So fun and quick- you just want to learn the words. It's almost rap, but not quite. It proves that Canadian white guys do indeed have rhythm. Who knew? :-)

Bobby Darin - truly one of the smoothest singers the US has ever produced, and there's nothing that showcases this pop-cabaret style like his tenure at Capitol. A singer of great versatility, he swings effortlesly on this album, having great technique and even greater rhythmic feel.

Call Me Irresponsible, something of a standard really, is my favourite. Darin's vocals make you fall in love with his irresponsible, unreliable, unpredictable charm. Accompanied by finger clickin' good Richard Wess big-band sounds. Wow. Whatta man.

There is a significant amount of groove present in this, Green's paean to his adopted hometown of Pittsburgh. Green's guitar playing is absolutely sublime in this trio arrangement featuring the incredible Big John Patton on Hammond and Ben Dixon on drums. Green takes the lead throughout the song, and Patton provides some inspired, laid-back organ playing with a few terrific vamps thrown in and Dixon lays down a perfect rhythmic counterpoint to it all. One of those tracks that you just can't help but to bop your head to.

A sophisticated and understated pop bossa. This song can breeze by the first time you hear it, but the unexpected hooks and chord changes make for addictive listening. There are strings, a gentle and high male vocal and a rhythmic piano. It really is heavenly. I should add that the CD compilation this appears on, 'the essential...volume 2', is really one of the very best single-artist compilations I've ever heard. The liner notes are not perfect though - this song is erroneously listed as 'Tiao branco forte'. Great compilation though, one which showed me that Marcos really is a genius.

'60s Motown rarely strayed from that classic sound, but this one attempts an earthier, Muscle Shoals/Stax-like sound -- with brilliant results. Martha's voice could even be mistaken for Aretha here. An underrated, mighty danceable single with killer rhythmic guitars, tambourines and a bubbling bassline.

Barbara Lewis was famous earlier in the sixties for 'Hello Stranger.' This is simple, soulful pop music with a very cool production: crisp drums and nicely orchestrated woodwind on top of rhythmic guitars. Somehow the charm of the recording overrides any feeling that the chord sequence is slightly obvious. Barbara's voice is beautiful here: emotional, yet understated. A small female choir comes in to accompany her at various points. The song is remarkably tight and catchy, with a prominent bass part driving it on. The producer at Stax for this record was Ollie McLaughlin, and I'm now looking out for more stuff that he worked on.

This is the first track from the album Aluciunolandia van Zito Righi e Seu Conjunto, a very rare record. Original copies are sold for $ 350,-. I am very happy with the reissue. This song is like a early Brazilian rap (1969). All in Portuguese of course. It starts with a funky piano and spoken words by singer Sonia Santos. When she has finished her introduction, there is some cheering by the musicians and after the whistle has blown a very rhythmical samba starts. Sonia Santos starts rapping and rhyming. The words from title poema ritmico are well chosen. It sure is a very rhythmic poem! I havent been able yet to understand what it is all about, but this rap is about um malandro, a rascal.

Very rhythmically complex track with gentle finger-picked guitar courtesy of Byrd. Romero was at the forefront of Venezuela's "onda nueva" movement, which was an interesting conflagration of Latin jazz, American pop, calypso & traditional Spanish styles. According to this album's liners: "The time is 3/4, but the drummer often plays 2, giving the beat a 4/4 quality. Or the measure is played in 6, spraying accents in such a way that one hasn't time to count beats to the bar." If that seems perplexing to you, you're not alone. In a 1997 interview, Byrd called this album the most challenging recording he had ever made.

This 1974, 12-minute electric-jazz masterpiece starts with an attractively sexy, slinky soprano melody and sneakily mutates into blistering solo sections played at a blinding tempo. Recorded before the word "fusion" became a tag for a tired genre this track comes from the seminal album, Headhunters. If you have ears for Hancock's cool Fender-Rhodes shadings and the Headhunter's blazing rhythmic kinetics this could be the very strongest music of this period. Harvey Mason drums brilliantly, forging new rhythms that are peculiarly unique to this recording. I don't know where he comes up with this shit; brilliantly inventive, his energy is unflagging set amidst ascending levels of white hot, mercurial tempo. Paul Jackson plays electric bass with concentrate funk phrasing, his coolly repeated ostinato line is a satisfying compliment to the hyperactivity of the chattering drums and clavinet. The track builds and as it sheds its skins each level is slightly more intense. This is a great record, ignore all the amateur web critics and get this track now!
Note: Many people seem to prefer the sequel album THRUST with the decent Mike Clark on drums. I wish it was as good or better than HEADHUNTERS but it is not.

I think this song is possibly Supertramp's best, though I think it could have been better too. The lilting first verse is particularly striking, although as the song builds, the shrillness of Roger Hodgson's voice becomes wearing and there is an excess of repetition. The instrumental breaks in particular show one of the band's more positive characteristics - a jazz-inspired rhythmic urgency, and the sax solos are as excellent as always.

�Something Better Change� was released in July of 1977 as the first single from The Stranglers upcoming second album No More Heroes which would appear in mid September. Along with the albums title track, �Something Better Change� would signal a move in a more overtly pop direction that was only hinted at on the group�s first album and would manage to peak at #9 on the U.K. singles chart. This is not to say that The Stranglers abandon their reputation as caustic agitators as No More Heroes was littered with politically contentious tracks such as �I Feel Like A Wog�, �Bring On The Nubiles� and �Bitching�, but the song�s infectious guitar riff and winning melody suggests a tenuous party rock atmosphere. It�s left to singer J.J. Burnel�s particularly gruff vocal performance to keep thing in the punk zone as he alternates between a gnarly throated delivery and a melodic toned timbre. Pumping organ and a buoyant mid-tempo rhythmic romp keep the energy high as he confronts the status quo with a tirade against stifling apathy, flaunting the punk new order with the taunting second verse, �Don�t you like the way I dance? / Does it bug you? / Don�t you like the cut of my clothes? / Don�t you like the way I seem to enjoy it? / Stick my finger right up your nose!� The bridge becomes a jubilant anthem where Burnel voices a punk battle cry to a flurry of organ runs and a growling bass line, �Something�s happening and it�s happening right now / You�re too blind to see it / Something�s happening and it�s happening right now / Ain�t got time to wait�. The chorus is a simple statement, Burnel demanding �Something better change!� with support from the boys in the band who join in for a group shout. Ironically, the arrangement also shows signs of classic rock moves, including a stinging guitar solo and an old school build up of the chorus late in the track.
(AMG)

The leadoff track of the Psychedelic Furs' 1980 self-titled debut LP takes the lead of Brian Eno's influential work with David Bowie and his own Roxy Music and merges it with the energy, attitude, and bombast of punk rock. After a stark and sublimely beautiful synthesizer-soundscape introduction, Vince Ely's drums abruptly pound in with echoing tom toms. The rest of the band launches into a one- or two-chord assault that gives little indication of the poppier direction the group would take on later records. But the power demonstrated here on "India" remained as an undercurrent of almost all of the band's later work, even if only implied at times. And if one listens closely, there is even a bit of melody amidst the Fall-like (and by extension, Stooges and Can-like) rhythmic pummeling. Producer Steve Lillywhite was already enjoying an early peak in his recording career with this album and U2's 1980 debut, Boy, forging a sound that bridged late-'70s punk with 1980s shine and texture.
(AMG)

My introduction to this Scottish band was when they supported Lloyd Cole and the Commotions at a December 1985 gig. I liked them a lot that night, but actually their three albums don't contain that much to shout about - maybe a couple of quite good tracks per album.

However, "Reverend Killer", a song not included on any of their albums, is knock-out, excellent guitar-based pop with a hint of synth deep in the mix, and enough harmonic movement to make up for the lack of rhythmic variety or interest.

No diss on the Pixies, especially being a big fan myself, but there are times that I think Mr. Black Black has displayed a far more interesting range since breaking up the band. Teenager of the Year will always be up for consideration on my all-time top ten. I think that it's sadly and unfairly dismissed by too many people. But maybe I can assuage and tempt some of those doubters with this gem.

Inspired by real history and/or the movie "Chinatown," the subject matter is about bringing the Colorado river to the thirsty City of Angels, by hook or by crook, and all the fortune and fame to be had by the one to do it, thus the title. That's what makes the lyrics so fun.

But the real thrill is the "fukk yeah!" abandon of this melodically-twisting tune. It plain rocks...and is brain food to boot. I swear Eric Drew Feldman, of Pere Ubu fame, who produced and played on this album, takes Black's songs to magnificent heights. I've yet to hear a better album of his work.

This sample is an outro-guitar slide into homebase supplied by Lyle Workman. Standing as one of my all-time fave guitar parts, it is at once fret-adept, rhythmically punchy, and pure electrical flow exhiliration. Ol�!

This band is one of the tightest, most aggressive and imaginative 'hardcore' acts in modern music today.

This track would be a perfect introduction to NMN for the uninitiated listener.
If you like this one, you have about a dozen albums' worth of catching up to do.

Just marvel at the uninhibited pounding and tightly-woven rhythmic tapestries unleashed by bassist/ vocalist Rob Wright on 'Victim's Choice'.

NoMeansNo's style here can possibly be described as
'Devo Meets The Dead Kennedys'
...if one was so inclined to describe things.

This band just constantly and consistently manages to pour it on extra-tight, extra-heavy, and maniacally complex within the usually confining genre of 'Hardcore'.
(call it what you want, I am just attempting to simplify things here)

So don't be shy! This band will please a wide variety of listeners, from Jazz-Heads to Metal-Heads and many of the in-between-heads alike.

Band Website:
NoMeansNo

Its a delightful track, modern big beat sensibility with a great tune, a groover of the highest quality, sounds great in a car, in a club or at home. Full of hooks, vocal, guitar and rhythmic. One of the things I love about the band as well are the crappy pictures of themselves they use on their covers. Theres a promo 12 with a remix on it that is all Bongo's and Organ that didn't make it to release thats pretty good too.

There are some disposable pop records that have certain things going for them which lift them above the norm and confer a kind of appeal which, though often temporary in nature, shines through in spite of their annoynances.

So it is with this one, which has a chord sequence that repeats over and over on the synth, and a rather annoying melody/rap sequence. It's also rather rhythmically unimaginative, and most western listeners will find that the Russian folk instrument (don't know what it is) will grate mercilessly. And if that wasn't enough, it ends unforgivably unmusically when an electronic beep simply cuts in suddenly.

However, because I am a such a sucker for this kind of minor key chordal writing, particularly when synths are involved, I enjoy the record, which at least does lack the merciless rhythmic hammering effect of their hit single "All the things she said".

R&B/Pop with a good groove. Reminds me of music from Justin Timberlake's first solo CD. Smmmmoooothhh!
Listen at www.myspace.com/tomi

Full CD comes out October 2- you heard it here first!