Category Archives: All Vinyl Apocalypse

1,111 greatest records you probably haven’t already heard

382. the man in the jar

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“I saw the Sensation Alex Harvey Band in 1975, warming up Jethro Tull, and yeah, it was sensational. They had props and costume changes, and there seemed to be a story being told. Maybe concerning a Man In a Jar, a track which I only got around to hearing (on record) maybe ten years later, bored, picking through a pile of old albums a friend was getting rid of. It was an instant keeper, and not just for the one song, the whole album being a sort of sleazy back alley opera about sleazy back alley stuff, and yet redeemed by an impossible dream, which are always the best ones. There were even bagpipes before it was all done.” (Philip Random)

383. northern sky

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“I never much bought into all the death cult stuff, the young artists who were just too pure for the world, or whatever. I guess I feel it’s the living we should focus on, the ones still dealing with it (whatever it even is) rolling with it, not ending it, intentionally or otherwise. Or as a stoned friend once put it of Jimi Hendrix, I prefer the stuff he did before he died. Which gets us to the only Nick Drake selection on this list, the only one I heard before I had any idea of why he was so damned important. True he was already long dead when I first stumbled upon Northern Sky via the Great Antilles Sampler (the 1980s sometime), but I didn’t know that. I just liked the song and it how it served the album’s overall eclectic flow – from folk to pop to free jazz to full-on experimental avant-everything. Music worth living for, goddamit.” (Philip Random)

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384. wild blue yonder

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“In which the Screaming Blue Messiahs remind us that the rock radio of the mainstream 1980s sucked. All those Power Stations, Duran Durans, Huey Lewises, never ending hair metal catastrophes hogging up the airwaves and ramming home the point that malevolent criminals sat at the controls of the music biz, and they just didn’t care. Because we definitely had other options. We had the Messiahs who were everything their name promised: loud, angry, catchy as hell, and damned good, particularly on Gun Shy, their debut album. But nah, Bon Jovi was somehow more necessary.” (Philip Random)

385. summer breeze

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“The version of Summer Breeze that I grew up with was the Seals + Crofts original, which was an entirely okay in a 70s AM Top 40 sort of way. But the Isley Brothers (working through at least phase four of their multifaceted career) take things way further, navigating a much hotter breeze, feverish even, yet eminently cool in a soulful, latter day psychedelic sort of way. Did somebody say The Perfect Summer Song?” (Philip Random)

387-386. the dream nebula + it’s all in the mind

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Two (or maybe three) in a row from Nektar‘s 1971 conceptual spectacular Journey To The Centre Of The Eye, one of those albums that deftly walks the line between so-called prog rock and so-called psychedelic rock, managing to be both mindblowing and reasonably precise. Frank Zappa was certainly impressed, so much so that he had plans to sign Nektar to his Discreet label, a plan that crumbled along with Zappa’s partnership with his manager (one of those long stories). Which perhaps explains why we never heard that much of Nektar over here in the Americas. Or maybe their first album was simply their best – an astonishing and ultimately harrowing voyage to the deep and high beyond within. In other words – an acid trip, the heroic kind, right through the centre of the eye to the dream nebula and beyond, all in the mind anyway.

388. The Journey + I see you

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“London’s Pretty Things were always there in the swinging 60s, in tune with the times, if not in time with them (if that makes any sense), which means that by 1968, they were launching into realms psychedelic and beyond with the epic tale of Sebastian F Sorrow, a full-on integrated cycle of songs that hit the culture many months before the Who’s Tommy would make the notion of a rock opera a genuinely big deal. No, SF Sorrow didn’t sell that well, doesn’t generally get name-checked when the experts are trying to make sense of the age, but for me anyway, it stands up better than Tommy, minute for minute, song for song, maybe because it’s only a one record set, with the high point coming on side two, when SF Sorrow encounters the mysterious Baron Saturday (intended to represent Baron Samedi of Haitian Voodoo notoriety), who ‘borrows his eyes’ for a trip through the underworld, with terrifying consequences.” (Philip Random)