For awhile, I believed what my uncles and aunts told me. “Your
\ngeneration is becoming numb to violence and thrives on shock
\nvalue”. We’ve gone from “The Simpsons” to “Beavis and Butthead” and
\nnow, “South Park”. And to everyone in their late 20s and early 30s,
\nhow can you imagine your kids offending you if you like Marilyn
\nManson or have ever listened to the Notorious B.I.G.’s album,
\nReady To Die<\/i>?<\/p>\n
Perceptions can change very quickly though. Though the ’60s had
\n“The Flinstones” instead of “The Simpsons”, they also had their
\nshare of renegades, from R. Crumb to Timothy Leary. And, all it
\ntook was one listen to Tricky’s magnificent first album,
\nMaxinquaye<\/i>, to realize that I still can be disturbed. The
\nlyrics may be dark, but the musicianship of the entire album has
\nthe ability to sooth you and chill you. Imagine watching “Dead
\nRingers” for the first time under some heavy cough medication and
\nyou’ll get a feel of what it’s like listening to
\nMaxinquaye<\/i> for the first time.<\/p>\n
For trip-hop fans, Tricky laid the foundations to one of the
\nmost influential bands of the 1990s:Massive Attack. His innovative
\nskills run all over in
\nMaxinquaye<\/i>, an album named after his mother. Many of his
\nbeats sound like shallow breathing, tying in perfectly with the
\nclaustropobic imagery created in “Overcome”. His vocal skills are a
\ntad weaker. His rasp is gripping, but it is ultimately limited in
\nrange. Call it the Puff Daddy complex: great producer, mediocre
\nvoice.<\/p>\n
Thankfully, Tricky has Martine. Her soulful voice was initially
\ndiscovered when she sang for Tricky’s roommate while they proceeded
\nto smoke some pot. She makes an entrance that’s hard to forget on
\n“Overcome”. In an airy, deatched voice, she mumbles, “When we fuck
\nwe’ll hear beats”.<\/p>\n
When Martine wakes up from her calm, stoney delivery, she is
\ndeadly. On “Black Steel”, a cover of the Public Enemy song, “Black
\nSteel In Our Hour Of Chaos”, Martine keeps repeating the chorus
\nover an intense, throbbing beat that often sways into heavy metal.
\nIn “Brand New You’re Retro”, Martine steps in as Tricky sings a
\nsong that borderlines on gangsta posturing. When she enters the
\nsong, the song is elevated to a much higher level.<\/p>\n
Place Martine right up there with PJ Harvey, Liz Phair and Bjork
\nfor innovative female artists that have rehsaped music in the
\n1990s. Unfortunately, Martine and Tricky are no longer a couple.
\nHer lack of presence on Tricky’s next album,
\nPre-Millenium Tension<\/i> ultimately hurt the album. Note for
\nTricky: watch Martine, she could very easily go solo right now, and
\nif she does, she’ll put out a killer album.<\/p>\n
For sheer balance,
\nMaxinquaye<\/i> stands as one of the best albums of the ’90s.
\n“Black Steel” and “Suffocated Love” are both lovely and catchy in a
\ndirty sounding sort of way. “Brand New You’re Retro” steals the
\nbass line off of Michael Jackson’s song, “Bad” and gives it a life
\nonto its own, infinitely better than the Michael Jackson
\noriginal.<\/p>\n
The other songs you’ll just have to let seep in with repeated
\nlistens. In “Strugglin'”, the base beat seems to be coming out of a
\ngun being loaded. In “Hell Is Around The Corner”, a kitchen sink
\nlike beat reminds you of noir hop bands such as Portishead. Not
\nexactly trip-hop, not rap and definitely not r&b,
\nMaxinquaye<\/i> is a weird experiement that works by getting
\nunder your skin listen after listen.<\/p>\n
The album ends with the elegant, “Feed Me”. Martine softly sings
\none of the most profound lines of the album, “The dream of
\nyesterday\/becomes another lie” on this track. For an album that
\nessentially has no rules or boundaries, “Feed Me” serves as an
\nappropriate closer.
\nMaxinquaye<\/i> is not fit for most listeners. But Tricky has
\nmade a thorougly challenging piece of music. Kick back, have a
\nglass of wine and if you dare, turn the lights out while playing
\nMaxinquaye<\/i>. Proof that music doesn’t have to be vulgar or
\nlacerating to give you chills.<\/p>\n
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