In The Cage [1974] - Genesis

What makes a concept album good? Is the music, or the concept, or both? Sometimes the concept can be so overwrought yet the music can more than make for it. Sometimes the concept can be perfect yet the music just isn't there to back it up. Genesis' 1974 double album "The Lamb Lies Down on Broadway" is one such album that falls into the former category. The concept is intended to be simple : It tells the story of a half Puerto Rican by the name of Rael who goes on a surreal journey through the twisted and fantastical underbelly of 1970's New York City to search for his estranged brother John. The further one reads into the story, the crazier it gets, introducing weird and magical creatures along the way as well plenty of obscure literary references.It also very satirical in nature.

However if you're not kind of the person interested in such elaborate story-telling, fear not. There are some true gems to be found on this album, and one such song is "In the Cage". Found on the first half of the album, it is a classic example of British progressive rock. A word of caution : Don't let the term "progressive rock" fool you into thinking that it has the spacey, tripped out feel of classic Floyd. This is the kind of song that was in essence meant to fit into a Broadway musical. Starting off with a simple bass line, the keyboards and Peter Gabriel's vocals introduce themselves into the mix, building the tension slowly. Rael is trapped in a cave filled with stalactites and stalagmites which form a cage around his body. His initial confusion turns to fear as he desperately tries to escape. He sees his brother John outside the cage and cries out in desperation but alas! John ignores him and walks away. From a musical point of view, it is a good mix of progressive and pop rock. Tony Banks' keyboard solos are excellent, always twisting and turning and Phil Collins drumming is outstanding. The way the song changes to convey Rael's changing moods are a testament to Genesis' quality as musicians. It is as intense as it is powerful.

"I got sunshine in my stomach

Like I just rocked my baby to sleep.

I got sunshine in my stomach

But I can't keep me from creeping sleep,

Sleep, deep in the deep.

Rockface moves to press my skin

White liquid turn sour within

Turn fast - turn sour

Turn sweat - turn sour.

Must tell myself that I'm not here.

I'm drowning in a liquid fear.

Bottled in a strong compression,

My distortion shows obsession

In the cave.

Get me out of this cave!

If I keep my self-control,

I'll be safe in my soul.

And the childhood belief

Brings a moment's relief,

But my cynic soon returns

And the lifeboat burns.

My spirit just never learns.

Stalactites, stalagmites

Shut me in, lock me tight.

Lips are dry, throat is dry.

Feel like burning, stomach churning,

I'm dressed up in a white costume

Padding out leftover room.

Body stretching, feel the wretching

In the cage

Get me out of the cage!

In the glare of a light,

I see a strange kind of sight;

Of cages joined to form a star

Each person can't go very far;

All tied to their things

They're netted by their strings,

Free to flutter in memories of their wasted wings.

Outside the cage I see my Brother John,

He turns his head so slowly round.

I cry out Help! before he can be gone,

And he looks at me without a sound.

And I shout out 'John please help me!'

But he does not even want to try to speak.

I'm helpless in my violent rage

And a silent tear of blood dribbles down his cheek,

And I watch him turn away and leave the cage.

My little runaway.

(Raindrops keep falling on my head, they keep falling on my...)

In a trap, feel a strap

Holding still. Pinned for kill.

Chances narrow that I'll make it,

In the cushioned straight-jacket.

Just like 22nd Street,

They got me by my neck and feet.

Pressures building, can't take more.

My headaches charge, earaches roar.

In this pain

Get me out of this pain.

If I could change to liquid,

I could fill the cracks up in the rocks.

I know that I am solid

And I am my own bad luck.

Outside John disappears, my cage dissolves,

without any reason my body revolves.

Keep on turning,

Keep on turning,

Turning around,

spinning around.

(round, round, round, round...)"

In The Aeroplane Over The Sea [1998] - Neutral Milk Hotel

Simply put, Neutral Milk Hotel's second studio album "In The Aeroplane Over The Sea" is a modern day indie classic. Engaging from start to finish, it showcases one man's vision, nay, obsession and translates it into a body of magical music. Inspired loosely by the diary of Anne Frank, frontman Jeff Mangum displays his immense talent as a songwriter. As a singer, well let's just say it's not going to be everybody's cup of tea. Kicking off with 'The King of Carrot Flowers Pt. One" till "Two-Headed Boy Pt. Two", it is quite a surreal journey. The song arrangements are simple mostly consisting of Jeff Mangum and his acoustic guitar. However, some songs have added drums, fuzzed out bass and even horns.

Although I mentioned that Jeff Mangum's voice was a rather hit-or-miss affair, it is what makes this album unique. It's nasal and it goes places where it probably shouldn't venture, but it's honest. Every line delivered is honest and heartfelt. The emotions range from haunting ("Oh Comely) to excited ("Holland 1945") to melancholy espcially on "Two-Headed Boy Pt. Two" where he seems on the verge of tears, but it all fits so well together. The rapid fire lyrics are surreal and expose Jeff Mangum's poetry skills (What other album has the word semen feature so many times?).

If one were to nitpick any flaws on this album, it would have to be that it is accessible yet inaccessible at the same time. There are some genuine pop hits in this album and its mesmerizing, but only if you can get yourself look past the non-traditional vocals. An essential album for sure.

Song Picks :

• The King of Carrot Flowers Pt. One
• In the Aeroplane over the Sea
• Two-Headed Boy
• Holland, 1945
  
• Oh Comely
• Two-Headed Boy Pt. Two
  

"The only girl I've ever loved
Was born with roses in her eyes
But then they buried her alive
One evening 1945
With just her sister at her side
And only weeks before the guns
All came and rained on everyone
Now she's a little boy in Spain
Playing pianos filled with flames
On empty rings around the sun
All sing to say my dream has come."

Crusher Destroyer [2002] - Mastodon

In my humble opinion, 'Crusher Destroyer' is an brilliant song title. To have it as an album opener is even better. Thankfully the title does justice to the song. Clocking in at a mere 2 minutes, 'Crusher Destroyer' feels longer than that, in a good way of course. That's only because of the insane number of riffs Mastodon have managed to cram into it. A blend of heavy and sludge metal, it's unrelenting and uncompromising, just like all of their songs.They even manage to incorporate a Southern blues solo in the middle. Special mention must go to drummer Brann Dailor for his unique drumming style and sudden changes in time signatures, always threatening to burst out from the background. Vocals are harsh but suit the song well, its hard to think of anything else other than a guttural voice to go with it. A massive opener for a massive album

"Lesson
the honoring instinct of animal
pressure
no blame on the red bull
throw fury at him
aim gorge and win
less contenders on the way today
let them pay
nothing lost
nothing gained
listen
here lies the warning for matador
blackout
blood running the dirt floor
won't bleed by accident
burn your game plan"

Vampire Weekend [2008] - Vampire Weekend

Describing their sound as "Upper West Side Soweto", Ivy-League (Columbia University to be more specific) rockers Vampire Weekend released their self titled debut in early 2008. The album is a playful yet arty mix of indie rock, pop and African music. The songs have an undeniable charm about them, the lyrics are witty and quirky if a little cryptic. On lead vocals and guitar is Ezra Koenig, Rostam Batmanglij handles a variety of instruments while also serving as producer and Chris Baio and Chris Thompson fill in on bass and drums respectively.

The most obvious thing that one is likely to notice is just how simple the songs are. Koenig limits his guitar to only the first 3 strings, while the rhythm section is left to fill in the gaps with its tricky drumming and rhythmic bass. But it works and works well as exemplified by the first two songs 'Mansard Roof' and 'Oxford Comma', both excellent songs, dealing with offbeat topics like architecture and grammar. 'A-Punk' is one of the highlights of the album and rightly so. The song is succinct, sweet and catchy. 'Cape Cod Kwassa Kwassa' is the most African-sounding song on the entire album, with Conga drums and a guitar line that could easily have been taken from a Afro Pop hit, a sort of New York-meets-Africa experience. 'One (Blake's Got A New Face) ' has one of the most memorable lyrics and you may find yourself singing along even though you may not know what's going on! 'M79' and 'Walcott' with their speedy and infectious keyboards further strengthen the album. The album closer 'The Kids Don't Stand Chance' is absolutely brilliant.It only starts with bass and drums, both sounding as though they might belong to a reggae song, but by the end, you wont even know what genre of music you're listening to or how you even got there. The transition is that smooth and well worked out. The lyrics go well with the already preppy nature of the album, drawing inspiration from European History.

Vampire Weekend's debut is ultimately smart, preppy, innovative and above all a fresh breath of air in an already crowded indie rock scene. They prove that big riffs, heavy and heart pounding beats don't necessarily make the biggest impressions. Sometimes you've got to put your feet up, kick back , relax and let some ivy college kids blow you away with their music.

Song Picks :

• Mansard Roof
• Oxford Comma
• A-Punk
• Cape Cod Kwassa Kwassa
• Bryn
• The Kids Don't Stand A Chance
  

"You criticize the practice
By murdering their plants
Ignoring all the history
Denying them romance

The pin-striped men of morning
Are coming for to dance
Forty-million dollars
The kids don't stand a chance."

Stylo [2010] - Gorillaz

Released just a few weeks ago, 'Stylo' is considerably darker than previous Gorillaz fare. The backbone of the song is its ominous bass line which is further accentuated by Damon Albarn's (2D) melancholy vocals. Featuring Mos Def and soul legend Bobby Womack on vocals, Stylo has an old school feel to it, mixing genres such as disco and synthpop. Bobby Womack's vocals stand out in particular, delivering a powerful performance. The single oozes elan and panache and is a strong comeback for Damon Albarn in particular, especially after the hit-or-miss 'The Good, the Bad and the Queen'. I would daresay that it's a stronger song than 'Feel Good Inc.' Here's to hoping 'Plastic Beach' continues the same standards as Stylo!

"Right now here's what we got to do,
it's love of electric,
it'll be flowing on the streets,
night after night,
just to get through the week,
sometimes it's hard. "

Rating : 9/10

School [1989] - Nirvana

The first time I heard 'School' by Nirvana was when I saw its promotional video on Youtube. The band recently (not to mention finally) released a DVD of their legendary 1992 Reading Festival performance and needless to say I was hooked! 'School' is not a very complex song, the lyrics are not particularly profound but its charm lies in its pure simplicity. Starting off with a simple distorted riff, the song kicks into life when the bass and drums join in the mix. I would suggest listening to the remastered version of Bleach with the bass turned up. Trust me, the more bass, the better. Kurt Cobain restricts his vocabulary to "Wouldn't you believe it it's just my luck" , "No recess" and "You're in high school again ". Yes, that's it folks, three sentences. However, these fit well with the song and so does its noisy,discordant guitar solo. Overall, 'School' is a fun song to listen to, the kind of song that warms you up and gets your blood pumping.

Rating : 8/10

"No recess!"

Going Down [1971] - Freddie King

Released in 1971 , Blues legend Freddie King's 'Going Down' is a real monster of a song, one that would be covered by various future guitarists such as Eric Clapton, Stevie Ray Vaughn, Jeff Beck and even Joe Satriani. Featuring catchy-as-hell piano playing by none other Leon Russell himself, a groovy bass line and King's throaty vocals, the song became an instant blues classic. But the real centerpiece is King's guitar. It plays the role of a secondary vocalist, demanding the listener's attention every time it squeals through the background. It emotes as much as King, perhaps even more, channeling his passion through every note. Seen as an attempt to fuse classic blues-rock with the emerging hard rock scene of the 70s, 'Going Down' was ultimately a success that influenced a generation of guitarists and its impact can still be felt today.

"I'm going down
I'm going, down, down, down
Down, down
Yes, I'm going down, yes
I'm going down, down, down
Down, down
Yes, I've got my feet in the window
Got my head on the ground"

Rating 9/10