Zoom is about the future apparently (the 1973 album in question being called 1990), though men had already been walking the moon for four years by then, 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 trip, which if taken at the speed of light would actually get you to Mars. Not bad for a bunch of guys from the wrong side of the tracks, Detroit.
“If there’s a typical Cure track, the extended (BIG) mix of Never Enough is not it. What it is, is truth in advertising. In other words, big. So much so that I’m going to suggest that its keen sense of pumped up sonics pretty much defined the near future of rock infused pop (yes, champions of U2’s Achtung Baby which came out a good year later – I’m talking to you). As for the song itself (which never showed up on a proper Cure album), it’s just more evidence that when it comes to a certain kind of delirious desire put to pop, Robert Smith has few equals. And you can dance to it.” (Philip Random)
“The first thing I ever consciously heard of My Bloody Valentine was Andy Weatherall‘s 12-inch remix of Soon. And it was good, immediately figuring in all the mixtapes I was making at the time, 1991 being a serious watershed year for me. I’d taken the baleful rage and angst of the 1980s further than most, and loved it often as not. But now it was time for a change, and here it was, often as not lyrically vague as it was musically expansive, like 1960s psychedelia all over again, only bigger, richer, pumping cool light and amazing colours. And then the album Loveless showed at the year’s end, and I finally heard the actual original version of Soon, and holy shit, it was everything I could’ve imagined, only more so, the future having arrived.” (Philip Random)
“In 1981 or thereabouts, if you told me that Depeche Mode would still be around come the 1990s, I would’ve laughed in your face. They were just pretty boys pushing buttons, and not even as well as other boys were pushing buttons. And yet there they still were nine years later, and not just surviving – actually relevant. Case in point Enjoy The Silence – The Quad: Final Mix which seamlessly blends four separate Silences into one beautiful fifteen plus minute monster. Adrian Sherwood, David Harrow, Gareth Jones, Holger Hiller, Mimi Izumi Kobayashi and Tim Simenon were all involved but it’s the overall flow that matters. What did 1990 sound like, you may ask? Some of the silences were amazing.” (Philip Random)
“Speaking of our Lord and Saviour Jesus Christ, call this one punk rock, Ecstatically inspired. In other words, blame it on the drugs. Or whatever it was that got the Stone Roses mixing up mystical insight and balls out provocation in such a way as to declare themselves both the resurrection and the son (singer Ian Brown anyway). I Am The Resurrection being the epic final track of their 1989 debut album that really did blow the roof off of things. The whole album, that is, every song essential. Call it a masterpiece, messianic even. These Roses really were perfect, they had all the answers, they were showing the way. But then, I guess, they started doing different drugs.” (Philip Random)
“I kept hearing about Dinosaur Jr. back in the late 1980s but I never consciously heard them. Apparently, they were a throwback to the pre-punk days of big wild guitar solos, epic intentions … but in a good way, which sounded promising. Then I finally did heard Freak Scene some time in 1990 and hell yeah, truth in advertising. Except they were anything but a throwback — guitar so sheer and beaming with fractal light, it was carving gateways into the future. Or at least that’s what it felt like that time at the Commodore, the top of my head lysergically removed from the rest of my body. In a good way. Later, I drove home, still quite high, listening to classical music on the radio – some Shostokowich as I recall. And it all made perfect sense.” (Philip Random)
“The first thing I heard about Joy Division was that they were a cool new band out of Britain who were doing a sort of new wave meets The Doors thing. Which sounded cool. The next thing was that their lead singer had killed himself. But good luck getting to hear any of the actual music. Local rock radio wasn’t playing any of it and whatever few dozen of their records that may have made it to town as imports were quickly scooped up by people far cooler than me. So it was all just mystery for a long time until I finally heard Decades on a mixtape in some guy’s care – as suitable an epitaph as anyone ever wrote for themselves. And strangely, it’s almost exactly what I expected. Dark and strange and heavy with mood just like Jimbo the Lizard King and his crowd, except the edges were harder, the lines cut sharper. Like nothing I’d ever heard before really, except perhaps my dreams. I guess I liked it. I’ve never really stopped listening to it.” (Philip Random)
“In which Jello Biafra hooks up with Vancouver’s own DOA to deliver a surprisingly faithful cover of one of the essential Rock Anthems (speaking of Eric Burdon). Maybe the essential rock anthem. I think I heard Bruce Springsteen say that once. This situation’s killing me. Might be school, might be a job, might be prison, a bad relationship, your family, your own asshole. Doesn’t matter where you are, there’s only one way to go, and that’s OUT. With a vengeance.” (Philip Random)
It’s 1973 and the times may be grim but the Temptations (and producer Norman Whitfield) are in full, expansive, beautiful bloom (riding as they are on the mega-success of 1972’s Papa was a Rolling Stone). But the focus now is not the past, but seventeen years into the future, the dawning of the 1990s, not that not much has changed. There still ain’t no justice.