The Jesus + Mary Chain were never going to top their first album Psycho Candy in terms of zeitgeist grinding superlativenoise. And yet they’ve managed to stick around for a good while anyway, always good for some dark, menacing pop thrills, like Sidewalking, a single from 1988 (the same basic pop historical moment that Public Enemy unleashed Bring The Noise — it was a damned fine year for disturbing the peace).
“The Normal must have released more music than just 1978’s Warm Leatherette (and its b-side) but I’ve never heard any of it. Which makes them pretty much the perfect bit player in this ongoing pop apocalypse, working a one hundred percent batting average, because Warm Leatherette (a catchy hit of machine driven coolness about the car crash set, sado-masochism, the work of JG Ballard, other hip transgressions) remains entirely on the money and way ahead of its time.” (Philip Random)
“The first song from the first Roxy Music album makes it abundantly clear. This band is not concerned with the past. This is not a rock ‘n’ roll soaked in blues and authenticity. This is dissonance, angularity and cool high fashion, which no doubt must have felt like a hostile alien invasion if you were a certain kind of hippie in 1972. Hell, I didn’t even hear Remake/Remodel until at least 1979 and I just assumed it was some up and coming New Wave outfit, except they were way better than most. And I suspect the same would be true today. Still more about what’s to come than what has been.” (Philip Random)
“The gods must have had me in mind with America is Waiting, side one track one of My Life in the Bush of Ghosts, Brian Eno and David Byrne messing with African beats and rhythms, disembodied voices, all manner of weird noises, everything coming together to call down the venal soullessness of Ronald Reagan’s America, like the atmosphere itself was speaking to my concerns. How could all this not go well with the copious quantities of LSD that were bubbling around at the time? But the drugs wore off eventually. My Life In The Bush Of Ghosts didn’t, never has. Others may have used samples before, merged noise and rhythm and all manner of exotic tangents and textures. But once Misters Eno and Byrne had done their bit, this sort of stuff was emphatically here to stay, part of the firmament.” (Philip Random)
“Speaking of Performance (the movie), it features prominently in Big Audio Dynamite‘s sample rich E=mc2, along with other bits and pieces from various films directed by Nicholas Roeg. And what a cool track it was (and still is), promising so much from Mick Jones in the wake of the Clash‘s rather ridiculous crash and burn, except they never really got any better, which can only mean they got worse. Not that Big Audio Dynamite were ever really bad (even if they were definitely B.A.D.) – just lacking Joe Strummer‘s overall sandpaper edge, I guess. Rather like Paul McCartney operating without John Lennon post-Beatles. At least B.A.D. never did a Christmas song.” (Philip Random)
Second of two in a row from the soundtrack to the movie called Performance, which if you haven’t seen it yet, why not? Memo From Turner being the single Mick Jagger track that puts the lie to the entirety of the rest of his so-called solo career (ie: it’s really quite good), managing to sound every bit as down and dirty and relevant as what his regular crowd were up to at the time (ie: riding their sustained peak).
Performance (the 1970 movie) is almost as good as its soundtrack, or maybe it’s the other way around. Either way, it’s a dark, dark gem – something to do with gangsters, an illusive rock star, drugs, sex, nihilism, and the only true performance ending in madness. As for the music, it covers at least as much ground and features all manner of then essential contributors, with producer/composer Jack Nitzsche at the heart of it all, delivering just what you might expect from a fatally bored rock star with piles of money but precious little inspiration, desperate for something/anything that might allow him to haul himself back into a world where anything matters.
“Love and Rockets may not seem so important now. Just another sort of post-new-wave outfit rediscovering the beauty and expansive power inherent in taking rock (and not just a little pop) to the psychedelic realm. But in 1985 when their first album hit, it was almost unprecedented (or certainly very long out of style) – a modern music that dared to be colourful, epic, BIG, and not looking back at all, just straight ahead into the haunted now, because that’s what 1985 was like … if you had the right kind of eyes.” (Philip Random)
“In which the outfit known as Gong put their psychedelic meandering to punk power, their aerie-faerie bullsh** to pure raw rebellion and somehow keep the f***ing world on its axis, doing its revolutionary thing around the sun, which is itself swerving in weird cycles through the unknown (un)limits of infinity. By which I mean, what value anarchy if it does not float? … or should you ever find yourself tripping on weapons grade psychedelics and feel the need for a soundtrack that’s both youthfully raw yet somehow cosmically smooth, seek no further than the Allez Ali Baba blacksheep have you any bullshit mama maya mantram found here. It makes perfect sense. All fifteen minutes of it.” (Philip Random)