745. Now is the Time

It took samplers a while to get cheap enough to fall into the hands of sort of folks who could figure out how to truly make them sing, with Greater Than One (mostly long forgotten now) one of the first to get what now seems bloody obvious. That is, take Martin Luther King’s I Have A Dream speech, add an opera sample or two, plus various odd ball sound effects, even some Sandinista era Clash and Brain Salad Surgery Emerson Lake + Palmer, then just lay everything over some cool grooves and call it a song. And the thing is, it worked brilliantly, it humanized the machinery, and it abruptly reinvented the music of the near future as an impossibly odd and yet beautiful Frankenstein’s monster of possibilities wherein the entirety of recorded history was just lying there, waiting to be treated, twisted, appropriated, manipulated, abused and exploited. But then, of course, the f***ing lawyers got involved.

GreaterThanOne

746. healing

The genius of Todd Rundgren is that he can do anything – pop, soul, rock, prog, abstract avant whatever. The worst thing about Todd Rundgren is that’s exactly what he does a little too often — anything and everything all at the same time, and it all just ends up getting in the way of itself. But not so the title track of Healing (which ends up filling all of side two). It’s 1981 and drum machines and synths and sequencers are the cool new toys of the moment, and, genius that he is, Todd knows exactly how to play with them, to genuine therapeutic effect.

747. the great pretender

“It says 1974 on the cover but Brian Eno‘s second solo album Taking Tiger Mountain (by strategy) will always be pure 1981 for me. Weird and oft times jagged pop that was pretty much perfectly in synch with the times and thus not at all afraid to just dissolve into abstraction if necessary. Which was fine by me given all the acid I was taking. I needed those dissolutions, like at the end of The Great Pretender when the crickets (or whatever they are) just take over, suck us into the insect realm, alien and strange.” (Philip Random)

BrianENO-1974-3

749. I hang on to my vertigo

In which Rupert Hine (better known as producer than performer) reminds us that the best music of the early 1980s generally wasn’t that nice at all deep down inside, but rather deep with shadow, strange eruptions, queasy feelings of madness, suspicion, and vertigo. The album Immunity is a rare gem, full of such stuff. Nothing remotely normal about any of it.

RupertHine-Immunity

750. ain’t no justice

It’s 1973 and the times may be grim but the Temptations (and producer Norman Whitfield) are in full, expansive, beautiful bloom (riding as they are on the mega-success of 1972’s Papa was a Rolling Stone). But the focus now is not the past, but seventeen years into the future, the dawning of the 1990s, not that not much has changed.  There still ain’t no justice.

Temptations-1990-1973

751. leaving this town

The only Beach Boys track on the countdown list is as good a time as any to reference the guidelines, the key ones in this case being A. if Philip Random didn’t have it on vinyl as of August 2000, it doesn’t matter how good it is, the song doesn’t qualify, and B. it has to be something the average person probably hadn’t heard (also as of August 2000 – a few of these tracks have since gained some much deserved notoriety), which means no chart-toppers, no inescapable big deal pop items already played lots on commercial radio and/or heard in commercials themselves, or in big deal movies or TV shows, or video games, or in any other way already exposed out there in the culture. So, in the case of the Beach Boys, we only get one selection, “… the easy, breezy, really quite cool Leaving this Town (found on 1973’s Holland), because everything else I’d care to share has either A. proven impossible to find on vinyl at non-ridiculous collectors prices, or B. popular enough already.” (Philip Random)