Yonder Mountain String Band| 11.19.01 | The Fillmore | San Francisco, CA
 These Yonder Mtn. boys are about as good as any band out there. I find most of my audio pleasure coming from highly produced or at the very least amplified music with effects, pedals, loops, tweaks and what have you. In light of this it is extremely refreshing to listen to four guys with nothing but their acoustic instruments, harmonizing voices and down right amazing ability. From more traditional bluegrass picking such as "Mental Breakdown" to the introspective story telling beauty of "Dawns Early Light" bleeding into the fun uplifting reggae melody of "Boatman > Two Hits and The Joint Turned Brown" this show has got it all, even a guest appearance by fiddle man Darol Anger. Jeff Austin (on mandolin) continues to develop into one of the best front men in the game, but doesn't steal the show allowing the rest of the band to shine as well. This double disc show at The Fillmore in San Francisco captures the party vibe and picking good times that only Yonder Mountain seem capable of. YMSB is so far ahead of the curve they seem to be re-writing the book on progressive bluegrass in only two years together. If for some reason you haven't caught on by now don't tell anyone, just get a glass whiskey and jump right on in.
-The Kayceman
Earth, Wind, & Fire | Open Our Eyes | 1974 – Columbia
 I never quite understood why Earth, Wind & Fire got such respect (translated: I’m young and a bit green behind the ears). Of course I knew “Shining Star,” but that was about where my knowledge ended. I’d always had the concept that Earth, Wind & Fire was nothing more than over-produced 70s funk. After listening to Charlie Hunter cover “Mighty, Mighty” I decided to dig deeper. What I found was Open Our Eyes. What a phenomenal album. It draws from so many different sounds. There is Oaktown soul (“Mighty, Mighty”), Motown funk (“Fair But So Un-Cool”), Headhunters meets Santana jam (“Drum Song”), straightforward jazz (“Spasmodic Movements”) and Corea meets Mangione fusion (“Caribou”). It’s a bit like a crash course in 70s music. If something was hip and black in the 1970s, it's probably on this album. If you want to see why Earth, Wind & Fire is a household name, check this shit out. You’ll be a preacher then too.
-Geoff Harrison
Primal Scream | Screamadelica | 1991 – Warner Brothers
 Primal Scream's 1991 release, Screamadelica, became my favorite album of the month after Jake the Snake claimed it would be when he bought it for me out of the impulse bargain bin at Amoeba Records. The album starts uplifting and enthusiastic with "Movin' On Up." From the beginning you feel like this is going to be a rock/gospel album reminiscent of the Rolling Stones' Exile on Main Street or even U2's Rattle and Hum. Then the next track, "Slip Inside This House," comes in and you are transported to a dance club in the early 90s, which continues throughout the next few tracks. Then you realize that you are a rock 'n' roll fan listening to a house album! What happened here? Just as you start to scold yourself for doing that head wobble-jerk thing ala Steve and Doug from Night at the Roxbury, you are again transported to a world of acid-house-pop, through reggae/dub-ville, and then back to the land of good ol' rock 'n' roll. "Come Together" is probably my favorite track with its great Brit-pop lyrics melded with a chorus of love singing, "Come together, whoa whoa, come together!"
I must quote my friend Jesse Fahnestock from Inkblot Magazine who said, "They say it takes talent, luck, and hard work to achieve greatness. Screamadelica is proof that you just need the love."
-Super Dee
Alice in Chains | Jar of Flies | 1994 – Sony
 There are good days and there are bad days. When those bad days turn dark you can turn to Alice in Chains. The struggles of the late Layne Staley, lead singer of the band are translated in heavy manner through these seven songs. Beginning with a liquid thick bass line and Cantrell's searing guitar, the drowning harmonies of "Rotten Apple" slowly envelope your ears drawing you into a very deep journey. Demons are confronted on "Nutshell" while "I Stay Away" hints at the aggressive nature of the band (this album being far more mellow and acoustic than most). The instrumental and eerily beautiful "Whale & Wasp" show yet another side of this amazing band before
"Don't Follow" pulls the wind from your chest. With lyrics like, Forgot my woman, lost my Friends/Sleep in sweat the mirrors Cold/See my face it's growin'
Old/Scared to death no reason Why/Do whatever to get me by sadness looms and misery sets in, almost with a comforting feeling that this is surly how it must be.
Throughout the entire recording Staley's voice and Cantrell's guitar are absolutely haunting and depressingly amazing at all times.
-The Kayceman
Ween | White Pepper | 2000 – Elektra
 White Pepper, the seventh studio album from the dynamic duo of Gener and Deaner, is a pop masterpiece. One friend mentioned it is made up of two words from two legendary Beatles albums. Wait, is Ween saying that they are the modern-day equivalent of the Beatles? Not exactly, but I believe they are, and would be happy to debate that over a pint with you. The fact is, these guys write amazing songs that range from airy ballads ("She's Your Baby") to seventies prog-rock ("The Grobe") to speed metal acid-punk ("Stroker Ace") all of which are grosser and catchier than anything you've listened to this month.
Dean's guitar work is psychedelic mastery in one breath and subtle and tasteful in the next. Dean and Gene Ween have really fucking long legs to be straddling the far ends of the spectrum the way they do. White Pepper is a more mature Ween, if that's possible. The subject matter is still phenomenally nauseating, but the jokes are a little further under the surface, and this time Ween make you laugh without resorting to the profanity that they broke into the business with. Listen and laugh. The steel island drum of “Bananas & Blow” is wonderfully desperate, actually out-buffeting Jimmy Buffet and his tribe of partying white people. The perverse juxtaposition of these mellow Caribbean sounds and a tourist coked out of his gourd will resonate in your funny bone as the chorus lingers in your brain. If you like sweet melodies on the order of the Beatles and bizarre humor from the annals of Frank Zappa, you've probably already got White Pepper. If you were always scared to get into Ween, this is the perfect starter album for you.
-Ted Kartzman
Sade | Lovers Live | 2002 – Sony
 Helen Folasade Adu, or Sade has without a question one of the most sensual voices around. What is more surprising than the beautiful and sexy-smooth delivery by Sade on this live album is the depth of her band. Moving gracefully from heavy dubbed out basslines to swinging Latin rhythms and instrumental interludes this band has it all, including spot on back up harmonies. The entire unit shines and the crowd lets them know it every chance they get. Taken from various shows over a sultry summer tour in 2002 it is mixed well and comes off as one engagement. Following her first album in eight years, (Lovers Rock - 2000) Lovers Live proves that Sade is certainly back, and as strong as ever. This is a gorgeous, voluptuous piece of music so please proceed with caution, contents may be hot.
-The Kayceman
Antonio Carlos Jobim | Wave | 1967 – A&M Records
 Antonio Carlos Jobim wrote the book on bossa nova. He incorporated Latin rhythms, jazz structures and pop sensibilities to compose a body of work comparable to Gershwin or Ellington. “Girl From Ipenema,” “Desafinado,” “Stone Flower,” all are songs that you could hum along to. He was also potentially the first “downtempo” artist, before it was even a style of music. In the DJ world he has been sampled like George Clinton in the hip-hop world. On Wave he put together his coolest album. It is like a summer breeze; you feel like you’ve just walked into a Brazilian lounge in the middle of a James Bond flick. The music is so low key that you don’t realize how complex it is, until you realize you are tapping along with the poly-rhythms and some force has taken over your limbs, you couldn’t stop tapping along to the music if you tried. This album will go great with your morning coffee, your late night party, or when you want to kick it with your girl. It is a true musical gem so get involved.
-Geoff Harrison
Dan Bern | New American Language | 2001 – Messenger Records
 Music, like most things in life can be very dependant upon when and under what circumstances you hear it. I caught wind of this album more than a year ago, and I liked it, but it stopped there. At the time I was immersed in DJ's, electronica, samples and so forth, so the folky, Dylan-esque, singer/songwriter deal wasn't really grabbing hold of me. Fast-forward to war, my penchant for word play and poignant concepts that stick with you all night. This album now comes to stand as one of the best in the genre. Strumming from introspective life and communication issues on "New American Language" to more delicate, ethereal keyboard laced numbers such as "God Said No" and rocking acoustic vamps like, "Black Tornado" this piece of work continues to open new ideas with every listen. By taking from a few of the greats and following with blind passion Dan Bern seems to walk us back to a welcome day when a man with a guitar really could make a difference. As Bern says himself in the title song: I have a dream of a new pop music/That tells the truth, with a good beat and some nice harmonies/I have a dream.
-The Kayceman
Talib Kweli | Quality | 2002 – Rawkus/MCA
 Quality is right! This is a hot new piece of work from a young a hip-hop artist who appears ready to continue his quick ascent. Learning the trade with renowned genius Mos Def under the moniker Black Star, Talib Kweli (student of knowledge) found himself sowing the seeds of the progressive conscious hip-hop world. Kweli has managed to master quick witty political laced rhymes with heavy beats and beautiful harmonies. Following his strong debut Reflection Eternal, Quality finds Kweli covering more ground and stepping up as a true leader in the movement. Touching on difficult social issues such as 9/11, police brutality, and the perpetuating downfall of the ghetto one may be inclined to think this album is a bit too heavy for the party. But with thick beats provided by Chapps and a mind to make you move Kweli doesn't cross the line, and finds a way to keep this a real hip-hop album, which mean you damn well better be playing it loud and dancing your ass off.
-The Kayceman
Devil's Workshop Big Band | Idle Hands | 2003 – Noflomusic
 Devil's Workshop Big Band is a 17-piece improvisational band led by tenor sax man Stephen Norfleet. Their debut CD Idle Hands was recorded in July of last year in Richmond, Virginia. For a 17-piece, DWBB emphatically explores and blurs boundaries between the jazz big band and slammin' funk band, all the while showing a softer side of gospel/R&B and contemporary jazz influences. A really interesting and very listenable disc, I was glad it happened upon my desk. Starts out devilishly dissonant with "[free]" and ends up gorgeously gospelish. There is a distinct feel on this album, something special has happened in Richmond and it was recorded and preserved. You can feel it on all the longer tracks as they patiently metamorphosize, these guys have anything but Idle Hands! The big band funk of "Spanish Sanford" got me moving, and was only topped by the great twelve and a half minute hip-hop vocal track "Mushroom Tattoos." "Mushroom Tattoos for everybody" chants the crowd for the refrain, you will be chanting along and dancing in your kitchen after nary one listen! The superbly splendid cover of Radiohead's "Morning Bell" caps it all off in emotional raging fashion and you will know you have just listened to something beyond ordinary, something that other people need to be told about, something perfect for Overheard.
-TK
Guns N' Roses | 05.1988 | The Ritz | New York, NY
 Dear children of the 90's and the millennium, Axl Rose was not always that weird looking man you saw on the MTV music awards who lost his breath after singing for 30 seconds. He wasn't always the no-show guy at his own highly anticipated "reunion" Guns'N'Roses shows. No, children, Axl Rose was once a force to be reckoned with beyond your wildest dreams. What an exhilarating experience to listen to this live Guns'N'Roses show from The Ritz in 1988! "I see your sister in a Sunday dress..." is how this roller coaster ride begins. This is hard hitting rock'n'roll that brings me way back to good ol' 7th grade when I was trying to figure out my uncomfortable way through Woodland Junior High School. G'n'R was an escape then and now I realize that they were possibly one of the best rock bands of all time. This CD goes through all the hits including "Mr. Brownstone," "Sweet Child O' Mine," "My Michelle," "Welcome to the Jungle," "Nighttrain"... It's all there. It's basically a live version of Appetite for Destruction - hell yeah! It all sounds so great - Slash's solos are ripping. Plus there is some classic rocker and heartfelt banter from Axl between songs including a shout out to a fallen comrade who "danced a little too close with Mr. Brownstone." Ah, 80's hair metal culture...
Thanks (again) to Jake the Snake for passing this one along to me.
-SuperDee
Sly and the Family Stone | There's a Riot Goin' On | 1971 – Epic Records
 This album, with some of the deepest funk grooves you'll ever find, showcases why Sly and the Family Stone is a house hold name. Sly, in the depths of his cocaine addiction and realization that he can't change the world leads his band through one of the most uplifting yet depressing albums of all time. It’s a snapshot of an artist staring at the truths and realities of the American dream. "Thank You For Talkin to me Africa" could go down as the tightest and deepest of any groove out there. Larry Graham shines throughout the entire album on bass, laying down bass lines that drive the band but still allow the music to breathe. "You Caught Me Smilin" exposes the beauty and ugliness in the world with great harmonies. These two tracks characterize the album, beauty and nasty grooves. Sit back and roll a fatty. This is a late night rocker that will mesmerize you and get you talking at the same time.
-Geoff Harrison
J.J. Cale | Troubadour | 1976 – Mercury
 Like Kind of Blue, Blood on the Tracks, Sgt. Pepper's, and other instant classics, Troubadour is one of those essential, seminal albums that achieved its status by some mysterious alchemy of composition, performance, and social context that continues to defy explanation. And like all such classics, it remains inspirational and exciting even after hundreds of listenings. As background music at a party, it's full of deep, gentle grooves, and that ineffable, signature Cale swing is irresistible. As the focus of your full attention, it's emotionally magnetic and inspires fantasies of other lives and other places. Troubadour will always have a place in my Top 100 list. And for those of you who think Widespread Panic or Eric Clapton penned, "Travelin' Light" (not to mention "Cocaine") it's about time you did your homework.
-Chris Nelder
Telefon Tel Aviv | Fahrenheit Fair Enough | 2001 – Hefty
 Interesting names often lead to interesting sounds. Take Prefuse 73 for instance (an earlier Overheard feature), with a name like that it's at least worth looking into. And I call on Prefuse for good reason; it's what led me to Joshua Eustis and Charles Cooper, better known as Telefon Tel Aviv. The duos debut is striking. The production quality and lush rolling sound-scapes are perfect for floating through a cloudy day, or simmering into early morning after doin' whatever it is you do that keep you up till dawn. Fahrenheit, draws comparisons to Warp Records heroes Boards Of Canada, Autechre, (and Prefuse) but they certainly manage to find their own melodic view amongst the blips and bleeps tweaking through your sound system. While sitting clearly in the electronica/IDM bin the use of acoustic guitar, bass, drums and piano allows for an easy dance in the jazz and prog rock sections. If you like to stay just a wee bit ahead of the curve you've no doubt heard this name, and if not, now's your chance to act like you're dialed in.
-The Kayceman
The White Stripes | Elephant | 2003 – BMG
 The White Stripes much anticipated new album Elephant is a testimonial to the fact that fresh and exciting rock and roll lives on in the youth of today’s pre-packaged American pop. On the early tracks the tone is set by Meg and Jack White’s precision beats that serve as the basis for the rest of the record. The opener, “Seven Nations Army” is a roller coaster ride of searing guitar and steady drumming that make you punch the gas and revel at the experimentation being applied to a simple model. The softer side of the CD tends to grab you just as much as the burrowing hooks of the more rocking cuts. Meg White showcases her melodic and dark side with the eerie “In the Cold Cold Night,” and Jack serenades in “You’ve got Her in Your Pocket.” While Meg and Jack White surely set their own course and play for themselves, they evoke the days of Page and Plant on cuts like “Ball and a Biscuit” and “Little Acorns.” This time though instead of a singer and guitarist they are one in the same and his name is Jack White. Or is it? A glimpse into the enigma and mystery that surrounds the bands two members, (Are they brother sister or are they ex-husband and wife?) is revealed although not settled in the albums last track “It’s True that we Love One another.” This is an album for the ages, one that will be looked upon with the same respect as Nirvana’s Nevermind.
-Andrew J. Warren
Bob Dylan 30th Anniversary Concert Celebration [LIVE]
 Even though it was a concert that changed my life, me just being a skinny 16 year-old hoopster takin the train into the big city with Spence and Witz, sitting above the stage, watching legend after legend walk right past us, from Vedder to Clapton to Neil to Harrison to Levon to Dylan himself. Saw some of the most incredible versions of songs that I knew, but more than that, I saw the reverence that the top-notch musicians had for Dylan's music and what it meant to them. They all played their hearts out, ripped solos, nailed vocal harmonies and clapped for everyone like they really meant it. Clapton was on fire during "Don't Think Twice It's Alright," voice and guitar screaming together, rising to the occasion, as important an occasion as it was. These songs mean as much today as they did 30 years ago, and some of these versions will simply blow you away if you think about who was on stage. Besides Clapton, Neil Young nails the "Tom Thumb's Blues" and "Watchtower," Chrissie Hynde made me weep during the "I Shall Be Released" and Tom Petty and the Heartbreakers stopped time on a dime during "License to Kill." I will never forget this concert as long as I live, I can still see the stage in my mind. Amazing.
-Ted Kartzman
Yes | Fragile | 1972 – Atlantic
 This 1972 gem begins with the familiar dumping bass line of "Roundabout" and the 8 minute offering takes off from there as it winds it's way through a serious prog-rock opener. The album stands well as a whole, although there are a few slower sections, but all in all it is simply impossible to deny the intricate compositions and deft instrumental performances. Having pretty much written the book on "prog-rock" Yes and this album heavily influenced many of today's most popular bands. In fact if you listen carefully I believe you will hear the birth of Phish's "Y.E.M.", as well as a number of other licks that have been heavily vamped on. This album features 9 tracks including a few Beatlesesque psychedelic age segues, some classical guitar and piano work, heavy vocal layering, power chords, amazing song writing and inspirational attention to detail. If this album some how slipped past your radar, or if you just haven't rocked it lately queue it up and enjoy.
-The Kayceman
Drive-By Truckers | Decoration Day | 2003 – New West Records
 I can't say enough about this band or this album. I dig Decoration Day so damn much that it is currently my favorite record of 2003. As with any great band or album the more I listen the more I hear and the more I like. At first the band and the album comes across as simply a three-guitar assault, but as you really dig in the incredible song writing and attention to subtle details spills out from under the bed (no doubt in part due to producer Dave Barbe). This is serious rock music with a softer side that is rarely seen in concert. The songs are damn honest and contain some of the most amazing lyrics I’ve heard in a long time. In "Sink Hole" lead man Patterson Hood sings of the banker who comes to take the family farm. Lets just say it doesn’t work out too well for the banker. "Marry Me" features some wonderful work by Cooley as he sings, "Rock and Roll means well, but it can’t help tellin' young boys lies." There are so many high points on this album all I can say is just get it. This piece of work has already affected me profoundly.
-The Kayceman
The Streets | Original Pirate Material | 2002 - Atlantic
 The formula that creates typical club
music can definitely be repetitive at times. While there definitely are MC's out
there that talk about higher consciousness, it's far from the norm. Most seem
content on ripping on one another or using some stolen classic instrumental riff
as the foundation for their so called original work. The Streets is garage/2-step
beats that is none of that. No lofty lectures and no recycled bullshit. Mike
Skinner, the MC for The Streets talks about the reality of life and the simple
decisions and differentiations that we make that shape the world that we know.
But the best thing is - it's not from a point of view that is out of reach. He
raps about chilling out, puffing mad ganja, working the playstation till it
overheats, living life in a big crazy city, lookin' for ladies (and not stressing
to hard about it) and generally pointing out the ridiculous priorities that this
reality places upon us. Just Life - in no fancy package.
-Rhythmic Dog
!!! | Me & Giuliani Down By the School Yard: True Story | 2003 - Touch & Go Records
 You will hear a lot about !!! (pronounced Chk Chk Chk or Pow Pow Pow) in the near future. They are an 8-piece NYC piece dance hall/indie noise rock band originally from Sacramento. Their new single "Me & Giuliani Down By the School Yard: True Story" is one of the freshest songs that I've heard in a long time. It sounds like the synth grooves of the 80s but with all of the innovations in music that have transpired since then. A catchy and moving 9 minute single that will make you shake your butt. Edited properly the track has crossover potential, maybe even to be the next "Pump up the Volume" (by M/A/R/R/S). They sound like New Order with David Byrne on guitar. Sonic Youth mixed with Blondie. It is very 80s but cutting edge. This track made me shake my legs, snap my finger, and sing along, all in my first listen.
-Geoff Harrison
Maktub | 8.29.03 | Bumbershoot Festival | Seattle, WA
 When the band is introduced as the "finest band in Seattle" at the recent Bumbershoot Festival it may come across as a bit out of proportion, but lead man Reggie Watts seems to demand such praise. Reggie is a very powerful singer with incredible control who utilizes a nice array of effect. With or without Maktub Watts appears to be on the brink of stardom, and very well may be the most interesting voice to come out of Seattle since Skerik. His band mates are all up to the task as well namely guitarist Thaddeus Turner. There are times when my internal "3 minute pop guard" begins to blink and I can't say that the show blows me away from note one till the end of the gig (although it is very good). But what this shows for the potential future of pop is enough to really make me smile. Not that I am inclined to believe that Maktub will revolutionize what we hear on MTV, I do think they are perhaps a band with a real shot at leaving a large mark on the body of pop. This is a great slice of a hot band with a nice "No Quarter" that really shows what Watts can do.
-The Kayceman
Alice Coltrane | Journey in Satchidananda | 1972 – Island Records
 While volumes have been written about her famous husband, the little known jewel in the crown of jazz king John Coltrane is his wife Alice. Remaining as one of the few female stand outs in the almost all male club of jazz instrumentalists, Alice proved herself as not only capable but truly extraordinary in her range of talents. With a foundation in classical music, Alice brought the little utilized sound of the harp into the jazz scene. While Alice definitely drew spiritual inspiration from her husband's work, she had an incredible style all her own, playing piano, organ, harp, and later, Indian instruments such as the tamboura. She appeared on albums with many jazz greats, including vibest Terry Gibbs, sax legend Pharaoh Saunders, Carlos Santana, and most recently touring in the late 90s with sitar legend Ravi Shankar. Journey in Satchidananda is an extremely compelling work - and a must have for any lover of Jazz.
-Rhythmic Dog
Nick Drake | Pink Moon | 1972 - Island Records
 Nick Drake was a songwriter who died much too early in what would surely have been a long and illustrious career. Pink Moon is one of his better-known albums and one that is as timeless as any Neil Young acoustic effort. The title track delivers the feeling of fall in the depths of your soul and does what only perfect songs can do, it inspires and drives you to go out and strive for the excellence that he has achieved in his songs. While Mr. Drake's songs do not have the lyrical wit that someone like Bob Dylan produces, there is no questioning the talent and thought that have gone into songs like "Things behind the Sun" and the enticing "Ride." They tend to speak a clearer message that is more discerning and applicable to the everyday motions of life. As his star was rising and the world was beginning to discover the talent his peers had know, Nick Drake died under questioned circumstances on November 25th 1974 at his home in England. Pick up a copy of Pink Moon and discover the legacy of Nick Drake.
-Andrew J Warren
Bad Livers | Delusions of Banjer | 1992 - Quaterstick Record
 The Bad Livers were the first band to introduce me to the twisted progressive side of bluegrass music. While any traditionalist would scoff at me for calling these cats "bluegrass" it's still where I'd have to plant them. There is clearly a punk aesthetic (Delusions of Banjer was produced by Butthole Surfer mastermind Paul Leary), and definite attention to all areas of music, but it's the incredible song writing, quick pickin' and high harmonies that rise to the top on this, the bands first release. The album is pretty much cover to cover and shines lyrically, musically and emotionally. Danny Barnes' vocal work is both haunting and hilarious, while Mark Rubin plays a wonderful support role vocally and musically. Moving from the wrenching pain of "How Dark My Shadow's Grown" and "Better Times" to the fun of "Get Them Pretty Girls" and "Shit Creek" all the way down to laying a school boy in his grave for messing with his little girl in "Pretty Daughter" this album covers serious ground. If you have never heard the Bad Livers this as good a place to start as any, and they come highly recommended for anyone willing to open their ears.
-The Kayceman
My Morning Jacket | It Still Moves | 2003 - RCA
 This band is clearly the flavor of the month popping up on every radar around, and while I was skeptical at first I am now forced to jump on the bandwagon. Although MMJ is burning hot I wouldn't expect them to burn out or become a flash in the pan. With two previous albums under their belt the five-piece Kentucky based band is blowing up with It Still Moves. Drawing comparisons to Neil Young and The Flaming Lips are apt, as are the hints of Sigur Ros and even a crooning Elvis Presley (on track 3 "Golden") that I hear, but I am far more comfortable allowing them to sit under their own name. MMJ is based around the song writing and amazing voice of Jim James, but it is definitely the entire musical package featuring wonderful instrumentation and subtle genius that gives the band their wings. Upon first listen It Still Moves didn't blow me away, but with each consecutive listen it has spread like wildfire in my mind to the point where I couldn't stop listening to it if I wanted. Recorded on a family farm inside a garage the band cites reverb as their defining quality (that and James’ voice, which is also drenched in reverb). "One Big Holiday" has quickly become a favorite track as it seems to break through in rays of sonic elation as images and emotions quickly take form. Utilizing James’ hauntingly yet almost angelic voice, fierce guitars, and a rarely unique overall sound the band is poised for big things. If some of you haven't heard them yet you will, look out for My Morning Jacket.
-The Kayceman
Super Furry Animals | 9.18.03 | The Fillmore | San Francisco, CA
 Lately my mind has been wandering a bit from the typical jam format. Fueled by loving the new sound and music from crossover "jam bands" like The Slip and Lake Trout as well as bands like The Flaming Lips getting a lot more press in the "Jam" scene, I've been searching and discovering amazing new music that JAMS. I saw The Super Furry Animals for the first time in 2002 and was moderately impressed. This year I was BLOWN AWAY. With a new powerhouse album, Phantom Power, that effectively combines Brit pop/indie rock/psychedelica/electronica, Super Furry has set themselves apart from the pack. Lets move past the album and to the show though. The thing that got me about this bands' live show was that they ENVELOPED me in the music. At points they drove their chords/solos louder and louder building with intensity so that the music actually had me trapped and I didn't know where I was or how to get out. It was an experience that I've had at very few shows/bands, Phish, The Slip, Disco Biscuits (1999), Jerry Joseph, Radiohead, The Flaming Lips, and a few others. It is the power of a live show that can eclipse sex and the greatest drug high. Pure emotion.This powerful musical performance was accompanied by a tremendous visual show on a 20' x 30' screen behind the band. Several shocking images throughout the night, such as Bush/Blair being intertwined with Hitler/Mussolini, combined with the music to create an even more intense performance. Do yourself a favor, listen to the band on Rhapsody, buy Phantom Power, or SEE THE SHOW. You won't be disappointed.
-Geoff Harrison
Duran Duran | Duran Duran | 1981 – Capitol Records
 As a child of the 1980’s I often overlooked Duran Duran as musical artists. I knew them simply for their catchy songs “The Reflex,” “Rio” and “Hungry Like a Wolf” as well as their glamorous, modelesque, MTV poster boy motif. Listening to their music now though, I hear just how deep and intricate it actually was. Picking up where David Bowie’s “Berlin Years” left off, Duran Duran’s self-titled debut album was a perfect mix of eerie synth grooves and new wave pop hooks. On tunes like “Night Boat,” “Sound of Thunder,” and “Tel Aviv” Duran Duran create droning grooves with a disco undertone that make you want to both get your swerve on as well as be a leader for the shoe-gazer genre. What really drives the whole album is the combination of John Taylor’s bass line and Nick Rhodes’ synth lines. John Taylor lays down some of the most tasteful, jumping bass bumps that manage to weave effortlessly through Rhodes’ ominous and new wavy synth work. All in all the album is a pop masterpiece that set the stages for what was to come in the 80s as well as paved the road to what we know as electronic music today.
-Geoff Harrison
Deltron 3030 | The Instrumentals | 2001 - 75 Ark Entertainment
 I recently discovered Deltron 3030, The Instrumentals at my favorite local coffee stand on a cold Marin County morning. This album features all instrumental versions of the DJ/Producer super-group's - comprised of the Automater, Del, and Kid Koala - self titled 2000 release. The beats on this effort are decidedly down-tempo, although the instrumental overdubs and samples provide for a more traditional acid jazz vibe. Regardless of how you categorize these sounds, the one thing that they definitely are is 'dope'. The beats and melodies are intelligent and the production quality raw enough to evoke the feeling of listening to your favorite live DJ in a hipster-lounge setting. I'd recommend this album for anybody that enjoys the Kruder & Dofmeister, Thievery Corp, Fila Brazilia vibe; and is looking for a new addition to your late night musical repertoire.
-Mike Cirrito
Alpha Blondy | Masada | 1992 - Blue Note Records
 Born on the Ivory Coast, Alpha Blondy picks up in many ways where Bob Marley left off. Bringing socio/political songs backed by deep rhythms and borderline religious tours/shows. To this day the four-hour plus Alpha Blondy show I saw years back stands as one of the most important musical experiences of my life. Singing in English, French, Hebrew, Arabic, Dioula and other West African lingo the man stands alone on a very tall hill as a leader throughout the world. His ’92 release Masada highlights the man and his Solar System backing band in great form. Starting with the title track Alpha Blondy sings of great sacrifice while huge bass lines force your torso to move in unison with swaying arms. On “Rendez-vous” he lifts the mood in both content and sound while singing of love to come. “God Is One” is a lesson the world at large needs to pay heed to, as is the story of fallen black leaders (namely Bob Marley) who are addressed in “Mystic Night Moves.” With marvelous horn arrangements, sultry back-up singers, searing guitars, immense bass bombs, dirty drum work and the voice and presence of Alpha Blondy his work is an absolute must have in any and all collections.
-The Kayceman
The Mars Volta | Deloused In The Comatorium | 2003 - Universal Records
 This is a very serious album. Nothing light at all, from the actual music, to the story line this is HEAVY. There is a long and sordid history behind the birth of The Mars Volta and this their debut album. Deloused In The Comatorium is a somewhat fictitious account and full-blown celebration of artist and friend Julio Venegas. Venegas was known as an incredible man with scars covering his body and drugs pumping through his veins. After coming out of a drug-induced coma he committed suicide in 1996. This album appears to have many aspects of Venegas embedded throughout. The music is coming from the prog-rock genre and is incredibly technical. Any audiophile will revel in repeated headphone listening, and anyone who dug on the likes of Rush or Robert Fripp should be able to relate. This is clearly a case of “not for everyone” in fact I think there is a distinct possibility that for those who are prone to lapses in mental stability, this could very well send them over the edge. The story line is somewhat hard to follow, but in a way seems as though it should be. Insanely solid guitars, tempo changes and down right amazing compositions makes this a remarkable album, and one that grows each and every time you listen to it. For those who do fall in the psychologically unstable category, again, you may want to avoid this schizophrenic audio assault.
-The Kayceman
Queens of the Stone Age | 10.11.03 | The Warfield | San Francisco, CA
 When I go to a show, ideally I’ll hear some songs that I know, and some aspect of improvisation and the unexpected to make the event unique. This is perhaps the fundamental philosophy of many jambands, but rarely (if ever) do you hear improv in a hard rock band. There are always exceptions, and one exception is Queens of the Stone Age (QOTSA). When they came to San Francisco’s Warfield Theater recently, I was excited, but not expecting the epic event that was to come. The show had all of the elements I crave – amazing energy, impeccable sound, tight execution, and an unexpected dose of improv. They’re maybe the first “heavy metal jamband” I’ve ever seen. And with three different members assuming lead vocals throughout the night, there was a lot of variance in their sonic pallet. The peak came when singer Mark Lanegan (formerly of the Screaming Trees) came out for five songs in the middle of the show. His looming stage presence and huge voice put it over the top. Another highlight for me was the extended jam on the radio hit “No One Knows,” I loved the fact that they stretched their “hit single” the longest. A word to all past and present “rockers” out there, check out Queens of the Stone Age… they just may save your faith in rock-n-roll, as they did mine.
-Michael Warrington
Frank Zappa | Apostrophe | 1974 - Rykodisc
 It’s too bad you can’t buy the out of print double Apostrophe/Overnite Sensation any more, but on the other hand they are both more than worthy and stand strong on their own. Tough choice on which to offer up, but Apostrophe won by a hair off that freaky Eskimo Nanook’s head (the first few songs chronicle Nanook’s adventures). Zappa is without question a forefather to the sounds that fill “jam” airwaves (and then some), and this is the album that allowed myself (and an entire generation) into the dementedly brilliant world of Zappa. While Apostrophe is one of the more accessible Zappa albums it still captures the jazz-rock essence of Frank. “Cosmik Debris” is classic Zappa with off the chart orchestration, bizarre story line, and insanely tight delivery while “Apostrophe” kills the listener with fuzzed out bass and heavy Zappa guitar licks. If you don’t have Apostrophe tell mom to hook it for Christmas… or maybe you can just borrow dads.
-The Kayceman
Brian Eno / David Byrne | My Life in the Bush of Ghosts | 1981 - Sire Records
 This album is incredible, especially considering that is was released in 1981. Eno and Byrne shine as true innovators and visionaries, decades ahead of the curve. Using pre-recorded non-music samples and cross-cultural polyrhythms, My Life in the Bush of Ghosts, proved to be the precursor to the electronica movement. Full of hidden social commentary, slicing Byrne guitar lines, dumping bass bombs, swirling sounds, odd voices and schizophrenic delivery, saying that Eno and Byrne are full-bore genius’ is warranted. This piece of work went on to influence just about all genres of music and is as pertinent today as it was more than 20 years ago. Listen to this album right now – it will change your world!
-Rhythmic Dog
Nicholas Payton | Sonic Trance | 2003 - Warner Bros.
 Nicholas Payton, previously known as the heir to Louis Armstrong’s throne, has morphed his sound into a new vision he calls Sonic Trance. It’s a bit like ragtime on acid. The album floats through electric jazz space stating themes and then weaving in and out of the late 60s Miles Davis world. It’s a bit like Payton grabs the listener’s ear and then runs it through a pitch modulator and then circles back around and hits you with a restatement of the theme. Twisting and molding each phrase until the phrase has nothing left. Payton’s Sonic Trance goes a step further than this though as he incorporates not only the standard electric jazz fare (wah-wah trumpets, wailing sopranos, heavy polyrhythmic percussion) with traditional New Orleans and ragtime themes. This album is pushing the boundaries of modern electric music, incorporating samples and beats taken from hip-hop and electronica. It’s a virtual electronic jazz stew borrowing from all forms of modern music and blending them together to create what Payton has aptly named Sonic Trance. This album isn’t for everyone. Its dense and heavy, a true statement from an artist shifting into a new phase of his career. If you’re a jazz fan that can deal with change, this is an album for you, as it culls on everything that you’ve heard before but boldly brings it into the next century.
-Geoff Harrison
Lyrics Born | Later That Day | 2003 - Quannum
 The new Lyrics Born CD is awesome! Tom Shimura (aka Lyrics Born) originally from Tokyo spent most of his childhood years in Berkeley, CA. While at UC Davis, he hooked up with Chief Xcel and Gift of Gab (Blackalicious), Shadow, Lateef the Truthspeaker (LB's partner in Latryx) and DJ Zen. These men would eventually make up the crew of Quannum Records - a great independent Bay Area hip-hop label that seems like one big ol' happy family.
Later That Day features smooth beats and a groovy style that are a backdrop to LB's incredible voice. He shares that raspy and rapid emcee style of Gift of Gab - you know, the kind that makes your head spin. You can just imagine the two of them in a dorm room spitting Alphabet Aerobics at each other. My favorite theme throughout Quannum records are the backup singers and they are all over LB's album giving it a non-cheesey 70s feel. The album features a wide cast of guest characters including the Gift, Lateef the Truthspeaker (where's your solo album, Lateef???), Cut Chemist (of Jurassic 5 fame), the lovely and amazing Joyo Velarde and more.
Lyrics Born's first solo effort is a huge success in our eyes and you can frequently hear the sultry sounds emanating from the content room at JamBase. Definitely pick this one up if you're into fresh non-gangsta-fied hip-hop. LB is currently on tour on the West coast. Check him out!
-Super Dee
Phil & Friends | 04.15.99 | The Warfield | San Francisco, CA
 I remember freaking out when this lineup was released and trying everything in my power to get to the Warfield, but as things sometimes go, I was forced to wait for “the tapes.” The three-night run turned out to be what they call “epic,” and with Trey, Kimock, Phil, Page McConnell and John Molo it’s hard to imagine anything less. I choose 4.15.99 mostly due to the second half space freak out jam that covers the majority of the set. Songs like “Shakedown Street” and “The Wheel” start out in familiar form but turn into something completely ridiculous that forces one to ask, “what song is this again?” The interplay between Trey and Kimock is beyond words and has me playing the barely audible analog to death in my car. The “Mr. Tambourine Man” encore leaves a bit to be desired but the barely recognizable mind-bending 40 minute “Viola Lee Blues” to start the night more than makes up for it. This is one of those rare times when a “supergroup” actually laid into it and took the songs to dizzying heights instead of waiting for their respective turns and trading solos.
-The Kayceman
|
