412. we will not be lovers

Fisherman’s Blues is the album where main Waterboy Mike Scott went to Ireland for a few days, ended up getting lost on the west coast somewhere, not returning for years (or so the legend goes, and goes, and goes). We Will Not Be Lovers feels like the result of a powerhouse jam session wherein rock and folk attitudes piled into each other in a sustained and brilliant collision. “The words are pretty sharp as well, concerning the opposite of a love. Not hate so much as … well, you know the feeling. You look that other in the eye and all you can see is carnage. And yet you are compelled.” (Philip Random)

 

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419. busload of faith

“Some late 1980s truth telling from ole Lou Reed, as bitter and misanthropic as ever, and yet still bothering to deliver great songs, the album known as New York being full of them. With Busload of Faith perhaps the closest he ever got to seeing a light that wasn’t drug fueled. Because it’s true, I think. It was then. It still is now. The facts don’t add up in any kind of hopeful way. Never have, probably never will. We’re all f***ed. We’re all gonna die. And yet life seems to keep on keeping on. Hell if Mr. Reed can get behind it, maybe there is something to this faith thing.” (Philip Random)

LouReed-1988

441. total trash

“The song part of Total Trash is cool enough, but part two is what makes it essential – the noise part, what happens when the various rules of music break down and pure escape velocity takes over. I remember seeing Sonic Youth perform this live in maybe 1991 and having one of those profound and prolonged WOW moments that I can’t help calling religious. I remember thinking, they aren’t really playing this music, they’re just channeling it, deflecting it, aiming it, wrestling with it. It’s like they’d punched a hole in a cosmic dike and suddenly it was all just about containment. But not even that. Because this kind of flood can’t be contained. All you can really do is ride it, keep moving, keep playing, because if you don’t, you’ll get dragged under, and where’s the glory in that?” (Philip Random)

SonicYouth-1988-live

448. hit the hi-tech groove

“Was I cool enough to be hip to Pop Will Eat Itself in 1987? I think so. Or maybe it took until 1988. Those were weird days, and seriously, I wasn’t the cool one, it was the people I was hanging with. By 1987-88, I was deep in a negative hole of my own making (though the Reagan Administration had helped), which was manifesting musically as NOISE, and also looking backward, digging through old records, because I couldn’t afford cool new ones. Which by 1987-88 meant Hip-Hop if you were even half paying attention. And I was, I guess, I just wasn’t buying much, because I was so broke. Which reflects now in how woefully misrepresented that form is on this list. Because it’s all there (Guideline #1). Except I did buy Box Frenzy. Or maybe somebody just gave it to me, no doubt because they’d decided Pop Will Eat Itself weren’t properly cool anyway, being white guys, and long-haired geeks at that (Grebo was the name of the scene). But I’d pretty much given up on cool by the end of high school anyway. Lucky me.” (Philip Random)

PWEI-1988-live

484. into the groovy

“In which Sonic Youth muck around with drum machines and whatever, take the piss out of a Madonna song, turn it into a zeitgeist-defining masterpiece. At least, that’s what my friend Martin thought. And he was a loud guy, persuasive. Indeed, there was a brief chunk of 1989 when Into The Groovy really was the greatest record ever, in the history of all humankind. Why argue?” (Philip Random)

SonicYouth-dancing

568. dead dog on the highway

“I had a friend back in the day with ambitions of being a big deal rock video director, which never really panned out. The closest he ever got to anything of substance was meeting somebody who knew somebody that maybe had some pull with Sons of Freedom. I remember him getting all excited, telling me his killer concept for Dead Dog On The Highway. To be shot out in the desert somewhere, the band playing at the side of the highway with every shot taken from passing vehicles, moving fast, so all you ever caught were quick glimpses. Meanwhile, Jesus was being crucified on a hill in the distance (dog being god spelled backwards). Needless to say, the band didn’t go for it. But it would’ve been a good one.” (Philip Random)

SonsOfFreedom-gtr

591. ‘cross the breeze

“If Daydream Nation (Sonic Youth’s best album) is one prolonged exercise in applied escape velocity, ‘Cross the Breeze is one of those prolonged moments where it gets furthest from the ground. I’m pretty sure I saw them do it live in late 1987 sometime, long before the album came out. It was a Sunday night show, and those are almost always duds, the audience too spent from the weekend’s extremes to actually move. But Sonic Youth launched us all anyway, ripped holes through our souls and scattered them ‘cross the breeze. It’s true.” (Philip Random)

SonicYouth-1987-02

664. kill surf city

“I have no clear memory of when I first heard this ragged Jesus And Mary Chain gem.  One of those songs that just sort of percolated into my consciousness in that aforementioned noisy year of 1988, not unlike a terrorist bomb in reverse. All dangerous up front and around the edges but get to the heart of it and you realize there’s a nice little surf tune humming along, deftly undermining the foundations of civilization in the nicest possible way.” (Philip Random)

JAMC-1988

665. escape from noise

“No doubt about it, Negativland‘s fourth album Escape From Noise was album of the year 1988, assuming you’d pretty much had it with music by that point, which I had. Not that there weren’t cool songs, essential melodies continuing to percolate. Noise just seemed a more relevant response to the prevailing cultural sewage of the time, which there was no escaping, except by diving full-on into it, which is what Escape From Noise (song and album) is really all about. And it’s hilarious, from beginning to end.” (Philip Random)

Negativland-NOISE