91. Sabbath Bloody Sabbath

“Because even if it was only for two or three weeks roughly halfway through Grade Nine, Black Sabbath were the greatest, most essential band in all creation, all hail Satan to whom they’d sold their souls. At least that’s what I heard in Metal Shop from John Field, and you didn’t argue with that asshole. And anyway, who’s arguing with Sabbath Bloody Sabbath (the song)?  Heavier than all the world’s cathedrals combined, more essential riffs in its five and half minutes than all the 80s hair bands put together could conjure in a decade, and yes, as a matter fact, exactly what you need for air-guitaring when you’re fourteen and getting properly smashed on whiskey for the first time. And then I think we went and smashed some stuff.” (Philip Random)

107. O Lucky Man!

Alan Price being an original Animal and British Invasion contender, O Lucky Man! being exactly the movie you need if you’re fourteen and suburban and every bit as existential as you are horny. Because you do need something to turn your world on its head, expose and eviscerate your every delusion as to how things really work, until all you can do really is laugh at the fact that nothing’s funny anymore, it’s god damned horrific. And yet, like the song says, there remains a big IF at the heart of it all, IF you can just see through all the bullshit, and figure out a reason to smile anyway. IF being the middle part of Life anyway. Did I mention I was stoned when I saw O Lucky Man! for the first of at least nine times, just getting started really on the path of self de-programming, art and drug induced? ” (Philip Random)

126. Once I Was

“I remember taping this song from the radio one night, early teens, maybe 1973. But I didn’t catch who it was, so for some reason I just assumed it was Donovan. Which threw things off for a good twenty years. I’d describe it to people as the one where he says, if I was a soldier, and they’d say, Universal Soldier, and I’d say, no, his other soldier song. Anyway, I finally got it figured about twenty-five years later. Special thanks to Rena, an ex-punk I used to know, who had a hate on for Jeff Buckley, because she thought he was an over-hyped shadow of his dad, the then long gone but not forgotten (by Rena anyway) Tim Buckley. Anyway, I asked her to make me a tape, and there it was, Once I Was, precious evidence of a time (1967) when a young man could just pick up a guitar, sing his deceptively simple song, put poetic truth to the brutality and chaos of the world, maybe change everything forever. At least, that’s what it must’ve felt like, I guess. I was just a little kid then, not allowed anywhere near the fun part of the party.” (Philip Random)

(image: Morrison Hotel Gallery)

144. don’t be denied

There’s a lot of autobiography in Neil Young’s discography, with Don’t Be Denied (found on 1973’s Time Fades Away, the deliberately raw follow up to the worldwide mega hit Harvest) particularly loaded in that regard. It concerns a weird kid from somewhere north of Toronto whose parents split up and he moves with his mom to a town called Winnipeg at the wrong age, pays the price in schoolyard beatings, etc. But to paraphrase an old German, that which does not destroy you only increases your will to pick up an electric guitar and not ever be denied again.

(photo: Joel Bernstein)

151. Zoom

Zoom is about the future apparently (the 1973 album in question being called 1990), a trip to the moon to be specific, though men had already been walking the moon for four years by 1973, smacking golf balls around even. Either way, this is the Temptations (arguably the greatest all male vocal group ever) together with their producer Norman Whitfield boldly and beautifully going as far (and as long) as they ever would, indeed as far as man ever has, a thirteen minute trip, which if taken at the speed of light would actually get you past Mars. Not bad for a bunch of guys †from the wrong side of the tracks, Detroit.

156. Song for Europe

“The easy and wrong position to take on Roxy Music is that they were only good as long as Brian Eno was onboard (ie: the first two albums), ‘…a 1970s band playing 1950s music for the twenty-first century‘. It’s true that things changed with Eno’s rather abrupt departure. How could they not? But as their third album Stranded makes abundantly clear, Roxy still had more than enough rings for a proper circus. With Song For Europe an epic romance that offers verses in not just English and French, but Latin too, all toward … well, I don’t know what exactly, or where. It just sends me there, sweetly, strangely, and finally powerfully. Which I suppose is where Roxy did finally lose it for me – when they stopped delivering the power and the strangeness, opting for those misty water-coloured moods of Avalon which definitely shifted units, but just drove me resolutely elsewhere. Anywhere else really. Oh well.” (Philip Random)

(image source)