Monthly Archives: February 2018

530. 1000 dollar wedding

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https://www.youtube.com/watch?v=QiaCZ3KgJe8

“Gram Parsons’ Grievous Angel being perhaps the one album more than any other that made me realize just how wrong I could be about what constitutes great f***ing music. Because I was that kind of fool when I was younger – happy to tell you just how much I hated ALL country music. And I’m sure I was loud about it. Sorry. I know better now. I know that hating all of any kind of music is like hating a part of your soul. Because in what other form could you take a simple song about a simple wedding gone wrong and turn it into something epic, apocalyptic even. Because such are human souls – we’ve all got entire universes exploding inside of us. And why would you want to deny any of that?” (Philip Random)

GramParsons-1974-shades

531. tse tse fly

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The album’s called Dark Continent, and the song’s called Tse Tse Fly (both references to Africa) but Wall of Voodoo‘s first (and best) long player is really about America. The jangly guitars, cheap drum machines, scrapyard percussion bits and tips into noise. And the stories being told, equal parts noir and surreal. What could be more American?

WallofVoodoo-1981

532. snowman

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Second of two in a row from XTC‘s double treasure, 1982’s English Settlement, the album where they pulled a sort of Beatles move: stopped worrying about how they might reproduce the material live and instead just dove into the studio and its possibilities. And special nod to engineer and co-producer Hugh Padgham, best known for inventing the gated drum sound that so drove the 1980s (for better and worse). But his tricks on English Settlement are more subtle, working an often rich acoustic sensibility which, as the story goes, was driven not by any great conceptual intent, but rather main man Andy Partridge‘s purchase of a new acoustic guitar after giving the old one away as a contest prize.

XTC-1982-vid

533. Jason + the Argonauts

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Five albums into their career and XTC were simultaneously sick to death (literally) of the obligatory punk-pop-new-wave bullshit and ready for something big. And big was definitely the word for English Settlement, a double album at a time when bands just didn’t do that anymore. And an album it was. Yes, a few singles were released, but the songs worked best together, all in a rich, sumptuous flow, with Jason and the Argonauts stretching things out almost progressively – whatever that word even meant anymore come 1982.

534. never never

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“When power pop (to the point of punk) heroes the Undertones broke up in 1983, their absolute one of a kind singer Feargal Sharkey next showed up doing something pretty much completely different with the Assembly. Which we assumed was a new band, but it was really just him and Vince Clarke, recently ex of Yaz (or perhaps Yazoo). In fact, the only thing I ever heard from them was the one song, which makes Never Never (and the Assembly in general) more or less pop perfect. Talk about not overstaying your welcome.” (Philip Random)

Assembly-neverNever

535. [love hides] five to one

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“I had a copy of the Doors’ Absolutely Live kicking around for years before I finally listened to it, grabbed cheap for future reference, I guess, because at the time I was going through a prolonged phase of just not being into Jim Morrison and his bullshit, poetic and otherwise. Early 1990s finally, I put it on and what blew me away was the band. Hot shit indeed for a trio (guitar, drums, organ – the bass notes coming from the Ray Manzarek’s left hand). And yeah, I had to admit the singer had a certain something too, not remotely afraid to howl his angst and poetry and prophecy at the universe. We’re all doomed apparently.” (Philip Random)

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