337. albatross

The melody’s nice here but it’s more the overall mournful mood that sets Albatross free. But, of course, the early Fleetwood Mac being a blues band, it’s not really that kind of albatross, is it? It’s the kind that you carry as a curse, hanging around your neck, weighing you down, reminding you and all the world that you blew it, you killed a beautiful thing for no damned reason. Which is sort of what happened to Peter Green, the man who wrote Albatross, his career pretty much over within the year, psychedelic drugs and mental illness finding each other in yet another brutal implosion of tortured genius.

FleetwoodMac-1969-live

338. pots on, gas on high

Some have called 1971’s Endless Boogie a failed experiment, but they’re wrong. Even if main man John Lee Hooker was just hanging around for much of it, letting the mostly white boys do the work (Carl Radle, Jim Gordon, Steve Miller, Gino Scaggs among others), it matters big time that he was there, bearing witness, leaning in every now and then to mumble something perhaps relevant to the temperature of the groove in question. Or maybe he really was just looking at the stove, pots full of weird potions bubbling over, setting the atmosphere itself alight.

JohnLeeHooker-younger

339. Mr. Brown

Mr. Brown is definitely the most garage sounding track I’ve heard from Bob Marley, which is not a surprise given Lee Scratch Perry‘s presence at the mixing board, conjuring his unique and multihued magic. Found by me on Rasta Revolution, a 1974 compilation of various pre-fame Marley and the Wailers odds and ends, which means it probably got recorded prior to 1972. Not that Marley saw much fame anywhere beyond Jamaica until after 1974 anyway. And then I didn’t stumble onto it until at least 1994. But it still felt fresh, if a little ripe.” (Philip Random)

BobMarley-RastaRevolution

 

340. no opportunity necessary, no experience required

Yes covered this on one of their first albums, had some big widescreen fun with it. But Richie Havens‘ original is rawer, cooler, better. And it felt very much in sync with my times when I finally found it, twenty years after the fact, 1998, a freebie at the dog end of a yard sale. Decades may pass but there’s still no opportunity necessary, no experience required. Whatever that even means.” (Philip Random)

RichieHavens-1968

341. poet for sale

It doesn’t get much hippier or dippier than this, Daevid Allen, (ex-Gong and Soft Machine) hair no doubt down to his ass, plucking away on an acoustic guitar on some remote commune, everything smelling of patchouli, waxing loose and cosmic on various things relevant to the plight of the poet in modern times. Except he suddenly starts to bite at the end. Like he’s been doing a Rip-Van-Winkle for the past decade, but he’s suddenly snapped awake, and holy shit, it’s 1977, punk rock’s erupting off in the distance, and this anger stuff, it feels good, it feels vital. It actually makes him happy.

DaevidAllen-1977-live

342. Summertime in England

“I discovered Summertime in England in springtime in Ireland, care of a cassette I’d randomly picked up because it was on sale in a kiosk at a bus station, and Van Morrison was Irish, of course, and it made sense to have some of his music with me as I wandered his homeland in my rent-a-car, drank Guinness, wondered what the hell I was actually doing there, which I eventually realized had something to do with finding myself at a place known as the Bloody Foreland, extreme north west of Donegal, so called because every now and then, at sunset, everything turned a fiery, almost unearthly red. And I caught one of those sunsets, with Summertime In England playing, of course, the last half in particular, where ole Van has to just go to Church, spill his soul out to the entirety of everything everywhere forever. One of those magical mystical moments that makes you shut up and not think about it anymore, you just know. God is real, God does exist, and she’s a Van Morrison fan.” (Philip Random)

VanMorrison-1980