569. silent kit

“I actually saw Pavement at their mid-90s peak, but for whatever reason, I wasn’t paying much attention. I guess I’d pretty much had it with so-called ROCK music at the time, for which I’d blame Grunge mostly, all that flannel and kerranging and ponderous sincerity. But jump ahead maybe five years to the end of the century and I guess I was finally ready for the beer-in-one-hand-joint-in-the-other shambolic genius of Stephen Malkmus and his crowd, everything crystallizing in the lead-off track from 1994’s Crooked Rain Crooked Rain – a full minute of sloppy mucking around, chasing first a groove, then a melody, before the song finally finds itself (and in fact, the melody’s a direct rip-off of an old Buddy Holly tune) but man does it click! But is it a Silent Kit or a Silent Kid? Or am I fool to even wonder?” (Philip Random)

Pavement-1994

570. I am a rock

“I found this Buck Owens cover of a Simon + Garfunkel nugget in a Cache Creek, British Columbia thrift store, mid-90s sometime. An entire album of electrified countrified takes on some of that hippie sh** the kids were so into at the time (1971). And delivered with all due sincerity, because don’t fool yourself. Nobody knows lonely like a one man island, or a Country + Western superstar.” (Philip Random)

571. with our love

“My introduction to Talking Heads went something like this.  Maybe 1978, artist guy (obviously high on quality drugs) walks up to me at a party and says, ‘Where does everybody live? In some kind of building. What does everybody eat? Food. More Songs About Buildings and Food is about everybody.’ And it was good at parties.” (Philip Random)

TalkingHeadsp-1978

572. mirror in the bathroom (dub)

Known as the English Beat in the Americas, the British Beat in the Australia, The Beat were a big part of the groovy side of the so-called post-punk/new wave era, certainly at home in Britain, with the dub mix of Mirror in the Bathroom a nifty little number that was effective on the dance floor, in the background at parties, in the car whilst negotiating traffic. Which has always been the special appeal of dub to me – music which is mostly absent words, yet moving in a particular direction anyway. Something to do with sound-tracking the ongoing corrosion of the so-called Western World. And it’s fun.” (Philip Random)

Beat-1980

573. fingerprint file

Are the Rolling Stones the most overrated rock and roll band ever? Maybe. But for a solid ten or twelve years, no matter how messed up things got in their camp, no matter who was dying, getting arrested, nodding off, almost choking on their own puke, there was always a new album, every year, and they were always at least good. But it should have all ended in 1974 with It’s Only Rock And Roll. Not that they didn’t still have a few choice moments left in them, but in terms of proper swan songs, nothing was going to say it as succinctly – we’ve done our time, we’ve played our various hands, it’s all just rock and roll anyway. Though Fingerprint File is hinting at something more — funky, groovy, tense, whispering of surveillance and paranoia, all secrecy, no privacy. Like a long tense night, no sleep, no end in sight.

RollingStones-1974

574. red cinders + song without an ending

“Two tracks from the first The The album that I’ve always thought of as one, because of how they flow together. Although technically, Burning Blue Soul is not a The The album as it was initially released as a Matt Johnson solo album. But nobody really heard it, so after the success of Soul Mining, it got repackaged for a bit of cash-in, which isn’t as bad as it sounds because The The was always pretty much just Matt Johnson anyway. Either way, Burning Blue Soul is a darned fine album, a dense and connected and beautiful flow, even with all the noise and chunks of rusted metal just left lying around — an essential piece of soundtrack from a movie about the ongoing decline and fall of the British Empire that no one’s gotten around to making yet. But they will someday.” (Philip Random)