Massive Attack - "Blue Lines" (1991)

Continuing on with my '100 albums you need to listen to' poster, and also Massive Attack's discography, I have jumped from Mezzanine to the band's debut, Blue Lines. This record is generally considered the origin point for trip hop, and so a more embryonic form of the genre is on show here. The genre's hip hop and dub elements are more clearly on show here than in later records, and the fusion between them is more fractious. Some tracks have a much stronger hip hop vibe, and some lean into soul, dance and dub, but these influences aren't as combined as they would later become in the genre.

Safe From Harm opens up the record with this rolling bass line and drum rhythm, with Shara Nelson's soulful vocals contrasting against the chunky synth lines and rhythms. It's very much a blueprint for the 'Massive Attack sound' going forward. One love follows a reggae beat with Horace Hinds' crooning on top, yet the tune is more chilled and stripped back than full on dub. Five Man Army is much heavier, with dubby bass and psychedelic effects floating around all over the mix. Horace's and Tricky's vocals play off each other, rapping in different registers in a call and response style. The title track is near enough a jazz rap song, where the group raps in a very 90s style over a funky beat and soothing lounge-esque keys. Be Thankful For What You Got and the single that put the band on the map, Unfinished Sympathy, are much more soulful. Unfinished Sympathy is particularly intense with swelling strings sitting on top a relentless percussion loop and sampled ad-libs from Mahavishnu Orchestra's Planetary Citizen. Shara Nelson returns for a emotional gut-punch of a performance, singing the hook "Really hurt me baby" with so much passion and intensity.

Daydreaming has a dreamy chord progression and eerie background vocals from Nelson. The group's rapping also is very dream-like on this track, floating from one topic to another, and features references to The Beatles and other famous songs. Lately has a slight R&B vibe to Nelson's vocals and melody, but the chunky beat and squelchy bass steer the song in a more spacious direction. The album closes with Hymn Of the Big Wheel, which sounds like synth-pop meets reggae. It's quite a triumphant way to end the record, with lyrics dealing with the idea that the world keeps turning, despite anyone's troubles - so you should try to enjoy yourself as much as you can despite whatever is going on. 

While Blue Lines is not as complex or intensely enveloping as Mezzanine, the more chilled out and straightforward approach make it an easier listen to throw on in more situations. I don't feel I have to give it all my attention to maximise my enjoyment. It's also engaging to see the starting point of the genre, where its influences are more clearly on show.

Top Tracks: Blue Lines, Be Thankful For What You Got, Five Man Army, Unfinished Sympathy, Daydreaming

8/10