Close but No Cigar

Well, if anyone actually reads this thing regularly, they'd know that I just finished listing my favourite ten records of all time. For those of them who really give a shit, here's the list again:

1. OK Computer - Radiohead
2. ( ) - Sigur Ros
3. Yankee Hotel Foxtrot - Wilco
4. Bitches Brew - Miles Davis
5. Abbey Road - The Beatles
6. Blood on the Tracks - Bob Dylan
7. Kid A - Radiohead
8. Strange Bird - Augie March
9. Mothership Connection - Parliament
10. Pink Moon - Nick Drake

Having put all that out on paper, so to speak, I thought I'd list a few of the records that I shortlisted, primarily as I felt guilty for not mentioning some of my favourite albums on a post listing my favourite albums. So it is with a mixture of congratulatory and apologetic glee I offer (In no real order - possibly alphabetic if I get anal retentive):

Air - Moon Safari: No one does ambient like this.
At The Drive-In - Relationship of Command: The best hard rock album of all time, hands down.
Beck - Odelay: A new kind of genius emerged when this appeared in 1996.
Belle and Sebastian - Tigermilk: 'She's Losing It' is the template for all pop music.
Bjork - Debut: Ditto Beck.
Blur - Think Tank: Everyone talks about Parklife and Gorillaz, but this is Blur's, and Damon Albarn's, watershed moment.
Bob Dylan - Blonde on Blonde: Just because of the front sleeve haircut.
Can - Tago Mago: Multinational, multicultural, totally mental, all awesome.
Captain Beefheart and his Magic Band - Safe as Milk: Everyone talks about Trount Mask Replica, but this is the classic.
David Bowie - Ziggy Stardust and the Spiders From Mars: The first and only glam rock record to stand the test of time.
David Bowie - Aladdin Sane: The perfect way to follow up Ziggy.
Doves - Lost Souls: Former dance trio create moody, Mancunian magic.
Elbow - Cast of Thousands: Mellow Radiohead. More sad, less angry, just as beautiful.
Frank Zappa - Hot Rats: Would be in just for the Beefheart vocal cut, but the other 59 minutes are equally awesome.
Happy Mondays - Pills'n'Thrills and Bellyaches: The 'Madchester' scene redefined rock'n'roll, and this defined Madchester.
Jimi Hendrix - Are You Experienced: The biggest and best hands of all time.
Led Zeppelin - III: Only in ahead of I and IV because of 'Bron-Y-Aur Stomp'.
Massive Attack - Blue Lines: Revolutionary in every conceivable way; still being copied 15 years later.
Nick Cave and the Bad Seeds - Abattoir Blues/The Lyre of Orpheus: He rhymed 'Orpheus' with 'orifice'. Enough said.
Nick Cave and the Bad Seeds - And No More Shall We Part: Sadness was never this stunning.
Nick Drake - Five Leaves Left: What 60s folk music was all about.
Peter Gabriel - So: The only person ever to make Worldbeat sound cool.
Pink Floyd - Wish You Were Here: Just overblown and pretentious enough.
Portishead - Dummy: Built on Massive Attack's foundations, and pumped it full of acid.
Pulp - Different Class: 'Common People' is the best angry bloke song ever.
Queens of the Stone Age - Rated (R): 'Feelgood Hit of the Summer' might just be the best SONG ever.
Rage Against the Machine - Rage Against the Machine: I stole their name, so I owe them. And it's amazing too.
Rufus Wainwright - Want Two: High camp and high drama will never dance this closely again.
Sigur Ros - Aegaetis Byrjun: Sheer. Icelandic. Maginificence.
Sly and The Family Stone - There's a Riot Goin' On: Funk and angry militant activism. One potent mix.
Sufjan Stevens - Come On! Feel the Illinoise!: It's totally unreal, it shouldn't work, but it SO does.
Super Furry Animals - Rings around the World: The best album by the band with the best name.
Television - Marquee Moon: All guitarists - actually, all humans - ahould hear this record.
The Arcade Fire - Funeral: Probably the best debut album since Bjork.
The Avalanches - Since I left You: Another Aussie entry, and redefined what Aussie music could mean to the world at large.
The Beatles - Revolver: The pefect balance between pop melodies and avant-garde. Brilliant.
The Beatles - Rubber Soul: The turning point for this most incredible band. A lot of people till haven't figured out what 'Norwegian Wood' is all about.
The Cure - Disintegration: Another fine entry into the pantheon of glum rock. However, it's the flashes of happy that make this a classic.
The Frames - For the Birds: Ireland's best ever (and I'm aware of where U2 come from), make their best ever.
The Shins - Chutes Too Narrow: For unashamedly poppy pop music, this is incredibly important and foot-tappy.
The Smiths - The Queen is Dead: I love Morrissey.
The Velvet Underground - The Velvet Underground and Nico: This must have pissed off a lot of people who though Sgt Peppers was controversial.
Tom Waits - Sworfishtrombones: Waits' Revolver. The midpoint and highpoint of an incredible career.
Tricky - Maxinquaye: Music at its most technicolour.
TV on the Radio - Return to Cookie Mountain: Probably too soon, but in time, this will be on every all-time list.
Wilco - A Ghost is Born: Hard to pay attention to after YHF, but nearly as good, and the good bits are probably better.

All time top ten - #4 - Bitches Brew

In 1970, Miles davis seemed to have lost relevance. 11 years ago, with Kind of Blue, he had provided modern music with a genre-defining moment, a statement of musical intent that redirected jazz for future generations and established himself as the premier jazz man of the 50s and 60s. However, in 1970, rock music had well and truly arrived. Hendrix had demolished 'Star Spangled Banner' onstage at Woodstock, the Beatles had spent nearly ten years bending conventional notions of popular music, Captain Beefheart had set new standards of experimentalism, possibly inventing Prog-Rock with the insane Trout Mask Replica and now Led Zeppelin, Black Sabbath and the Rolling Stones were taking the Blues and rocking it within an inch of its life. Jazz need a kick in the pants to remain current and important. And Davis provided it.

Bitches Brew is a law unto itself. Genre barely counts, it almost seems unfair to label it as a jazz record. The rhythm section is almost conventional - well, as conventional as two bass players and a veritible army of percussionists could be - but that's where comparisons to pre-existing jazz music ends. Horns and woodwind swirl in cacophanous harmony, keys dance around the backbeat, drawing on influences as diverse as The Doors and Thelonious Monk, all the while, all sections of the band retained the improvisational stylings that Davis pioneered in 1959. Over three days anger, confusion, and exhilaration had reigned in the studio, and the sonic themes, scraps, grooves, and sheer will and emotion that resulted were percolated and edited into an astonishingly organic work. This Miles Davis wasn't merely presenting a simple hybrid like jazz-rock, but a new way of thinking about improvisation and the studio. Both lauded and savaged by critics, many of whom took offense at the use of an expletive on a record cover, Bitches Brew invented fusion, defied definition and opened the eyes and ears of an entire generation of musicians.

First, there's the slow, modal, opening grooves of "Pharaoh's Dance," with its slippery trumpet lines to John McLaughlin's snaky guitar figures skirting the edge of the rhythm section and Don Alias' conga slipping through the middle. The keyboards of Chick Corea and Joe Zawinul create a haunting, iffing groove echoed and accented by the two basses of Harvey Brooks and Dave Holland.

The second half of side one, the title track, was originally intended as a 5-piece suite, but only 3 made the final cut. Polyrhythmic, ebbing and flowing, climactic and cataclysmic, it is possibly the most awe-inspiring piece of jazz ever recorded. Those who could carry on would find side 2 no less dazzling. Opening with the now famous 'Spanish Key', and allowing McLaughlin a four minute interlude, Bitches Brew powered on to it's rightful place in the pantheon of musical classics. And over the top of all of this, Davis' muted horn floats, swims, gallops and marches, setting the pace when required, while happily sitting in the shadow, allowing the band's talents to come powering to the fore.

Music has possibly never been so audaciously conceived while being so perfectly executed. A true moment in time. Mile Davis never had to worry about being relevant again.