Episode 59: Massive Attack’s “Blue Lines” (1991)

Summary

Accelerated Culture Podcast - Episode 59: Massive Attack’s “Blue Lines” (1991)

Release Date: February 1, 2025
Host/Author: acceleratedculture
Title: Accelerated Culture: The Rise of Alternative Music in the 80s and Beyond
Description: This episode delves into Massive Attack’s groundbreaking debut album, "Blue Lines," exploring its creation, influence, and lasting legacy in the alternative and trip-hop genres.

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Introduction

In Episode 59 of the Accelerated Culture Podcast, hosts Lori and Scott Free embark on an in-depth exploration of Massive Attack’s seminal debut album, Blue Lines (1991). Recognized as a cornerstone in the trip-hop genre, this episode unpacks the album’s origins, production nuances, and its enduring impact on music history.

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Background: The Formation of Massive Attack and Sound System Culture

[05:09] Scott Free:
“I chose the 1991 debut from Massive Attack, Blue Lines. It is a masterpiece of a debut album, and it kicked off an entire genre of electronic hip hop music that would come to be known as trip hop.”

The hosts begin by tracing the roots of Massive Attack, highlighting their evolution from the Bristol-based sound system collective known as The Wild Bunch. This collective was deeply influenced by Jamaican reggae and dancehall culture, emphasizing the role of selectors and DJs in unearthing obscure tracks—a practice that would significantly shape Massive Attack’s sound.

[10:34] Scott Free:
“Miles Johnson, AKA DJ Milo Nellie Hooper, who would go on to found Soul to Soul, and Grant Marshall, AKA Daddy G, later of Massive Attack fame, spent the weekends listening to reggae, punk and new wave records before their sound came to life.”

The transition from The Wild Bunch to Massive Attack involved expanding their repertoire and refining their production techniques, leading to their unique fusion of reggae, soul, and emerging electronic elements.

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Detailed Track-by-Track Analysis

1. Safe from Harm
[31:55] Lori:
“According to that 33 and a third book by Ian Borland, it concisely communicates the sense of anxiety felt by women in everyday life.”

This opener features Shara Nelson’s soulful vocals layered with 3D’s rap interjections. The track is anchored by a repeating bassline sampled from Billy Cobham’s “Stratus” and incorporates elements from Funkadelic and Herbie Hancock, showcasing Massive Attack’s knack for deep crate digging and intricate layering.

Notable Quote:
[35:04] Scott Free:
“You can free the world, you can free my mind Just as long as my baby's safe from harm tonight.”

2. One
Featuring legendary reggae singer Horace Andy, this track blends Minimalist production with profound lyrical themes centered around monogamy and fidelity. Samples from Mahavishnu Orchestra and Isaac Hayes add depth to the composition.

Notable Quote:
[42:47] Lori:
“It's not every day you'll find the woman of your dreams who will always be there no matter how bad things seem.”

3. Blue Lines (Title Track)
The eponymous track establishes the album’s thematic and sonic foundation, integrating samples from Tom Scott’s “Sneaking in the Back” and The Blackbirds’ “Rock Creek Park”. Mushroom’s programming prowess is evident in the seamless blend of these elements.

Notable Quote:
[46:30] Scott Free:
“Blue lines are the reason why the temple had to shatter. Blue Lines is supposedly a reference to snorting lines of crushed Valium pills.”

4. Be Thankful for What You've Got
A faithful cover of William DeVaughn’s 1974 soul hit, this track underscores the album’s connection to classic R&B while infusing it with Massive Attack’s signature trip-hop vibe. Tony Bryan’s vocals enhance the song’s nostalgic feel.

Notable Quote:
[52:19] Lori:
“What’s the point in killing people for their Nikes? We’re living in a time where nobody can be satisfied with what they’ve got because of the media.”

5. Five Man Army
Another reggae-influenced track, it features a rotating cast of vocalists, including Tricky and Daddy G. The song heavily samples Dillinger and Trinity’s rendition of “Five Man Army”, blending it with new lyrical content and additional Scratch elements.

Notable Quote:
[58:02] Scott Free:
“Rotating in and out... you have this really diverse group of Bristol weirdos who come out of this party dance scene.”

6. Unfinished Sympathy
Often hailed as one of the greatest songs of all time, this track is celebrated for its lush string arrangements and Shara Nelson’s powerful vocal performance. The production incorporates samples from J.J. Johnson’s “Parade Strut” and Subconscious selections, creating a rich, emotive tapestry.

Notable Quote:
[61:50] Lori:
“It’s not a regular meter. It’s heavily syncopated. It just makes me want to scream.”

7. Daydreaming
Featuring extensive sampling from Wally Badu’s “Mambo”, this track stands out for its playful lyrical references and funky rhythms. Tricky’s whimsical rap lines add a layer of humor and complexity.

Notable Quote:
[69:16] Lori:
“Daydreaming perfectly describes who we are. If me and G went out talking about beating and shooting people, it wouldn’t be us.”

8. Lately
A straightforward R&B track that leverages a sample from Lowell’s “Mellow Mellow Right On” intertwined with Isaac Hayes’ “Joy”. Shara Nelson’s delicate vocals complement the mellow instrumentation.

Notable Quote:
[80:25] Lori:
“Baby, where did we go wrong?”

9. Hymn of the Big Wheel (Closing Track)
A collaborative piece with Nina Cherry, this song delves into environmental concerns with a minimalist production that highlights Horace Andy’s unique vocal texture. The absence of traditional samples allows the raw message to resonate.

Notable Quote:
[83:15] Scott Free:
“It is the only song on the album not to contain any samples. Just a sound effect.”

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Production Insights: Sampling and Sound Design

[05:52] Scott Free:
“They did not, by their own admission do a particularly good job of this.”

Massive Attack’s Blue Lines is a masterclass in sample-based production. The hosts discuss the technical aspects, including the use of turntables, Ensoniq EPS sampling synth, Yamaha drum machine, and a Newmark mixer. Despite limited sample clearance, the album creatively integrates diverse influences ranging from Mahavishnu Orchestra to Funkadelic, resulting in a sonically rich and innovative project.

[26:17] Lori:
“I don't know how common it was in 91, is essentially, we've got the sound system, these three guys doing samples.”

The minimalist approach in some tracks, such as the sparse arrangement in One, allows individual elements like vocal harmonies and sampled loops to shine prominently, demonstrating the band’s ability to craft complex textures from simple foundations.

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Legacy and Influence: The Birth of Trip-Hop

[89:54] Lori:
“Gen X, a Millennial… the full name from that novel was Gen X Tales for an Accelerated Culture.”

Blue Lines is credited with pioneering the trip-hop genre, influencing a myriad of artists and shaping the Bristol sound. Bands like Portishead and Tortoise Head drew inspiration from Massive Attack’s fusion of genres, while artists like Thievery Corporation and Tricky further expanded the boundaries of electronic and alternative music. The album’s innovative use of samples and its eclectic sound palette continue to resonate within the music industry.

[90:03] Scott Free:
“Portishead was not part of this sound system tradition… Beth Gibbons’ voice… gives a very different feel.”

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Host Perspectives: Diverging Tastes and Mutual Respect

Scott Free expresses a profound appreciation for Blue Lines, highlighting tracks like Daydreaming and Unfinished Sympathy as standout pieces that showcase the album’s depth and emotional range.

[87:57] Scott Free:
“I love this album so hard. It is a brilliant chill album. It is not perfect, but damn, is it good.”

Conversely, Lori admits to a more nuanced reception. While she acknowledges the album’s foundational role and influence, she personally finds certain tracks less compelling, such as Be Thankful for What You've Got and Hymn of the Big Wheel. However, she respects the album’s legacy and its impact on future artists.

[88:55] Scott Free:
“But yeah, it's pretty much 3D now. Hoping to hear new music from them or him and see who he brings back into the fold.”

Their differing viewpoints illustrate a balanced discussion, appreciating the album’s significance while acknowledging personal preferences.

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Additional Insights: Banksy and 3D Connection

A fascinating segment explores the speculation surrounding Massive Attack’s Robert Del Naja (3D) and his potential connection to the elusive street artist Banksy. The hosts reference an article from 33 and a third that questions if 3D might actually be Banksy, citing similarities in artistic styles and coincidental appearances of Banksy’s work during Massive Attack’s tours.

[94:14] Lori:
"He sometimes gives interviews and then denies having done so through a press agent."

While speculative, this connection underscores the band’s deep ties to Bristol’s creative and rebellious spirit.

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Concluding Thoughts: The Enduring Impact of Blue Lines

In wrapping up the episode, Scott Free emphasizes the album’s role in inspiring both listeners and fellow musicians, citing personal anecdotes about how Massive Attack’s performances fueled his own creative and activist endeavors.

[99:14] Lori:
"One of the highest purposes of creating art is if that art inspires somebody else."

[99:28] Scott Free:
"Hope to see another tour in the not too distant future."

As Blue Lines continues to be celebrated for its innovation and emotional resonance, Accelerated Culture affirms its place in chronicling the pivotal moments that shaped alternative music from the 1980s onward.

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Looking Ahead: Next Episode Teaser

The hosts tease their next exploration into Pearl Jam's Ten, promising a revisitation of the Seattle grunge scene and its interconnection with the early 90s alternative landscape.

[100:48] Lori:
"We are going to revisit the whole Seattle grunge scene… Pearl Jam feels closely linked with Nirvana."

Stay tuned for another engaging deep dive into a transformative album that defined a generation.

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Notable Quotes with Timestamps

• Scott Free [05:09]:
  “Blue Lines… it kicked off an entire genre of electronic hip hop music that would come to be known as trip hop.”

• Lori [34:28]:
  “But I believe in one love…”

• Scott Free [42:47]:
  “It’s not every day you’ll find the woman of your dreams who will always be there.”

• Lori [75:46]:
  “Daydreaming perfectly describes who we are…”

• Scott Free [87:55]:
  “Unfinished Sympathy… it paints a picture of the quality of life in the city.”

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Conclusion

Episode 59 of the Accelerated Culture Podcast offers a comprehensive and engaging analysis of Massive Attack’s Blue Lines. Through meticulous track-by-track breakdowns, insightful discussions on production techniques, and reflections on the album’s legacy, Lori and Scott Free provide listeners with a profound understanding of why Blue Lines remains a landmark in alternative music history.

Transcript

[Lori]

Foreign. Welcome to the Accelerated Culture Podcast. A sonic journey through the vibrant and revolutionary sounds of the 1980s and 1990s. And now 2024 Webby Honoree for best indie podcast. I'm Lori, along with my co host, Scott Free, and in this podcast we explore how new waves stormed the airwaves in the early 80s and and gave way for the rise of alternative music in the 90s. Find us on the [e-mail] hello and welcome to the Accelerated Culture Podcast.

[Scott Free]

I'm Lori and I am Scott Free.

[Lori]

Hey, welcome back, Scott Free. How's everything?

[Scott Free]

Things are crazy, but sometimes they're all right.

[Lori]

Okay. All right, well, nothing really new to report here, but you went to a show recently, didn't you?

[Scott Free]

I did, I did. The Friday before last, went and saw Jamie XX performing at the Aragon Theater in Chicago. Jamie xx, the instrumental and electronic half of the xx, a band that many of our listeners may know and love. Some great albums that they put out. Jamie XX, now a solo artist and did a unbelievably high energy electronic dance set at the Aragon. The crowd going bananas. And his music was great. His video show was astounding. If you get the chance to see Jamie XX take it, I say nice.

[Lori]

Nice. Well, I've never heard of him, so it's a him, right? It's a him.

[Scott Free]

It is him. You know, Lori, they did keep making music after 1991.

[Lori]

Why would you lie like that? Okay, so, Scott, we've got some shouts out. Shouts out. I, I, I don't know why that always sounds weird to me.

[Scott Free]

Well, I mean, a lot of people say shout outs and I prefer what I believe to be the more grammatically correct shouts out.

[Lori]

Well, it is. Yes. It's just. Yeah. So, shouts out. What you got?

[Scott Free]

I would like to give a shout out to a new listener and an old friend of mine who reached out directly to me via text message to say that he was loving the show. Good James in Chabnuga. Thanks for listening. Keep listening. You're gonna love some of the episodes that come after the one that you heard.

[Lori]

The guy's name is Good James. Is there a bad James?

[Scott Free]

He's Good James. Because we had another James who is most definitely Bad James.

[Lori]

Fascinating.

[Scott Free]

All right, well, Good James is good.

[Lori]

Okay, well, I'd like to give a shout out to our friend Zabe, whose podcast who will save Generation X, is about to hit its four year anniversary. I'm going to be in his quote unquote live studio audience. In other words, his zoom audience for his anniversary episode, so.

[Scott Free]

All right. On.

[Lori]

Yeah, he's a good guy.

[Scott Free]

Zabe, congratulations. Four years. How many beats per year is that?

[Lori]

Okay. Hey, and you know what, Scott, speaking of anniversaries, the next episode after this one is going to be your one year anniversary. Working with me on the podcast. Can you believe it?

[Scott Free]

Wow. Has it been a year already?

[Lori]

It has, yeah.

[Scott Free]

It's been a pretty good year. We've made some things happen in that year. This podcast has evolved a little bit. I want to say.

[Lori]

We found our groove. Right. We've got our format down. And thank you.

[Scott Free]

Yeah. Thank you for having me on. This has been a good time.

[Lori]

Yeah. Just don't quit on me, all right?

[Scott Free]

Not this week.

[Lori]

Okay, that's fair. And also a shout out to our Patreon subscribers. Thank you so much.

[Scott Free]

Shout out.

[Lori]

If you like what we're doing here and you'd like to buy us a cup of coffee.

[Scott Free]

And we desperately need coffee, especially the.

[Lori]

Way this week is going. Yes, we do. Seriously, my insomnia was. Has been really bad this week, but yeah. Patreon.com accelerated culture podcast and you'll have access to bonus materials, ad free listening, some cool swag, and our eternal gratitude.

[Scott Free]

Or. Or gratitude for the near term.

[Lori]

Yeah, yeah, that's a little bit more.

[Scott Free]

Reasonable for the foreseeable future.

[Lori]

All right, so, Scott, that brings us to this week's album, which you chose. So what did you pick?

[Scott Free]

Right. I chose the 1991 debut from Massive Attack, Blue Lines. It is a masterpiece of a debut album, and it kicked off an entire genre of electronic hip hop music that would come to be known as trip hop. Even if some members of the band bristled at the term trip hop and did not want to be classified as such, when you see the band that came out of that genre, I don't quite get that hang up, but it is generally considered the first trip hop album, and it's a damn good album.

[Lori]

Now, I knew Massive Attack from Mezzanine. And what's the other protection?

[Scott Free]

Is that the protection was the sophomore album, you know.

[Lori]

Yeah.

[Scott Free]

Mezzanine the third, and there were others, Heligoland. I don't know how you're supposed to pronounce that, but whatever, if we can not talk about that.

[Lori]

Okay. But yeah, so, I mean, I was a big fan around the Mezzanine era, and I'd never heard this first album, and it is very, very different than what would come later.

[Scott Free]

Oh, yeah. To understand this album, you kind of have to understand how Massive Attack even came to Be they hail from Bristol in England, and they started off as what is known as a sound system, a music and entertainment collective, well, that is based around, appropriately, a sound system. To understand that, you have to go way back. Sound systems came out of Jamaican reggae and dance hall culture. You would have somebody who owned a sound system and then around that you would have sound engineer, you would have a selector, someone whose job it was to dig into the crates and find rare and underappreciated records. And the selector could sometimes also be the DJ nmc, or there would other times be a DJ whose job it was to actually spin the records and hold the crowd's attention. Oftentimes, these selectors and DJs, it's not like DJs today, where they just play tracks and mix them and the DJs job is just to present a steady dance floor beat and just playing songs that the crowd knows and loves. The selector and the DJ in a sound system in Jamaican culture, their job was to unearth these obscure tracks. And it was a mark of honor, a goal in and of itself, to find tracks that nobody knew and to be the one to break them to the crowd. Selector, like you hear that in reggae music to this day, Come down selector, a rewind selector. I always thought that was just a dj, but it's a job in and of itself, that sort of curator of the music. A selector and a DJ back then would oftentimes just have one turntable and a microphone. Not even two turntables and a microphone. They put the record on, they talk over the beginning. The music would play, they'd talk. When it's done, the selector would give them a new record, they'd put it on and play it. It was more like a house party. And a lot of time, that's what the sound system was playing. A house party, a park, a room, a complex or whatever. And eventually became a club thing. From dj mag.com an article from 2022 by Rhea Hilton called A History of UK Sound System Culture. She talks a little bit about the influences that the Wild Bunch had and how that became important in sort of setting the trajectory of what would become Massive Attack. Miles Johnson, AKA DJ Milo Nellie Hooper, who would go on to found Soul to Soul, and Grant Marshall, AKA Daddy G, later of Massive Attack fame, spent the weekends listening to reggae, punk and new wave records before their sound came to life. The trio, which gathered a crowd for these informal listening events, were beginning to outgrow Marshall's home, so decided to rent out a room in a pub Off Queen Square, the city center. The crew started out with a large and varied record collection. One turntable, a realistic mixer, and a few amps later upgrading to a GLI PMX9000, the first mixer with a crossfader. They played random pubs and house parties and finally, outdoor events. Growing in reputation from the Downs in Clifton Briston's middle class neighborhood to St. Paul's the Brixton of Bristol, a dread from St. Paul's named them. When we played St. Paul's that was setting the standard for us, Johnson tells DJ Mag. We knew we were running up against Jamaican sound systems, so we had to run with something that was going to be heavy, otherwise we would get drowned out. We always came correct.

[Lori]

You know, something I learned when I was researching for this the two books that I've been using for this episode, Massive attacks, blue lines 33 and a third, which is an excellent, excellent book series. And this one is by Ian Borland and Massive Attack out of the Comfort Zone by Melissa Cheemam. Well, all right, yeah, I know you've got a bunch of articles, so.

[Scott Free]

I do, I do, yes.

[Lori]

Okay. Now, I'm not really familiar with geography in England, but Bristol being, I guess, a port city, was an entry point for a lot of Jamaicans traveling to the UK after World War II, where they were being encouraged because they were part of the British Empire, they were being encouraged to come to England to help them rebuild after World War II. So it's a very diverse town, much more so than other parts of England, and definitely very working class.

[Scott Free]

Yes, absolutely. All right, so there is an article that I found that I think sums up exactly what you're saying in the context of Massive Attack specifically. This is from classic pop mag 2018 article called classic Album Massive Attack Blue Lines. Massive Attack's Daddy G remembered the Bristol street scene, birthed the wild bunch as punks, bikers, dreads. You know, just a whole cacophony of people in this one place. It's surprising how many mixtures of people in that one place don't actually erupt. I think a lot of people were into spliffing, so it kept everyone tranquil. Just as Seattle slackers eventually rose, so did Bristol's spliffers. But it took time. We were lazy Bristol twats. Daddy G later recalled. It was Nana Cherry who kicked our arses and got us into the studio. I was still DJing, but what we were trying to do was create dance music for the head rather than for the feet. So right there, the name dropped is an important one in the context of this band. N A Cherry, who we talked about last episode, if you listen to the bonus content, we talked about Michael St. And Nana Cherry's collaboration on Trout. Nana Cherry weaves through a number of threads that we've been talking about here on Accelerated Culture. So again from classic pop mag, Nina Cherry and the people around her had a bigger influence on the making of Blue Lines than many at first realized. She'd known the Wild Bunch for a few years and her media connections helped get the Wild Bunch sound system onto her tour of Japan in 1986 to be covered by Style Bible the Face. Cherry's producer and soon to be husband was Cameron McVeigh, who'd go on to become Massive Attack's manager. Cherry scored a solo deal with McVeigh co producing Mushroom, who we know as Andrew Vowles. Mushroom from the Wild Bunch, who would go on to become one of the co founders of Massive Attack, is crediting with programming on three tracks of Nana Cherry's 1989 genre hopping debut LP Raw Like Sushi and Mushroom appears on Decks and Keys in the video for Buffalo Stance in which Nana Cherry says looking good. Hanging with the Wild Bunch, an embryonic Massive Attack. The Wild Bunch gets name dropped in Nina Cherry's biggest hit. So it all kind of comes together.

[Lori]

Yeah. And we're actually going to be touching a little bit more on Nina Cherry when we get to the track by track, because there's one that she co wrote.

[Scott Free]

Oh, excellent.

[Lori]

Yeah.

[Scott Free]

Another member of the Wild Bunch and later co founder of Massive Attack, Robert Del Naja, who goes by 3D, was also on board co writing the follow up single Man Child with its hip hop beats meshing with mournful strings, even sounding like a proto Blue Lines track.

[C]

Okay, you're on your own, it's late, your girlfriend is on the another date with the hero in your dream Turn around, ask yourself so you think you're going to win this time. Manchild Is it the pain of the drinking or the suddenly sinking feeling? The car never seems to work when it's late, your girlfriend's on a date and they hear a whip in your dream and you sleep Seem like you.

[Scott Free]

Turn around, ask yourself so the Wild Bunch continues to evolve. One of their members splits off before the debut album and goes on to found Soul to Soul, which thinking back now, I didn't realize there was a connection back then. But the sounds of Soul to Soul, think back to life, back to reality and Blue Lines. Yeah, you can definitely see how these are a very Recent split on the family tree of English, electronic and soul music, right? I think so, yes.

[Lori]

Okay, so one of the things that I do want to talk about, but I don't know if this is the right place, is, again, this idea of diversity. So 3D is a white guy of Italian descent. Mushroom obviously is black. And Daddy G, is that the guy? Daddy G?

[Scott Free]

Grant Marshall, AKA Daddy G, the one with a really deep voice?

[Lori]

Yeah. So it says that his parents were from the West Indies.

[Scott Free]

There you go.

[Lori]

Yeah. So, I mean, you know, we talk about diversity in Bristol, and, I mean, you can't get much more representative of that than this particular trio.

[Scott Free]

Yeah, I saw an interview where 3D was talking about this. Everybody involved in making this record came from totally different ethnic backgrounds. Jamaican, Barbadian, half Italian, for me, you know, English. There was never this kind of British feel to it. It always struck me about most British music in hip hop and rock. There was this weird kind of lean towards Americanism in everyone's accents and voices. And we. We never had the urge to do that. We always wanted to sound ourselves. And it wasn't the urge to sound British or sort of like twee, just trying to be ourselves, to use references that meant something to us. So, yeah, you have this really diverse group of Bristol weirdos who come out of this party dance scene who then decided to make hip hop, but doing it with this very international and throwback to Jamaican style of putting together music, digging in the crates, finding deep cuts, throwing them together in a new way, throwing hip hop lyrics over it, and you get this kind of music that just really hadn't been done before. And that is how trip hop comes to be on Massive Attack's Blue Lines. So a little bit about the album itself. In 1990 and 1991, the studio sessions that made Blue Lines happen, the band was holed up in a couple different studios. A Coach House in Bristol and Cherry Bear Studios, which was Nana Cherry's studio, or nominally was Nina Cherry Studio. In reality, it was her and future husband McVeigh's flat in London.

[Lori]

Yeah, actually, you know that quote that you had earlier about we were lazy Bristol twats?

[Scott Free]

Yeah.

[Lori]

Daddy G went on to say, we recorded a lot at her house, in her baby's room.

[Scott Free]

Oh, yeah, I did read a story about that where at some point, one of the baby's dirty diapers got trapped in an air vent and they went away for a while, came back, and the place absolutely stank.

[Lori]

The Coach house, though, is interesting because it literally was a coach house that was converted to a studio. And from what I understand, there's something about the acoustics of this room that just lends itself very nicely to vocals, where it's got a very warm, intimate sound. If it's mic'd up correctly, you can pick up just like breaths, you know, it's. I think a lot of the vocal tone that we're going to hear on this album is due to that coach house.

[Scott Free]

Yeah. I mean sometimes technical limitations make for great design choices and I think that's definitely true on this album. Once again from the classic Pop mag, talking about why this sound, not the vocal sound, but just the style of making music and this. Why trip hop? You and I have talked about a few different albums of English dance rock music of the era. This was the rise of Madchester and some related scenes. And we've talked about how that tended to involve a lot of aggressive dance floor beats suitable for the Factory or the Hacienda.

[Lori]

But.

[Scott Free]

But it also involved a lot of drug use, both on the dance floor and in the studio. Daddy G talks about the dance scene of the era in this classic Pop Mag article. It was all about getting pilled up. We were like, let's make some anti dance music, something that you can sit and listen to. There wasn't any relaxing music. It was all quite hype and drug induced. I think people got bored with that and wanted to make more experimental music and that they did. Now here's something that I didn't realize about this album and I didn't discover it in 1991, right when it came out. It took me a couple more years into the 90s, I think I. I first heard it in 1993 when I got to Chicago, but I was always blown away by the sound, how it combines reggae and soul and like these grooves, there's funk in it and it's just an amazingly groovy album. And I always figured there was a band behind it making these amazing grooves. In doing the research for this episode I have come to see that there were basically no instrumentalists involved in the production of this album. It is almost entirely samples, turntables and then the vocalists doing a bang up job. But it is almost entirely a sample based record. And I'm not mad about it because they like the selectors from the sound systems that they evolved out of, dug deep into the crates. Like this is not your early 90s hip hop, where they were lifting entire songs. Well known hit songs from say the 70s and you can think of so many examples of that. Hits from the era. But I mean, if we're talking late 80s, early 90s, we're getting into the era where things were happening like Vanilla Ice, Ice Ice Baby, where it was just a shameless under pressure bite. And you know, Vanilla Ice was meh on a good day as an emcee, but that groove was so undeniable and you loved it when it was under pressure. So of course you're gonna like it when it's Ice Ice Baby, Even if you immediately felt shame about that.

[C]

Yo man, let's get out of here. Word to your mother.

[Scott Free]

So many examples of that here. Blue Lines, they are digging deep into the crates and yeah, they may be lifting wholesale grooves or they may be taking just one measure or two seconds of a song, but it's a song you have never heard in your life. I know music pretty well. I've got a pretty deep mental music catalog that I can pull up when I hear a sample and they're pulling up 1970s Mahavishnu orchestra tracks. Nobody was listening to this stuff back then, so the selectors, they were doing their jobs and it made for an amazing pastiche of very groovy music on the the crediting and the licensing of samples. They did not, by their own admission do a particularly good job of this. Worth noting. Like I have this on CD and looking at the liner notes right now. First of all, the graphic design is top freaking notch. The COVID to this album is iconic. I'm looking at the liner notes right now. The background is this brown craft paper background on it the big red diamond of a Hazmat symbol from the back of a truck. But it's the Flammables I believe. Then over that in Helvetica, Black Oblique Massive Attack. It's just striking visuals and the rest of the liner notes, original photography illustrations by 3D who was a well known graffiti artist before in the Wild Bunch. It's a beautiful set of liner notes, but when you get into the song by song credits, there are not nearly as many credits for samples as you would expect from this classic pop magazine article. The album credits were very meager, with some composers of the original tracks receiving co writing credits. While individual source tracks aren't mentioned on the sleeve. Others, even Mahavishnu Orchestra only make an inspired by list, while the sole outside instrumentalist credited is bassist Paul Johnson. Yet that was Simply hip hop's M.O. at the time, only insiders would have known that their equipment cache was little more than their DJ decks, an Ensoniq EPS sampling synth, a Yamaha drum machine and a Newmark mixer Daddy G explained later that Blue Lines was completely from a DJ perspective. We were going to make a record of our favorite sounds and influences. And it was quite heavily sample based. It was quite imaginative the way we did something with it.

[Lori]

So the thing I find very interesting about this, and of course this is very common now, but I don't know how common it was in 91 IS. Essentially, we've got the sound system, these three guys doing samples. I don't know what title to use there. And then there's like this rotating ensemble of singers, vocalists that changes from track to track. We'd see this later on bands like Delirium and Conjure one. Two of my favorite bands where there's this rotating vocalists, right?

[Scott Free]

Oh, yeah. In Blue Lines, you've got the main stable of Massive Attack vocalists, who in general are just credited in the liner notes as Massive Attack. Rarely do any one of them get vocal credit more than the others. You've got Robert Del Naja, 3D, you've got Daddy G, you've got Tricky. We're talking about this album launching the entire genre of trip hop. Among the main stars of that genre was Tricky, who came out of Massive Attack. He was one of the founding members.

[Lori]

He's got such a distinctive voice and he's just so chill and understated. It's like the exact opposite of what most people would think of when you're thinking of late 80s, early 90s rap.

[Scott Free]

Oh, yeah. I mean, he's got that growl. Sometimes it's. Sometimes it's more of a mumble. There's some gravel to it. Yeah. He seems chill, but there's an intensity to it. But it is not yelling. It is rarely bravado or braggadocio. He's talking about stuff that's going on in his head and it is not about being in the club or getting the ladies. He's talking about his mind state and he's doing it in a really distinctive way. His solo album that would come soon after Max and Quay, is a trip hop classic. It is landmark album.

[Lori]

You know what? I'm kind of embarrassed, actually. So as part of the research for this episode, I watched some of the Massive Attack videos. Now, I'd never seen any of their music videos, but I saw Tricky and I realized that he.

[Scott Free]

I know where this is going.

[Lori]

He's in the fifth Element.

[Scott Free]

Yeah.

[Lori]

Oh, my gosh.

[Scott Free]

Of course. That's where you know him from.

[Lori]

Oh, my gosh.

[Scott Free]

Right. And he was a kid at this point and, you know, he was sometimes called Tricky kid. They were so young when this album came out.

[Lori]

Okay, well, so as long as we're talking about guest vocalists, we're going to talk about these probably more in the track by track, Scott, but we have a very legendary reggae singer named Horace Andy that appears on a few tracks.

[Scott Free]

Oh, yeah.

[Lori]

We have a female vocalist named Shara Nelson. And we also have on one song, another rapper named. This name Cracks Me Up Willy Wee. So I'm sure we will get to those when we get to the track by track. But when I talk about this, like rotating roster of vocalists, you know, those are. Those are the big ones.

[Scott Free]

Yeah, yeah, for sure.

[Lori]

Okay, so Blue Lines by Massive Attack was released on April 8, 1991 by Wild Bunch and Virgin Records. It never charted in the United States, but it did make it to number three in the UK and I believe number five in Australia. Another thing that I found interesting, and I don't. I haven't really heard much about this, but 1991, Scott, you remember Desert Storm?

[Scott Free]

Oh, I do.

[Lori]

From what I understand, there was a little bit of controversy about the band's name because on the news they kept talking about a massive attack in Iraq, blah, blah, blah. So for a while at least, the band was just going by Massive, even though the name on their records was Massive Attack.

[Scott Free]

Right. They eventually came back to it because, well, people stopped caring about the war. Yeah, will do.

[Lori]

Yeah. And then one more thing before we get into the track by track, Scott, is this is another one of those albums that you really have to listen to on headphones to really get all the nuances and the different layers.

[Scott Free]

Yes. I mean, it is perfectly good for a chill out room or, you know, late into the night at a house party. But yeah, headphones get really into your head with it. Oh, top notch. All right. So I feel like you've got a bit of the background of the whole sound system movement, how the Wild Bunch turned into Massive Attack. Just enough about the production of the album. I say let's listen to that album, get into that track by track, which is what we do here.

[Lori]

Let's do it.

[Scott Free]

Well, then let's start at the beginning with track one. Safe from harm.

[C]

I'll sure as hell we can free my Just as long as my baby.

[Lori]

This is really a good album opener.

[Scott Free]

Okay. Yeah. So you had not heard this album before. You were familiar with Mezzanine, but you had not heard this album. What was going through your head when you heard this track for the first time?

[Lori]

I enjoyed it definitely was different. It was a little Bit more street sounding, I guess, for lack of a better word. I don't know that that makes much sense. But, you know we've got some rap by 3D in there, right?

[Scott Free]

Just a little bit. This is largely a Shara Nelson feature. She's doing the singing and she has this just gorgeous, soulful voice, right?

[Lori]

Oh, yeah, yeah, absolutely.

[Scott Free]

Absolutely powerful. And obviously she's doing the heavy lifting in this song, but when the chorus comes in, they overdub her and she's harmonizing with herself like five voices deep. But then she's also doing a counterpoint against the melody that the choir of her is singing. But then you have 3D interjecting. I was looking back to see if you were looking back at me to see me looking back at you. Which is just cool, man. The delivery is rock solid, whereas so much of Mezzanine is just serene and pretty. Although sometimes it has a darker, harder edge to it. But then when you've got that MC counterpoint in the chorus. Yeah. It lets you know that this is not just a soul record, this is not an R and B record, that it's going a different direction. Right.

[Lori]

Yes. I really do like the lyrics on this one. According to that 33 and a third book by Ian Borland, it concisely communicates the sense of anxiety felt by women in everyday life.

[Scott Free]

Oh, wow.

[Lori]

And it even just kind of starts off like that. The very beginning. Midnight Rockers, City Slickers, Gunmen and Maniacs all will feature on the Freak Show. And I can't do nothing about that, no, but if you hurt what's mine I'll sure as hell retaliate.

[Scott Free]

I was looking back to see. Sorry. You find that relatable to you?

[Lori]

I do, absolutely. You can free the world, you can free my mind Just as long as my baby's safe from harm tonight Ah, yeah, yeah.

[Scott Free]

You know from. Right from the beginning of this track, and I don't know if maybe that's where we should have started, but right from the beginning of this track, it comes in strong with that driving baseline. And when you listen to it, it is just a one measure groove that repeats itself for literally the entire song. That baseline and some of the drums underneath it are from a 1976 track by one Billy Cobham. Cobham. Sorry for mispronouncing your name, Billy, if you're listening, sorry about that, man. But the song is Stratus and it is a very compelling groove. So good job, Billy. And good job. Presumably Mushroom from Massive Attack for digging that one out of the Crates. Because, man, that is a solid groove. Then there's also this lead guitar line and rhythm guitar line that are just simple, real groovy. While this track is pretty dense just because of that constant 1 measure bass line and drums that are going just the whole time, there aren't that many things going on in it. And as we go on, we'll see tracks that strip down to even less. But yeah, it's a rock solid opener, this one.

[Lori]

You know, in addition to that sample that you mentioned, the Stratus sample, there is a drum break sampled from Good Old Music by Funkadelic in 1970.

[Scott Free]

Ailey.

[Lori]

Yes. And elements from Chameleon by Herbie Hancock.

[Scott Free]

Nice.

[Lori]

And there's a sentence taken from the lyrics of a song called Looking Back by Johnny Guitar Watson.

[Scott Free]

Oh, you did your homework. Nice.

[Lori]

I had my moments. Anything else on C from Hart?

[Scott Free]

You know, there is a video to this one. I had not seen it before. Black and white video of Sharon Nelson running up a staircase in some sort of rundown apartment building. It's black and white, kind of arty, had never seen it before, but it's pretty much just her continuously running up staircase of a very tall apartment building project. Something like that.

[Lori]

Was that art directed by Daley Walsh?

[Scott Free]

Duh. I don't know. Probably.

[Lori]

Okay, all right, let's go to the imbd. Okay.

[Scott Free]

Yes. Yes. Bailey. Walk. Damn, Laurie.

[Lori]

All right, so I guess that brings us to track two.

[Scott Free]

Yes, it does.

[Lori]

Okay, so track two is called One.

[C]

Love, you I love and not another and I know we'll always be together. Some men have one love, Two and three love Four and five and six.

[Scott Free]

Love.

[C]

But I believe in one love I believe in one last.

[Lori]

Okay, so this one I know features Horus Andy on vocals. I'd mentioned him earlier, he is a really well known reggae singer. The song that I know by him was Skylarking. And of course, the only reason I know that is because Madness did a cover of it.

[Scott Free]

Yes. Massive Attack. When Blue Lions comes out, these guys are in their 20s, right? Horace Andy, Jamaican singer, songwriter. When he's not doing vocals for the occasional Massive Attack track, he's a roots reggae man. He put out his first single at age 16 in 1967. So this guy's in his 40s at this point. Like, he was instrumental in the creation and popularization of dancehall reggae in his own non Massive Attack career. He was known for, as you said, skylarking. Another big one was Government Land. And I was blown away when I learned this one called you Are My Angel. Yeah, Angel, That Massive Attack track from Mezzanine. Two albums later, you Are My Angel. That's Horace Andy doing a cover of himself. I didn't know the track was a cover in the first place. But not only is it, is it a cover. They've got the original lead singer from that reggae track doing it as a Massive Attack track. Anyway, Horace Andy, legendary reggae guy, Massive Attack recruits him. And his voice is odd.

[Lori]

It almost sounds feminine to me.

[Scott Free]

There is that. It's got this odd, generally higher register. Got this kind of nasal tone. And you can see that working in old reggae. It is not something you hear in a lot of pop at that time. But there's also this. It's not a vibrato. It's a waiver to it. And it's actually technically a tremolo. He a vibrato. You're affecting the pitch. Making the pitch of the note waver here. He's making the volume waver. When it does that thing. That's it getting louder and softer. The only other popular singer I can think of who modulates their voice that way is Chrissy Hind from the pretenders. My brother Dr. Dave has a bit of a problem with that. And this is one point where Dr. Dave and I disagree. Chrissy. Chrissy Hind is a national treasure and her voice a thing of beauty. And I will fight anyone who says different.

[Lori]

So you're going to fight Dr. Dave.

[Scott Free]

We'll be hanging out soon and y'all have to fight him about this then.

[Lori]

Okay. All right. So there's some other samples in this one. It sounds like a guitar riff, but it's not. It's actually a looped electronic piano sample from that Mahavishnu Orchestra that we mentioned. There's a horn sample from Ike's Mood by Isaac Hayes.

[Scott Free]

So great. And yeah. That bump, bump, bump, bump. A big bassy horn line from Ike's Groom. And really cool. Done where the DJ scratches that in. That it doesn't just come in as a clean sample, it gets scratched in great effect.

[Lori]

Yeah. You know the thing that's really odd about this, especially given that this is so reggae influenced. There's really no bass line. You have a reggae song with no bass line.

[Scott Free]

Yeah. Yeah. That is odd. It's. In general, this track is so spare and stripped down. Yeah. Really lets Horace Andy's voice shine and makes then that big bassy horn line jarring when it comes in.

[Lori]

Right, right.

[Scott Free]

Yeah.

[Lori]

And you know, the whole song, the lyrics actually seem to be about monogamy.

[Scott Free]

Yeah. Strangely conservative guy for A reggae artist, Horace Andy.

[Lori]

I don't know that that's strange for reggae, maybe for rap. But some men don't feel secure unless they have a woman on each arm. They have to play the field, prove they have charm. But then he goes on to say, it's not every day you'll find the woman of your dreams who will always be there no matter how bad things seem. Ever so faithful, ever so sure no man could ever ask for more I believe in one love that's nice.

[Scott Free]

Yeah.

[Lori]

This song really doesn't do anything for me, I'll be honest.

[Scott Free]

They don't all have to.

[Lori]

No.

[Scott Free]

It does give you. After the very soulful intro that you get with say from Harm, it definitely makes it clear that this is a Jamaican influenced outfit and, you know, partially Jamaican outfits.

[Lori]

Horace Andy actually recorded the lyrics in Kingston.

[Scott Free]

Well, there you go.

[Lori]

Yeah.

[Scott Free]

And yeah. Just shows you the diverse influences that they're working with, the very different sounds that they can produce. You don't have to dig it. I dig it. Is it my favorite on the album? It is not, but I think it's definitely got something. And it's experimenting with the spare minimal thing that I think not easy to do.

[Lori]

I mean, I appreciate it for what it is. Don't get me wrong. It's just. It's not my. Not my cup of tea.

[Scott Free]

Not your cup of tea. Fair enough. That gives us an excuse to move on to track three. The title track. Blue Lines.

[C]

Can'T be with the one you loved and love the one you're with in the ashtray was droppable to little touch tickles Especially when she's gentle for hours to hear words Cuz I slide the instrumental Keep the girl in the distance Moves very hazy the sun in my life the world due to shady skip Hit data to get the anti matter Blue lines are the reason why the temple had to shatter 2 to sound of silence Surrounded by the mass a face is on the pavement of the strange that I pass the ones I'm looking back to see if they are looking back at me Are you predator? Do you fear me? Yeah. While I'm doing this, I know the place I really want to go to want to love the never gets near me It's a beautiful day when it.

[Scott Free]

Seems as such all right, so opens with this shuffling minimal beat shaker. A kick and snare rim shots that's sampled from. As are the keyboard line and baseline from Sneaking in the Back by Tom Scott and the LA Express.

[Lori]

That sounds dirty. It is a really nice contrast after that previous song, One Love.

[Scott Free]

Yeah. One Love is slow, plodding. Blue Lions has this quicker shuffle. It's livelier, still spare, but, you know, just a very different feel to it.

[Lori]

And we've got tricky 3D and daddy G all doing vocal duty on this one.

[Scott Free]

Yeah. Although Daddy G gets all of what, like two lines, right?

[Lori]

Yeah, well, he's still there.

[Scott Free]

Yep. So this is the title track. But why? Why Blue Lines for the title of this track and why Blue Lines for the title of the album? He wondered a lot.

[Lori]

Oh, I know this one.

[Scott Free]

Please regale us.

[Lori]

All right, so that. That line there, Blue lines are the reason why the temple had to shatter. Blue Lines is supposedly a reference to snorting lines of crushed Valium pills.

[Scott Free]

All right.

[Lori]

I've read that in a few different places.

[Scott Free]

Okay, well, if they were not going for the ecstasy fueled, high octane party of the Manchester scene happening elsewhere in England and Europe, well, certainly a line of crushed Valium would take them in a very different direction.

[Lori]

Yes. And then of course, we have Spliff in the ashtray. Red Stripe, I pull the lid. Red Stripe Beer. Right.

[Scott Free]

So to make a good beer, as they used to say. So, yeah. All right. The Massive Attack Ghost samples the beat to sneak in in the back, reproducing the drum pattern note for note, hit for hit, but then also includes the original when the keyboard and baseline get scratched in by the dj. Unless it's kind of tough to tell whether it's Ghost sampled or just the Massive Attack version just feels so much fuller and deeper and cleaner than the original Tom Scott and LA Express version of Sneaking in the back. But for all I know, that could just be studio engineer really earning his keep and using that studio magic. The track also features a sample of Rock Creek park by the Blackbirds. So that quick picked rhythmic guitar line, the sort of dick thing, that is a sample from Rock Creek park by the Blackbirds, along with that sort of bent dropping conga drum note, that new sort of thing they got going. In addition, there is a sample from Give It Up, Turn It Loose by James Brown.

[Lori]

Oh, I didn't catch that one. Well, and what was that again? For the guitar?

[Scott Free]

You heard me. Although I literally have it written in my notes. As.

[C]

Many dicks.

[Lori]

Is that a lot? Okay. Anything else on. On Blue Lights?

[Scott Free]

You talked about the drugs. It's probably plenty.

[Lori]

Yeah, okay.

[Scott Free]

You know, I talked a lot about the samples in the groove. You know, it's a fine track. It's not necessarily my favorite on the album. Perfectly good. Massive Attack Track. And that's maybe all I have to say about that.

[Lori]

I think I like this one better than some of the other tracks on the album. Not my favorite either. But this is, I think, a little closer to the Massive Attack that I came to know and love.

[Scott Free]

Fair enough.

[Lori]

Okay.

[Scott Free]

Oh boy. But that was only track 3 from here on out. Oh, God. This album really hits its stride and gets so good.

[Lori]

Okay, well then the next song is called Be thankful for what you've got.

[C]

You may not have a coral but just remember brothers and sisters, you can still stay tall. Just be thankful for what you've got.

[Scott Free]

So this obviously is a cover of the 1974 one hit Wonder by William Devon. Be thankful for what you've got. I remember when I first heard this album, and every time since thinking, man, that is one faithful note for note cover of the William Devon soul R and B hit from the 70s. What I did not realize is not only is it a faithful note for note cover, it is that track. It's just straight up sampled. Now, I will also say I always thought hearing this Massive Attack version that in one important way it's superior to the original. And that is when the lead vocalist says, but remember brothers sisters, They've got the counterpoint of backup singers. So just remember brothers, brothers sisters, which is so much better and should have been in the original. They actually just took the first song, added a little something to it, and made it, for my money, better.

[Lori]

The lead vocalist that you mentioned, by the way, is Tony Bryan.

[Scott Free]

Yes. One of that revolving door of additional singers they bring in to level this album up.

[Lori]

Yes. So it's my understanding that Daddy G chose this song because he wanted to include a cover of a soul classic. It was one of the first songs they recorded for this album, but 3D did not want it to be included. He thought it sounded too soft and retro.

[Scott Free]

Well, I mean, it definitely is retro, but not a problem in my book.

[Lori]

Yeah, I did find a quotation. So in 1993, 3D said, it's a sentiment for the 90s. What's the point in killing people for their Nikes? We're living in a time where nobody can be satisfied with what they've got because of the media. You are bombarded with stuff to desire all the time. Hence, be thankful for what you've got.

[Scott Free]

Yeah, it really is sort of the antithesis of some of the very materialistic themes and messages that you were getting out of other hip hop of the time. You know that the lines, diamond in the back, sunroof, Top Digging the scene with the gangster lean has been sampled over and over throughout hip hop. And it's just a great line. This is one of the all time, cool, cruising summertime songs. Just sort of laid back, driving in your car, digging the scene, man, it's a great one. And Massive Attack, even if they largely lifted the original, does it justice and makes it maybe not fully their own, but really adds a little something to the proceedings. Always love this one.

[Lori]

All right.

[Scott Free]

If 3D objected to the inclusion of this soul classic on this album, not the right call. I think part of the point of this sound system culture was using disparate sources and putting all kinds of influences together into one space, or in this case, one record. Well, including a soul record is not a problem in my book. And if he didn't like it in this one, well, he no doubt liked what came next because it is another complete change of pace. Going a lot harder on the reggae tip. Track five is Five man army.

[C]

Trendy, you know what I mean Hanging around with the girl who's rolling up her jeans she watches her street crash cause she's no dummy still rocking her microphone now she's calling me a honey Says I know what I want don't move with thugs where house part is hip hop and smoking drugs and rebels being a boss she's down with them she's always on time Cause the girl got rhythm to avoid no complications I give some information about a certain location under station popular than a drink Nicola Coca Cola Podon about his back disposing faces shaded in black is dominating as my color the massive attack right now I hit it, kick it, flow smooth, hit little I take a small step now it's a chance drive people sound loud why should I hide? Only had a small taste so what.

[Lori]

A waste oh, where to start with this one?

[Scott Free]

Well, I'll tell you where to start with this one. First line in my notes. Wait, this one's a cover too? I had no idea. But I guess it makes sense. Thinking of Massive Attack as the extension of the Wild Bunch, as the next sort of step in the evolution of a Jamaican style sound system. Finding and breaking obscure tracks, at least tracks that were new and obscure to this era and audience, you know, that's part of the spirit of it and the point of it. So, okay, cover it is.

[Lori]

I think you're speaking of Five man army by the reggae artists Dillinger and Trinity.

[Scott Free]

I'm talking of the reggae track Five man army by Dillinger, Trinity, Al Campbell and Wayne Wade featuring Junior Tamlin.

[Lori]

Oh my goodness.

[Scott Free]

Really rolls off the tongue.

[Lori]

Yeah. I don't know if it's necessarily a cover, but I know it is based around that song. But the writing credits don't mention any of them.

[Scott Free]

But as we did talk about earlier, they played fast and loose in the credits and did not clear their samples. Did not credit a lot of their samples. And so, eh, probably some songwriting credit was deserved here.

[Lori]

Okay, that's fair, that's fair. I mean it really is its own song, I think. Yeah.

[Scott Free]

I mean I gave the original a lesson. To call it a cover, I will admit is overstating the case, but it is lifting heavily from it, taking lines directly from it. So, you know, gray area.

[Lori]

Yeah. So you know, the thing I find interesting is called Five man army and there are five male vocalists on this track.

[Scott Free]

Not an accident.

[Lori]

No. The first verse is by a guy named Willie Wee. I don't know why I find that so funny.

[Scott Free]

I think we all know why you find it funny.

[Lori]

Yes. Because I have the sense of humor of a 10 year old boy. Claude Williams is the guy's name. All right. And so he does the first verse, then the second verse. It's Willy Wee and Tricky.

[Scott Free]

I love Tricky.

[Lori]

Yeah, I do love tricky. The third verse is tricky and daddy G. The fourth verse is daddy G in 3D. So they're kind of like just passing this along. Right.

[Scott Free]

Rotating in and out.

[Lori]

Yes. And then there's an interlude by Horace Andy. And you know, I mentioned earlier that the song I knew by him is Skylarking. And of course, what is he saying over and over? Skylarking. Skylarking. Yeah. The majority of Horace Andy's lyrics were lifted from some of his other songs.

[Scott Free]

Love it when he steals from himself.

[Lori]

Yes. Right. Self plagiarism, Cuscuss and Money money were the two that I found. So yeah.

[Scott Free]

At the 247 mark in the song, the getaway with your cus cuss we don't want it is from Lloyd Robinson's Cus Cuss. Naturally. There is yet another sample as well. The drum loop with the kick and the high hat and the rim shot is actually from Al Greens. I'm glad you're mine.

[Lori]

Oh, okay.

[Scott Free]

Yeah. And you can really feel that reggae influence in this one. It's. It's essentially a reggae track and it's covering a reggae track and it brings that reggae feel back. Yeah. Solid song.

[Lori]

And that deep dub bass too.

[Scott Free]

Oh yeah. Gut thumping.

[Lori]

The lyrics are very interesting and there's a few references that listeners might recognize in the third verse where Willie Wee is rapping because when I host my show, I avoid the girl called Lola, who's more popo popular than the drink. They call it Coca Cola. And he previously said that it was a certain location under Paddington Station. So that obviously is a reference to the Kinks.

[Scott Free]

Yeah. Oh, clearly.

[Lori]

They obviously name check Andy Daddy G. Wild Bunch crew at large. All right, so the next song is called Unfinished Sympathy. Let's listen.

[C]

The curiousness of your potential kicks stuck my mind and body kick.

[Scott Free]

Really hurts.

[C]

Me really hurting me how can you have a day without a night? You're the book that I have open and now I've got to know much more.

[Lori]

So this is one, Scott, that I think was released under the name Massive instead of Massive Attack because of the Persian Gulf War. Like I had mentioned earlier, right from.

[Scott Free]

The get go, there is that beat and those glass bells in particular under the main drum machine pattern. And suddenly there's another driving marching band sample. But yeah, this beat is just so good, so compelling. This is one of those tracks that I go back to over and over again over the years. Some of the reggae ones, maybe. I don't. This one. Oh, man, I love this track.

[Lori]

This is one of their bigger songs. It's often cited as being very influential. But those glass bells that you're talking about, that sends me into a freaking frenzy. It is. It's not. Not a regular meter. It's not a regular.

[Scott Free]

Heavily syncopated. Yeah, that's what does it for me.

[Lori]

Oh my God. It just makes me want to scream.

[Scott Free]

Seriously.

[Lori]

Yeah.

[Scott Free]

Well, I can tell you who to blame for that. Then that drum pattern and that crazily syncopated glass bell situation that drives you so crazy. That is Mushroom who programmed that beat. So blame Mushroom. And then under that there is another beat from J.J. johnson's parade strut from the 1974 blaxploitation film Willie Dynamite. From the soundtrack, he adds a driving marching band beat that's subtle, but you can hear it under there. So even if you cannot appreciate mushrooms drum programming, work on this one. And hard disagree there. Certainly you can appreciate Sherrod Nelson's vocal performance here.

[Lori]

Oh, absolutely. Yeah. No, she makes it.

[Scott Free]

Yeah. This is a tour de force vocal performance. She is just wailing in just the best way.

[Lori]

Yes. She actually wrote the melody for the song and she recorded it with Johnny Dollar, who was one of the co producers of the album.

[Scott Free]

Yeah. When In Mushroom overheard her singing it and was like, you have to turn this into a song. And so she ran with it, wrote the Lyrics wrote the melody, and then Mushroom started teaming up with her to do it.

[Lori]

And then.

[Scott Free]

Yeah, then Johnny Dollar brought in the strings.

[Lori]

40 piece string section. Yes.

[Scott Free]

Yeah. And this was not something that they had a budget for.

[Lori]

Right.

[Scott Free]

This was a debut album. Although Naina Cherry and husband McVeigh were helping the band with the production, they did not have a budget for. For a 40 piece orchestra. So the band actually had to sell their Mitsubishi Shogun to raise the money to pay the orchestra. So that the sacrifice paid off because those strings really do. Next level, this track.

[Lori]

There's also a recurring vocal sample from Planetary Citizen by Mahavishnu Orchestra.

[Scott Free]

Oh, yeah, that other counterpoint female vocal of that.

[Lori]

Except it's not a female vocal. It's really. Yeah, it's Narada Michael Walden is the guy's name.

[Scott Free]

Well, shut my mouth.

[Lori]

And he also does the. Are you ready? You know, aside from the chiming percussion, that drives me nuts. Other than that, I think it's a fantastic song. And actually I have in my notes that it reminds me of a Moby song.

[Scott Free]

Interesting.

[Lori]

Yeah.

[Scott Free]

Which Moby song?

[Lori]

Any Moby song. Just a. They all sound. I. I don't know, it just. It sounds like a song that he would.

[Scott Free]

Oh, well, those sweeping strings and then the. I guess not female sampled vocal. Yeah, I could. I could see how you could feel that.

[Lori]

Yeah. Okay.

[Scott Free]

You know. Also notable for this one is the music video. Unlike the other videos we've talked about, this one is in color. And unlike the other ones that are black and white, this one is in color and notably set in the States and in LA in particular. It's an interesting video in that it is Sharon Nelson walking down the sidewalk in la and it is done in a single take. There's a Steadicam operator walking backwards in front of her. So she is just walking through the city streets of a kind of rundown neighborhood with various odd characters, many of whom were just people on the street, not actors, just walking and singing in a single take for the duration of the song. Apparently they shot it in LA because the Steadicam operator who was going to shoot it lived there. And it was cheaper for them to go there than for them to ship the equipment overseas. And they did six takes of this five minute long video before the steady cam operator's back gave out. And they're like, okay, that's all you get.

[Lori]

Okay.

[Scott Free]

Other members of the band walk through the frame or are seen walking behind Sharon Nelson just for short bits here and there. But mostly it's just Shara walking Down the street singing her heart out.

[Lori]

This was released as a single on February 11, 1991, so it predated the album. It is widely cited on multiple critics lists as one of the best songs of all time. The thing that I found fascinating that I did not know is that Tina Turner did a cover of this song in 1996. And you are at a loss for words.

[Scott Free]

I am theoretically interested in hearing it, but I cannot imagine it measuring up to the original.

[Lori]

Well, that's all I got on that one.

[Scott Free]

Ah, so we have finished Unfinished Sympathy, eh?

[Lori]

Yes.

[Scott Free]

That time somebody did it.

[Lori]

I just caught what you did there.

[Scott Free]

Yeah. That brings us to track seven. Daydreaming.

[C]

Boom boom boom. Yes, Daddy. Massive, massive, massive. Boom boom Chicka chick boom chicka chin Boom chicka chin Way that we say I'm in style. Every rhythm in Massive Attack we keep it strong just like a vitamin Going for the positive and wiping out the negative songs? Cause brother it's relative the pastors pick up all the lyrics on the dance floor Raise your spirit level Cause it demands for attitude Just cool breeze below zero up against the wall behavior like De Niro Trick is performing Taking his photo Making a stand with a tan Touch it like Coco.

[Scott Free]

This song is just so goddamn cool. Oh, man.

[Lori]

Yeah, no, I. I really dig this one. This is a good one. We've got Shara Nelson on vocals again and tricky in 3D doing the rap. Trading off rap duties, I guess, as.

[Scott Free]

Well as a bit by Daddy G as well. That deep booming. My AK rig goes boom boom. We'll get to that. The beat is so compelling. Not a fast beat, but it has this driving machine like plotting forward, relentless nature. And it's just so cool. The beat is actually, of course, sampled originally from a 1984 track called Mambo by Wally Badu. And again, they are not picking the obvious hit songs and turning them into hip hop masterpieces. They are digging so deep in the crates. Who the hell has ever heard of Wally Badaroo? Sorry, Wally, if you're listening, never heard of you, buddy.

[Lori]

The album was called echoes from 1983.

[Scott Free]

There you go. That sample is not just that very compelling beat, but also the sort of haunting, chimy keyboard line that comes in occasionally of the looped sample. Wally Badaroo said it was done with my negotiated consent. I got properly credited, so I can't see that it could ever be a ripoff. Given the magnitude of their success afterwards, it sure looks like something one can only be proud to be a part of. That once again, from the Classic pop mag article I continue to reference.

[Lori]

You know, speaking of Wally Bataroo, I just looked him. I looked him up on Wikipedia and he's being identified as the, quote, fifth member of Level 42. Oh, yeah.

[Scott Free]

Freaking love. Level 42. Yeah, yeah. Something about you. Lessons in love. Never mad to hear those.

[Lori]

Yeah. Looks like he did keyboards, synthesizers and programming and co wrote some of their earlier songs.

[Scott Free]

Well, well, well.

[Lori]

But he was never officially a band member. See? See what you learn by tuning into accelerated culture.

[Scott Free]

You guys, I've learned something today. And all that is great for me. You know, sometimes Massive Attack can get somewhat serious in their lyrics. Introspective, contemplative, socially awareness. But then sometimes in this track in particular, they're just freaking funny daddy GS. Because my AK rig goes boom boom. My AK rig goes boom. Like, yeah, it's referencing guns. And that's very typical hip hop. But the way he delivers it, it is difficult to take that seriously. Almost sung in this huge deep bass that is really more for the boom boom than it is for the ak. And then also when they drop if I Was a Rich man, like, not a lot of hip hop is dropping Fiddler on the Roof references, including the da da da da da da da da da da da da da da da. That's just fucking funny right there. And they're having fun with it. You know, hip hop is known for dropping cultural references just for their own sake, to be funny or because they fit the rhyme. And there is one that Tricky does in here that I freaking love.

[Lori]

I think I know it.

[Scott Free]

Yeah, you do. They shouldn't have been born they're making me yawn But I'll just take it easy like a Sunday morning. Like, you don't get a lot of the. Yeah, Commodore easy like Sunday morning references. That is just funny. But that was not the one you were thinking.

[Lori]

No, it's not. The one I was thinking was, attitude is cool Degrees below zero up against the wall Behaving like De Niro.

[Scott Free]

Very good. And I will see you that and give you an even goofier reference. That to me, is hilarious. Again, tricky because it's a concrete jungle Evil in the town Weebles wobble, occasional squabble but what happens when the bomb drops down? Freaking Weebles reference, dude.

[Lori]

I know.

[Scott Free]

I love it.

[Lori]

I squealed when I first heard that because, you know, I had all my weebles when I was a kid.

[Scott Free]

Pretty much. If you're listening to this show, you are probably Gen X or a millennial. And if you're Gen X or a Millennial. You know what the Weevils are, by the way, side note, when I have been telling people to listen to this show and they're like, okay, what's it called? I say Accelerated Culture. And they're like, huh? Accelerated Culture. Why? Okay, most people, I think, are not getting that reference. This is a late 80s and 90s Alternative music culture show. And again, millennials, or more likely, Gen X listening to this. And many of you may not remember how the name of this generation came to be, but it is from the Douglas Coupland novel Gen X. But even fewer people remember that the full name of that novel was Gen X Tales for an Accelerated Culture.

[Lori]

I guess that was me trying to be clever when I came up with that.

[Scott Free]

But maybe a little too clever. No, it's a great name, but we got to publicize that reference more.

[Lori]

Okay.

[Scott Free]

Oh, were we talking about a song or something?

[Lori]

We were. We were. You know, back to the lyrics on daydreaming. Yeah, Maggie this, Maggie that. Maggie means inflation. And this was, of course, you know, the height of the Reagan Thatcher era.

[Scott Free]

You know, by this point, the Thatcher.

[Lori]

Bush era, But yes, yeah, coming off the tail end, but yeah, yeah, you're right, you're right. There's one line on this one that I just love more than all the others. Okay, maybe, maybe not as much as the Weebles line, but almost living in my headphones. Sony's what I say to him. You know, and I mentioned this earlier about how this is like a Headphones album. And I think I even read somewhere that somebody has called this headphone rap. And the idea of, you know, just him kind of just absorbed in the music and blocking everything out. And then the next line is the surreal boom of the Butokan stadiums, which I thought was a reference to the famous city in Japan with the venue, but apparently it's actually a reference to a particular make or model of the Sony Walkman. Really?

[Scott Free]

Yeah, no, it was my dog sitting on my keyboard and like, dude, oh, okay, you're not a cat. Don't do that. You're a 45 pound dog. Sorry, specific model of Walkman. Really?

[Lori]

Yeah, yeah, yeah. Which I thought was interesting, but it makes sense the way that 3D kind of approaches the world about, like putting on headphones and just kind of blocking everything else out and just immersing yourself in the music.

[Scott Free]

Yeah, yeah, I'll buy that. Yeah.

[Lori]

I do have some quotations on this one. The first one is from Tricky. He said to rage magazine in 1991.

[Scott Free]

There'S a rage magazine. Yeah, I need to subscribe to that next.

[Lori]

Well, I mean, it was in 91. I don't know if it still exists, but. Okay. Daydreaming perfectly describes who we are. If me and G went out talking about beating and shooting people, it wouldn't be us. I love that sort of stuff. I've even tried writing hard, aggressive raps, but at the end of the day, that's not me. Rapping is about putting your personality across.

[Scott Free]

Truth. Yeah. It is about truth.

[Lori]

Yeah. Tricky. You know, when I think of Tricky, I don't think of that. Hard, aggressive, violent. You know, he's just so chill. He's just so laid back in the way he delivers his lines. And that sounds like that is his personality. The other quotation I found was from the RAFT message board in February 2002. And this is from 3D. He was explaining how Massive Attack got signed to a major record label based on this single. He said Virgin Slash, Circa were the most interested at this time, but there was a general sense of caution from the industry. I played everyone a rough vocal idea that I'd done with Tricky. This became Daydreaming. We demoed it and everyone went crazy. Everyone wanted us. We went with Circa, released Daydreaming and.

[Scott Free]

Finished the album Circa, which was also Nina Cherry's label. It's true.

[Lori]

I believe you. Yeah, yeah. And this was a single that predated the album, too. This was released in October of 1990.

[Scott Free]

Yeah, 90. Yeah, yeah.

[Lori]

Six months before the album came out.

[Scott Free]

Yep.

[Lori]

All right, so I guess then that brings us to the next track, which is called Lately.

[Scott Free]

This is a pretty straightforward R and B track and I'm good with this.

[Lori]

I really don't have anything on this in my notes. This is like the one. I couldn't find anything. But as I'm looking at the credits, all the people that are credited in the writing of this song, Daddy G, Mushroom, 3D, Shara Nelson, Gus Redmond, Larry Brownlee, Jeffrey Simon and Fred E. Simon.

[Scott Free]

Well, I'm going to go ahead and guess, and I think rightly, that those non Massive Attack names that you're seeing credited as songwriters are from the sample. And the main sample really dominates the music here. But that main sample, the groove of the bass and the drums, is sampled from Mellow Mellow Right on by Lowell in 1979. And it's a funky jazz tune and it also provides the swell of strings and additional drums from the drum break at about the 46 second mark are from the song Joy from Isaac Hayes from 1973. And, you know, yes, the big main sample, that Mellow, mellow write on is doing most of the musical heavy lifting here. But DJ Mushroom is doing some pretty cool work with the scratching of it. Scratching those strings. It's really more crossfading, bringing the track in and out in rapid fire rather than actual or crossfading to something else. But it's done with the crossfader, just trust me on this one. So, yeah, it takes the sample, but it manipulates it and gives it their own twist on it. But then, you know, Shara Nelson singing. Just beautiful work. You're not going to be mad about it.

[Lori]

Oh, no. And the lyrics are gorgeous.

[Scott Free]

What do you got?

[Lori]

Summertime always gives me the blues Thinking about the things we used to do Watching lovers in the park make love so free and now I realize there's only me lightly Baby, where did we go wrong? Then of course, there's a Tennessee Williams reference. You've been acting like a cat on a hot tin roof.

[Scott Free]

Got to appreciate that obligatory Stella reference. Yeah.

[Lori]

But to me, the part that really gets me is the bridge right before the outro. I used to synchronize it with your body. Making it so tight Never letting go. That is gorgeous.

[Scott Free]

Yeah, yeah, yeah. Sharon Nelson's underrated contributor to this album, Massive Attack would go on to have many other ladies singing with them, but she is an indispensable part of this album. Not just the voice, but also songwriting.

[Lori]

Yeah, yeah.

[Scott Free]

That said, we come to the closing track of the record and only nine tracks deep, this album. But these are not the shortest tracks you ever did here. Track nine is Hymn of the Big Wheel.

[C]

The big wheel keeps on turning On a simple line D by D the earth spins on its axis One man struggle while another relaxes there's all in my soul Solar like a cavity Seems like the world is out together Just by gravity the wheel keeps turning the sky's rearranging look, my son the weather is changing I'd like to feel that.

[Scott Free]

You could be free oh, my God, this track is so freaking beautiful.

[Lori]

Yeah.

[Scott Free]

Oh, don't you think?

[Lori]

Yeah.

[Scott Free]

What? Get the out of here with that. Nah, shit.

[Lori]

I mean, I. I do appreciate that this is the one track on the album that was a collaboration between Massive Attack and Nina Cherry.

[Scott Free]

Sure.

[Lori]

And she co wrote it with 3D with the intent that it would be performed by Horace Andy.

[Scott Free]

Yeah. All right, so 3D talked about this track in NME magazine in 1991. It's a good quote. I think it does build a Bigger picture than the rest of the tracks on Blue Lines, because the rest are kind of unfocused. They just drift around in their own way rather than paint an obvious picture. We're as worried about things like pollution as everyone else. It's just we don't want to write about it. So obviously we ain't got no solutions to the problems. Just questions, you know.

[Lori]

Yeah. This is actually a very early example of the band's interest in geopolitical issues. And later on in their career, as you know, Scott, then that started to become a very prominent theme in their work.

[Scott Free]

Oh, for sure.

[Lori]

Yeah.

[Scott Free]

Yeah. So, I mean, lyrical content notwithstanding, for me, the music on this one is just gorgeous. Yes. And if during the opening you think you're hearing whale songs, you are thinking correctly. You think. Right. It is a sample from the Whale Trip by Frank Worthington from the album Songs of the Humpback Whale. So literally, it's whale songs.

[Lori]

Well, because my notes say that it is the only song on the album not to contain any samples.

[Scott Free]

Right. Well, it's not a musical sample so much as a sound effect, but yeah, Musically though, it is stripped down. But that drum pattern that they create, super groovy and chill, but has that energy to it. But, you know, it's a mid tempo groove and then just these very spare, minimal keyboard parts. I don't know, this song really, really gets me. And lyrically, this one I really like a lot. You know, the environmental issues that will become a big theme for Massive Attack in albums to come. But you can see that introduced here. We sang about the sun and danced among the trees and we listened to the whisper of the city on the breeze Will you cry in the most In a lead free zone down within the shadows where the factories drone I mean, they're not hitting you over the head with, you know, we gotta clean up the environment, but painting a picture of the quality of life in the city, you know. And then the chorus, the lyrics of the chorus. Big Wheel keeps on turning On a simple line Day by day the earth spins on its axis One man struggles while another relaxes. It's not gonna knock your socks off with how powerfully deep it is, but poignant. Yeah, simple, poignant.

[Lori]

Nina Cherry is actually performing the female vocal harmony on this, but she's not credited. I think I would like this song better if Nina Cherry had been doing the primary lead vocal. I think that that's what I don't like about it. I think it's Horace Andy.

[Scott Free]

You're a Horace Andy hater.

[Lori]

About a Horace Andy hater. I just don't think he's right for this song. Oh, his voice on this one bothers me. I do know that it was the first and until 2001, the only entirely original song that Horace Andy and Massive Attack collaborated on.

[Scott Free]

Huh.

[Lori]

Yeah. Because the other songs on the album were not. Were not original songs.

[Scott Free]

Oh, I see. I see. In terms of the actual songwriting.

[Lori]

Right, right.

[Scott Free]

Got it.

[Lori]

So, I mean, again, I appreciate it for what it is. You know, it was a moment in time and, you know, it captured the concerns that our generation had at the time and still do.

[Scott Free]

Unfortunately, we've just largely given up at this point.

[Lori]

Yeah, Right. But I just. I don't care for this song.

[Scott Free]

What?

[Lori]

Yeah.

[Scott Free]

This is usually the point when we have done the track by track where we ask each other, what is your favorite song on the album? And while I have a tough time deciding this is one of the three that I have to choose from. I'll throw it back to you before I make that decision myself. Laurie, what is your favorite track on the album?

[Lori]

Daydreaming. Absolutely.

[Scott Free]

Also one of my three. I think I am likely to actually get it to Daydreaming as well. This is one of the few times where we actually agree. But, yeah, it's Unfinished Sympathy, it's Daydreaming or him of the Big Wheel. And I can't quite wrap my head around how you don't love him of the Big Wheel like I do. But I guess this was not an album you were familiar with before doing the review for this episode. What is your take coming out of it?

[Lori]

Well, it's nothing that I think I would go out of my way to listen to. However, I really do appreciate it for everything that came after. I appreciate it for not only laying the foundation for Massive Attack's future work, but also for so many artists that I like that have cited this album as an influence.

[Scott Free]

Okay, that's crazy. I guess you may not be exactly the same person I am, and you may have tastes of your own, I guess. But man, I love this album so hard. I recently went out of my way and did get it on vinyl. I think it is a brilliant chill album. It is not one of those where every single track on it is a stone cold classic and it's not a perfect album, but damn, is it good. Especially when you consider that this was their debut and yeah, the first album. Whether the band accepts the mantle or not of the trip hop genre and talking a little bit about the legacy and other bands that Cite it as an influence. This was the first. And hot on its heels comes Portishead. Come on.

[Lori]

Well, and I love Tortoise Head and Tortoise Head and Massive Attack really both get kind of lumped together as this quote Bristol sound.

[Scott Free]

Yep.

[Lori]

But they're also very, very different though.

[Scott Free]

Yeah. Although that dark atmospheric thing they do have in common.

[Lori]

Yes.

[Scott Free]

Portishead was not. Not part of this sound system tradition. And they were much more strictly musical. There reggae in there, just barely soul, you know. And Beth Gibbons, her voice is absolutely gorgeous and the one singular voice you hear throughout all of Portishead. So gna give you a very different feel than sort of the whiplash you get from all of these different rappers and singers that you get in Massive Attack. But yeah, like, you got Pish Head, you've got Morchiba, you've got Tricky's solo career. And as I mentioned earlier, Max and Quay, Pre Millennium Tension. Oh man, these albums are mind blowingly good. And it gets darker.

[Lori]

Well, I know I mentioned earlier, they definitely had to have influenced Conjure 1 and Delirium, who are two of my favorite chill out, listen to relax bands, if you can call them that, I mean, because it's really like one guy and a revolving roster of female vocalists.

[Scott Free]

Other artists who would incorporate trip hop into their repertoire. Bjork, yes, her album debut, while it had more house music feel at times, really did have trip hop in there. I mentioned earlier Morchiba, DJ Food and the Herbalizer. And then later you get like Sneaker.

[Lori]

Pimps and Thievery Corporation. 07. I love 07.

[Scott Free]

07 totally. So massive Attack would quickly evolve and each record they made was radically different than the one before it. That was really a goal that they had and you know, in the sort of where are they Now? Blue Lines had the track Five man army and that's really what the band was. But quickly that five man would become four man. As Tricky Leaves pursues a solo career and holds a bit of a grudge against Massive Attack for feeling like he was not properly credited for his contributions to the band's sound. Others will leave until Massive Attack does still exist. They had to cancel a tour at the end of last year, which was disappointing. But at this point the band is largely 3D. He is sort of the last man standing. Others have come back and gone out again. But yeah, it's pretty much 3D now. Hoping to hear new music from them or him and see who he brings back into the fold.

[Lori]

But yeah, well, let's talk about 3D. For a second here. So earlier you talked about the COVID artwork.

[Scott Free]

Yes. And that he was a well known graffiti artist during his Wild Bunch days, before Massive Attack was even. Massive Attack. Right, yes.

[Lori]

Yeah. 3D. 3D was his tag. There's been a lot of speculation, Scott, that 3D might actually be Banksy.

[Scott Free]

True. I mean, well, true. There is that speculation. It was noted that when Massive Attack was out on tour in cities where they would be playing, it was not at all unusual for a Banksy piece to suddenly appear. So the thinking was it could be somebody in the band, it could be somebody touring with the band, it could be one of their entourage or someone they know. But, yeah, it seems there were enough data points on that one that it seems to be not a coincidence.

[Lori]

Well, and it's kind of hard to look at the album artwork, to look at that and not see similarities between that and a lot of Banksy's work.

[Scott Free]

Right. And the back cover, at least of the CD liner notes, there are illustrations that I believe are 3D's work and painted. And I'm not saying it looks like Banksy, but for an album that is now 33, 34 years old. Give that style of illustration time to evolve and. Yeah, that's plausible for this.

[Lori]

I want to quote the 33 and a third on massive attacks blue Lines, because I think this is so clever. He says, like Keyser Sose, many people claim to know Banksy or work on his behalf. He sometimes gives interviews and then denies having done so through a press agent. Banksy could be a design collective, a man or a woman, an old school graffiti writer or an idle public school kid. So the thing that caught my eye there, besides the reference to Usual Suspects, which I love, is a design collective. And how else would you describe Massive Attack? I mean, maybe not a visual design collective, but it's definitely a creative collective.

[Scott Free]

Yes.

[Lori]

And in 2017, late summer, there was an interview, allegedly with Banksy in a magazine called Boundless. And then, as is often the case, a quote, unquote, Banksy representative then denied that that conversation took place again from the 33 and a third book. Now, the important part. That interview was allegedly granted during the late summer of 2017 to clear the air, to declare once and for all that Banksy is not Robert Del Naja, also of Bristol. I'm intrigued.

[Scott Free]

The whole. Any press release given by Banksy or Banksy's representatives is immediately suspect. Yes, of course they're going to deny it.

[Lori]

Also in 2007, a Twitter account that supposedly was 3D's official account had only four tweets. One read, I confirm I'm Banksy. Then the next one, I will never talk about Banksy, nor will I answer in his name.

[Scott Free]

Fascinating.

[Lori]

Yes.

[Scott Free]

Yeah, well, we may. Or no? So I did get to see Massive Attack in September of 2019. They performed at the Chicago Theater. They did Mezzanine in its entirety. And I was coming into that show. I'd been involved in leadership in an art and activist and event community that shall remain nameless here in Chicago. But I was coming into. Into it sort of at a point of approaching disillusionment. I was up for a leadership role, an official leadership role with a title and everything. And I was considering stepping away from it because I wasn't feeling inspired anymore. And I was not sure that what we were doing was making a difference. And that was really engaging the people. And I went to this Massive Attack show, and the music was obviously amazing because Mezzanine is an amazing album. But the multimedia show, the projections and the films that they were projecting had an entire dystopian narrative to them of technological and political oppression and of an uprising for the people to seize power for themselves and to make the world a better place. And I came out of that show absolutely fired up and did accept that role and was ready to reengage with this community and make a real difference, to get the people inspired and making art and making real social change. And, you know, I came out of it really fired up.

[Lori]

That, to me, is like one of the highest purposes of creating art is if that art inspires somebody else.

[Scott Free]

Yes.

[Lori]

You know, if it moves them in such a way that they're driven to create or they're driven to take some kind of action. And that's what I hear you saying, and I think that's awesome.

[Scott Free]

Absolutely. Hopefully, they will be producing new music, or he, if it's just 3D at this point, will be producing new music. And we can hope to see another tour in the not too distant future.

[Lori]

I hope so. Yeah. Well, Scott, we have been going back and forth about what we're going to do for our next episode, and I think we finally reached a decision after much debate, indeed, argument, maybe a few threats, I don't know.

[Scott Free]

And we will preface this. Most of the time, we choose albums that we personally love, or at least when they came out, loved. Albums that changed music, that changed the definition of alternative, change the definition of pop, created entire new genres in the case of, say, Massive Attack and Blue Lines. But sometimes there are albums that are just important and launched huge, influential careers. And maybe we didn't love the album then, but maybe it requires a re listen to see what was going on and why it became such a big deal. And I think maybe that's what we're looking at this time.

[Lori]

Yeah, I think that's a fair assessment. Although I will say I did like it at the time. I just. I got sick of it.

[Scott Free]

Fair enough. So what is it, I wonder Aloud?

[Lori]

Oh, well, we are talking about 10 by Pearl Jam. So we're going to revisit the whole Seattle grunge scene. You know, we started early on in 91 with Nirvana, so it makes sense that we would have to circle back to Pearl Jam. Feel like you can't do one without the other. So please tune in in two weeks and we will be doing a track by track analysis of Eddie Vedder and company. Well, everybody, this is Lori signing off.

[Scott Free]

Goodbye from me and from me, scott free. We'll see you in two weeks.