SGR

Massive Attack - Protection (1994)



That bassline hits with unforgiving tenacity, the drum cymbals begin to fill the empty space and then, Tracey Thorn starts to decorate it with syrupy-sweet lyrics about sacrifice and devotion. This is how Massive Attack’s second album ‘Protection’ begins. Brilliance is immediately obvious. Relax and enjoy it.



Massive Attack is a Bristol collective and was one of the pioneering acts in the genre of trip-hop, characterized by downtempo electronica beats laden with hip-hop and breakbeat soundscapes - though it incorporates a variety of sounds including funk, dub, jazz, soul and more. One of the founding members of Massive Attack, Daddy G, described it as “dance music for the head, rather than for the feet”.

Their first album ‘Blue Lines’, widely considered to be the first trip-hop album, broke a lot of conventions. Drawing many inspirations from the modern hip-hop scene in America, the British group incorporated not only raps and sampling, but live instruments, generous studio overdubs, and the unique vocals of Horace Andy and Shara Nelson into their songs. Perhaps the absolute peak of that album in both vision and execution can be exhibited with the track “Unfinished Sympathy” - a synthesis of all of the aforementioned characteristics into something that was, at the time, absolutely unique and in a way, it remains unparalleled to this day in its creative vision. Initially sounding like a cold and detached ballad, it managed to be a heartfelt and warm ode to love and longing - being human and somewhat inhuman at the same time. It remains one of my favorite songs of all time.



But while this album reverberated across the landscape and influenced many, Massive Attack still had more to give. Exactly what they had to give would come around three years later with their followup album, ‘Protection’.

While the overall tone of their first album was warm and soulful, I’d describe ‘Protection’ as more chilled and lethargic in delivery. It is not ‘Blue Lines’ in way of its goals or in its style. It is, most certainly, its own unique piece of work - a standalone album that thankfully does not simply try to replicate its popular predecessor.

As the second track “Karmacoma” hits, you realized pronounced basslines may become a theme on this album. Tricky contributes vocals here and he does an incredible job affecting the song with his unique vocal style. The song, on its own, sounds absolutely beautiful - but the song sounds better the less sober you are. I dare anyone to roll a joint, have a smoke, and listen to this track and tell me it isn’t brilliant. Little known synth pop group Startled Insects actually wrote two of the songs on this album, “Karmacoma” being one of them (“Eurochild” being the other). The main rhythmic loop is taken from Indian playback singer and Bollywood-starlet Alka Yagnik, the song being “Aaja Sajan Aaja”:



The refrain is taken from a Russian opera (Prince Igor) - and, not being satisfied, also includes Tuvan throat singing with a sample of “Dream Time In Lake Jackson” by the KLF:



This is to say that there was a geyser of creativity bursting forth on this album - if this is the most creative song on the album, then the others are certainly close behind. Enough about the samples - listen to the song for yourself and see how expertly it all comes together:



“Sly” was the first single of the album - and honestly, it’s an excellent representation of what you’re going to get if you buy it. It’s chilled out, detached, and smooth as butter, helped by an accompanying beautiful vocal performance from singer Nicollete. And oh yes, the strings at the end of the song make my heart melt with joy every single time - it is a euphoric experience:


I try to believe what I feel these days
It makes life much easier for me
It's hard to decide what is real these days
When things look so dizzy to me
I already know my
Children's children's faces
Voices that I've heard before
There's always more
There's always more
Wandering, leaving the sea behind
To my home which everybody owns




Perhaps I’m delusional, but I think “Euro Child” would’ve made a better single than “Karmacoma”. It’s catchier - it’s a little easier to digest - and it’s a little more straightforward. Not to mention, there’s still a lot of depth with the track. Which includes, of course, the lyrics which are…well…cryptic, to say the least:


Sitting in my day care, yard is deco painted
Blessed by the drink
Upon the corners where we've seen it
Chased by the planet
Haunted by the medium
Too high to flow toward to break the tedium
Glow from my T.V. set was blue like neon
Activated the remote I put the BBC on
I've seen this city somewhere
I'm looking out for no-one
Pallor in my eyes it get blue like neon
Hell is round the corner where I shelter
Isms and schisms we're living helter skelter
If you believe I deceive then common sense says shall you receive
Let me take you down the corridors of my life
And when you walk, do you walk to your preference
No need to answer till I take further evidence
I seem to need reference to get residence
A reference to your preference to say I'm a good neighbour
I trudge so judge me for my labour
I walk in a bar and immediately I sense danger
You look at me, girl, as if I was some kind of a
A total stranger


I can’t lie - I love this track - the placement of it is perfect within the album - it manages to maintain the chilled out vibe but yet ramp up the intensity at the same time. From Massive Attack’s website, here’s a little background info on the track:



The album comes equipped with two instrumental tracks. With Massive Attack, one of the biggest appeals are the beautiful vocals laid over smooth and chilled out soundscapes - but these tracks (“Weather Storm” and “Heat Miser” [they call me Heatmiser, whatever I touch…No! Not THAT Heatmiser!]) suit the album absolutely well and actually accentuate and help the flow and pacing of the album. “Weather Storm” is probably the more beautiful selection (and doesn’t feature Darth Vader breathing) though “Heat Miser” is distinct enough with its vibrant piano to perhaps be my pick for my favorite closing track of a Massive Attack album….but…

Oh yes, there’s one more track - a cover of The Doors’ “Light My Fire”. I pretend that this is a bonus track and I never listen to it. I recommend that you do the same (Yes, in reality - this is the biggest problem with the album. Whoever thought it was a good idea to tack this on at the end should be brought out to a dark alleyway and should be shot - but I won’t say anymore about it.)

Why it's underrated, unsung, or underappreciated:

All in all, this is not an album that is disliked by either fans or critics. But - it is often forgotten. And the reason? It is sandwiched between two albums that receive even more praise and fanfare (‘Blue Lines’ and ‘Mezzanine’). In my eyes, this album is just as good as those ones are if not even better. I can listen to it over and over and over again. I don’t get sick of it. It’s as smooth as butter - it’s chilled out to the point that it’s an auditory toke of weed - it’s numb enough to be that dose of oxy I enjoyed with the Manics’ ‘Lifeblood’ - it’s self-aware enough to know that it will never be ‘Blue Lines’ - and it doesn’t try. It’s Massive Attack’s second album - a creative whirlwind forgotten in between two albums that are more distinctive, more immediate, and more genre-defining. But those albums are not, and will never be the familiar hand I reach out to in times of need like this album has been.