Massive Attack

Blue Lines
Protection
Mezzanine


Blue Lines (Wild Bunch ’91) Rating: A-
Emerging from the loose Bristol collective called the Wild Bunch, Massive Attack (core members: 3-D, Daddy-G, and Mushroom) are that rare group who can lay claim to having invented a genre. The deep, throbbing bass, murky late night atmosphere, and Shara Nelson’s soulful, commanding vocals instantly introduced the new concept on the sinuous “Safe From Harm,” while Horace Andy’s wonderfully weird reggae-ish vocals and Tricky’s mumbled British raps (along with the band members’ raps) add diversity and the “hop” to what came to be known as “trip-hop.” This is dance music but of a mysterious, thoughtful nature that reaches its zenith on “Unfinished Symphony,” a brilliant symphony of sadness on which Nelson desperately pleads “how can you have a day without the night?” There are similarly somber sentiments elsewhere: on “Lately,” Nelson asks “where did we go wrong?,” while Andy allows that “there’s a hole in my soul” on the lovely “Hymn of the Big Wheel.” However, Blue Lines also exudes a more positive energy on the singable soft soul of “Be Thankful For What You’ve Got,” exquisitely sung by Tony Bryan, while Andy memorably puts down all wannabe studs (“some men don’t feel secure unless they have a woman on each arm, they have to play the field to prove they have charm…but I believe in one love”) on “One Love.” There’s a lighter, more relaxed mood to this album than what later leaders of the form (Portishead, Tricky, and Massive Attack’s own Mezzanine) would practice, and it’s almost impossible to judge this album’s pioneering mix of soul, samplers, rap, dub reggae, and dance music without acknowledging it’s lasting importance and immense influence (despite selling in modest amounts, at least in the U.S.) on other artists. Not convinced? Then simply listen to the backing "vocal hooks" provided by Andy on "Five Man Army" and Nelson on "Daydreaming", and then try to think of a popular rap song today that doesn't use such a "sweetening" device. Alas, Blue Lines' music holds up very well today even when placed outside of any historical context, though perhaps its groovy charms are just a tad too tasteful and laid-back for its own good (you can't actually dance to it). Still, though Blue Lines falls short of being a masterpiece - it's basically a mood album, after all - it nevertheless was a landmark ‘90s album that is rightfully regarded as a classic.

Protection (Virgin ’94) Rating: B
Something of a sophomore slump, Protection lacks both the freshness and innovative overall impact of Blue Lines, though it does have head bobbin' grooves galore and soundscapes that aren't lacking in creativity. Only "Karmacoma" and "Eurochild," both of which feature Tricky and 3-D on the mic, does Massive Attack deliver the eerie, ominous vibe they're known for; though the album is still moody, its tone is brighter and its songs blander than on Blue Lines or Mezzanine. On the plus side, Protection features standout vocal performances from new additions Tracy Thorn and Nicolette, starting with the title track, which isn't too far removed from Thorn's main gig, Everything But The Girl. As always, Thorn sings beautifully in her sad, mournful way, and despite the beats in the background this is "easy listening" music. So is her other song, "Better Things," though it isn't as good (it is good, though, in part due to its lush production), while Nicolette's strange, difficult-to-describe vocals enhance "Three" and "Sly," two of the album's more interesting songs. Alas, Horace Andy's contributions, including the solid but unremarkable "Spying Glass" and an out-of-place, live cover of The Doors' "Light My Fire," can't compete with his songs on Blue Lines, while the two almost-ambient sounding instrumental collaborations with composer/pianist Craig Armstrong are pretty enough but in a bland and ultimately boring way. In case you think I'm being overly harsh, let me point out that Massive Attack still has a cool sound, and that these ten long-ish, repetitive songs are pleasant enough when listened to as a whole, where subtle charms are gradually revealed after repeat listens. But there's no "Safe From Harm" or “Unfinished Symphony” here, nor is there a commanding vocal performance a la Shara Nelson (who went on to an unsuccessful solo career) anywhere. These songs sound good, but they're not especially involving or memorable (Blue Lines was more than just background music); fortunately, the band's next studio album would be all but impossible to ignore.

Mezzanine (Virgin '98) Rating: A-
Man, is that album cover creepy or what? The music on Mezzanine matches it, too. For example, my dog Frasier is very happy go lucky, but I put this on one time and he was positively spooked by it. Of course, this being Massive Attack, the album has lovely female vocals and a seductive beauty going for it as well, but it's certainly the band's darkest and most disturbing album to date. Some of these songs ("Angel," "Inertia Creeps," "Dissolved Girl") even rock, though others ("Exchange," "Man Next Door") offer pretty soundscapes that allow you to catch your breath. It's quite an impressive mix overall, though the first side is far superior to the second and the album is weighed down by its overly long 63 minute length (the pointless reprise of "(Exchange)" being the most obvious example of excess). Still, though the album's dense, claustrophobic sound (propelled by an endlessly inventive production) again demands repeat listens, Mezzanine is easily one of the finest albums in the "trip-hop" subgenre. "Angel" begins the album with the band's best song ever, led by churning guitars that create an awesome mood of menace. This song is one of several that are enhanced by the vocals of former Cocteau Twin Liz Fraser, whose otherworldly, often incomprehensible vocals are a perfect fit for Massive Attack's masterful mood music. Another standout Fraser song is "Teardrop," which, in addition to Fraser's great vocal, features a groovy Middle Eastern vibe. "Inertial Creeps" contains more swirling Middle Eastern atmospherics; that is, until a hard beat takes over along with a 3-D rap and edgy electronics. Other standout tracks include "Risingson," which has more manipulated 3-D vocals along with its dreamy "dream on" vocal hook, and "Dissolved Girl," another alternately loud and pretty song; plus, when Sarah Jay sings "need a little love to ease the pain" it's hard not to want to comfort her. Elsewhere, Horace Andy (who I decided reminds me of Bad Brains' H.R.) is again given a song ("Black Milk") that's worthy of that weird voice of his, and the band show their impeccable taste by sampling The Velvet Underground, Isaac Hayes, and even The Cure. Like I implied before, the album has it's flaws; impressive though it is, led again by Fraser's fluttery vocals, "Group Four" doesn't need to be 8+ minutes long, and the title track is more about eerie production touches than solid songwriting. Mezzanine is not easy listening by any means, but it is a fascinating album that may very well haunt your dreams; one look at its cover will make sure of that.


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