Monthly Archives: December 2017

581. the number 1 song in heaven

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“Some folks just can’t get enough Sparks, hence the twenty some albums going back to the early 1970s, and thumbs up to all involved, the culture is never weird enough. But I’ve personally been happy enough with the occasional gem of pure weird pop wonder. Like The Number 1 Song In Heaven, their big deal disco hit from 1979, which features actual changes in time signature, but apparently these didn’t clear the dance floor. At least that’s what I was told. Because I didn’t go to discos at the time. I was more inclined to the anything-but side. With occasional exceptions, because that’s the thing about truly great pop music – it tends to transcend all boundaries.” (Philip Random)

SPARKS-1979

582. then [smile]

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It’s 1980 and even for the hippest of hippies, the 1960s are long over. And Daevid Allen was definitely one of those: founding member of both Gong and Soft Machine and before that, beat collaborator with the likes of William Burroughs and Terry Riley. And oh yeah, he was in Paris in May 1968, threw his hand in with the insurrection that almost brought the whole of Western Europe to the ground. But jump ahead twelve years and it wasn’t about big movements anymore, it was just you and me, eye to eye, and “… when we have killed each other, then we can the subject.”

Daevid-Allen-Divided-02

583. it’s all over now

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“Bobby and Shirley Womack wrote It’s All Over Now, and the Rolling Stones scored a big early hit with it, but Rod Stewart owns it here (from back when he was still good). Just a gritty and fun (if unremarkable) pub rawker for the first few minutes, but then it just refuses to end, the guy refuses to give up, making it the perhaps greatest, truest break-up record ever. Or more to the point, it’s an aftermath record best grasped via too much alcohol, self-pity etc. Because it’s true, endlessly true. Just keep telling yourself. You don’t love her (or him or them) anymore. All this misery is just chemicals, or whatever.” (Philip Random)

RodStewart-1970-2

584. run run run

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“Australian outfit Hunters + Collectors took their name from a Can song, though you’d be hard pressed to make the connection as things evolved. But back at the beginning of things, their first album in particular, if you were looking for the big true primal sound of Down Under in all of its dust and grime and imponderable, uninhabitable vastness – well, it was all there. Or in my particular case, it was a local rawk club, 1986 or thereabouts, way the hell out in suburban Vancouver (Canada, that is), the kind of joint where cool bands never played, but for whatever reason, someone booked Hunters + Collectors. Just getting there was a journey in itself but trust that minds were blown, souls were lifted, particularly as Run Run Run roared through its epic second half. ‘For the ages,’ somebody muttered afterward. And if the whole nine minutes were that strong, well, it’s probable the eschaton would already have been immenatized.” (Philip Random)

585. surfin’ on heroin

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“In which the Forgotten Rebels, straight outa Hamilton, Ontario, remind us (as some now dead guy once said) that junkies gonna junk and dabblers gonna dabble, except with heroin, sometimes the dabblers die anyway, but mostly they just wobble around (if they’re standing at all) like they’re working monster waves a mile from shore. Maybe it feels cool, but it mostly looks dumb. Seriously, the song’s supposed to be taking the piss, but as always with these things, some seem to take it as lifestyle advice. I guess nobody’s to blame but stupidity itself.” (Philip Random)

586. you trip me up

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“The Jesus and Mary Chain seemed to come from nowhere way back when, that lost decade found somewhere within the mid-1980s. Something’s gotta f***ing give, the zeitgeist was screaming, somebody’s gotta take all this noise to its extreme edge, give us all a smug, punk sneer, call it music, cause riots, get arrested, sell records. In the case of You Trip Me Up, that meant taking a nice little la-la-la love song and plugging it into the end of the universe. Sometimes on late night radio, we’d play it at the same time as Pink Floyd’s Interstellar Overdrive, both channels maxed to eleven – like competing nuclear mushroom clouds. It had to be done.” (Philip Random)

JAMC-1984