201. The Rock

One more from The Who’s Quadrophenia because Philip Random insisted, “Because how the hell can you represent Quadrophenia with anything but four selections? Quad being an abbreviation of quadrilateral which goes all the way back to Euclid, for Christ’s sake. The whole point of Quadrophenia being that young Jimmy has become divided four ways, four personalities, four faces. And it’s The Rock, an instrumental found way deep on side four, where he recombines, alone in a small boat, storm tossed and completely confused … until these four melodies all find a way to work together toward setting up the climax of whole shebang – Love Reign O’er Me. Which is a hell of song but it doesn’t make the list because the entire planet has already heard it at least forty times in the last three months.”

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226. stratus

“I first heard the groove from Stratus via the main sample from Massive Attack’s rather brilliant Safe From Harm. But Billy Cobham‘s original track roars off in a whole other direction, and blisteringly so. The lead guitar comes care of a guy named Tommy Bolin who was supposed to be the saviour of the instrument in the early-mid-70s, but he hooked up with Deep Purple instead, and then OD’ed on heroin. As for Mr. Cobham, I figure if he was a good enough for Miles Davis, he was good enough for all humanity.” (Philip Random)

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258. bucky skank

“It’s hard to get a specific date on Bucky Skank, just sometime in the 1970s, probably post 1972, which I don’t even know for sure, it just feels right that it came from the Black Ark, Mr. Lee Scratch Perry and his Upsetters being known for their stoned and wistful wandering both in and out of time. The groove is odd, almost broken. The lyrics are mostly nonsensical to my non-Jamaican ears. But it always brings a smile.” (Philip Random)

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262. keep on truckin’

“Growing up in suburban wherever back in the latter part of the early 1970s, you didn’t get much so-called black music on the radio, or the record stores for that matter. But every now and then, something epic like Keep On Truckin’ managed to blaze on through. I had no idea who Eddie Kendricks was (though I had heard of the Temptations), but man if my feet just couldn’t not move whenever it came on, particularly the long album version which, to my then fourteen year old ears, just seemed to go forever in the best possible way, expanding my soul and my consciousness as to what music could and should be. And honestly, it still does.” (Philip Random)

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266. tired eyes

Tonight’s the Night is oft thought of as Neil Young‘s death album, and the deepest, darkest depths of the so-called Ditch Trilogy. Stark cover, mostly black. Stark songs pulling no punches about various dead friends, and in the case of Tired Eyes, a friend who left death in his wake, got caught up in an ugly drug deal, ended up in prison for a long time. The damage done.

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284. Final Theme – Pat Garrett & Billy the Kid

“There’s bests, and there’s favourites. Pat Garrett + Billy The Kid is not one of the best movies of all time. But it is one of my faves. Because of all the whiskey, I guess, and the cigars, and the dying, the whole thing like an epic tone poem of doom and inevitability, hard men looking the devil in the eye, taking another drag, another swig, killing or being killed. And a big part of what holds it all together is Bob Dylan‘s soundtrack. Yeah, there’s only a few proper songs (including Knockin’ on Heaven’s Door which never actually shows up in the director’s cut of the movie – it’s complicated), but it’s the mood of the instrumental stuff that sells it. As for the Final Theme – go ahead and play it at my funeral. But first, break out the whiskey and cigars.” (Philip Random)

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289. Cyprus Avenue

“I saw Van Morrison once. 1986, I think. Underwhelmed would describe my response. Not that I was horribly surprised. I had been warned. Van was notorious for less than stellar shows. If he wasn’t feeling the gods own light in his soul, he wasn’t going to fake it. But on a good night, well, words don’t suffice. You’ve got to just shut up and listen to the likes of what happens here in Cyprus Avenue, recorded in 1973 sometime, final song of the evening apparently. Too late to stop now.” (Philip Random)

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297. Queen Bitch

“A song with the word bitch in the title in 1971!? It wasn’t done (unless you were the Rolling Stones). And to be honest, I didn’t actually hear Queen Bitch until 1973. Just one more element of that tidal wave of brilliance and threat that kept coming our way with Mr. David Bowie‘s name attached in the latter part of the early 70s. Who was this stranger, this alien, this queen, this bitch? What the hell was going on? I was still fumbling around with puberty at the time. I believe it was exactly what I needed to hear.” (Philip Random)

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322. bogus man

“I think of Bogus Man as where Roxy Music would have gone if Brian Eno had never left: to stranger, deeper, more evocative realms, while great hordes of confused hippies looked on from darkened streets, still coming down from that long strange trip known as the 1960s. Which is rather what was going on anyway with Roxy in their early years, strutting like peacocks through a world full of pigeons. As it was, Bryan Ferry had other ideas for his band, and it’s not as if Mr. Eno didn’t go off and invent the future anyway. Which he’d be the first to say the Germans were already doing. Can in particular without whom we would never have heard the likes of Bogus Man.” (Philip Random)

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