1970 through August 1971, and officially released in 1986, quite possibly could be his most important contribution.

In The Jungle Groove harnesses a raw and awe inspiring power that very rarely occurs. Perhaps it was the collective that backed the Godfather that helped these sessions become what thet were. The collective I’m referring to included but was not limited to Bootsy Collins on bass, Maceo Parker on sax, Fred Wesley on trombone, and Clyde Stubblefield on drums, all of whom are excellent musicans in their own right. Perhaps it was the cultural dynamic that reigned supreme at that time. Nothing like juxtaposing a love of life and reckless abandon to help inspire greatness. Perhaps it was just one of those transcendental moments for the ages. Thankfully we’ve got a record of the events which we can play over and over again.

Label: Concrete / Time Bomb

Long live eclecticism. Long live Lionrock.

Lionrock is an alter-ego of progressive house DJ Justin Robertson. He was responsible for one of 1996’s best house mix cds CD Scape which was part of the Journeys By DJ series. Like with most DJs, each alias allows a DJ to explore different avenues and different concepts that are busy swirling in their heads. Lionrock happens to be the truly eclectic alias.

Lionrock creates true sonic collages incorporating elements of progressive house (naturally), ska, electro, reggae, dub, techno, electronic pioneers like Kraftwerk or Can, and even a bit of surf. The only odd thing about this mix is that is works. Not only does it work, I believe Justin has managed to create a truly infectious and highly original sound.

Feel the futuristic vibe with tracks like “Electric Hairdo”, “City Delirious”, “Best Foot Forward”, “Rock Steady Romance”, “She’s On The Train”, and “Wet Roads Glisten”.

Long live amalgamation. Long live Lionrock.