8. blowing in the wind [live]

“I remember hating Bob Dylan’s take on Blowing in the Wind the first time I heard it. It was Grade Two, 1967 or thereabouts, Miss Horton’s class. We all loved the Peter Paul and Mary version which was sweet and wistful and fun to sing along to. But then one day Miss Horton (who was obviously at least a part-time hippie) played us the original and … well, what do you expect from a bunch of seven year olds? Over time, of course, I’d grow to like, even love, the man’s voice, like sand and glue as David Bowie put it. But Blowing In The Wind, I found it easy to remain ambivalent about. He just had so much better, more interesting stuff. Why even have an opinion about some dated hippie campfire sing-along? But then I heard the live version from 1974’s Before The Flood. The last track on the album, so the encore, I guess, of what at the time was a big deal tour indeed, Mr. Dylan reunited with The Band, re-conquering a world he’d more or less shrugged off for almost a decade in the wake of his still mysterious motorcycle accident.

The man who’d become a myth having chosen the way of invisibility for a while, then slowly, over a series of consistently inconsistent albums, reasserting himself as just a man again, a singer, a songwriter, a wanderer. Which I guess is what I love about this Blowing In The Wind, electrified now, growling shambolically along, speaking of way too many miles over too many roads, with many more still to come. Because that’s life – it ain’t over until it’s over, and thus the searching and the confusion and the reaching, never quite grasping continue. Because the answers are out there, pieces of them anyway, caught up in the weather, metaphysical and otherwise. In fact, I caught a glimpse of one just last night, but it was moving too fast for me. I finally just drank more wine, took a few notes — and so on until the stars fall from the sky. Which I imagine they did in some small way those other nights way back when, winter sometime, early 1974, the tour that came to be known simply as Tour 74. And then, in the darkness, a lot of people lit a lot of matches and candles.” (Philip Random)

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45. young man blues

“Second of two in a row from the Who’s 1970 eruption Live At Leeds, because in case there’s any doubt, props must go to possibly/probably the greatest single slab of live ROCK vinyl ever unleashed. With the take on Mose Allison’s Young Man Blues manifesting as a powerhouse of such magnitude that it’s hard to imagine they didn’t just invent it on the spot, torn from the gods’ own hearts. For here is a genuinely classic band captured at absolute peak relevance, no excuses offered, none required (though captured is probably the wrong word for something as wild as this). And unlike that previous selection, My Generation, which ricochets and rambles its young man’s confusion for better of a quarter-hour, Young Man Blues focuses the superlative noise to just five-minutes-fifty-two seconds of glory that’s as relevant now as it’s ever been, probably even more so. Because nowadays, the young men, they got sweeeeet f*** all.” (Philip Random)

46. my generation

“You can do a lot worse than calling The Who’s My Generation the first proper punk rock song. Because it really does have it all — teenage rage, power, angst, frustration, horniness, confusion, all erupting as a sustained declaration of … something that’s impossible to really put into words without f***ing stuttering off into guitar, bass, drums, distortion, explosions and sustained thunder from there out to the edges of the nine known universes, which is what happens in the best version, the 1970 Live At Leeds version that just keeps mutating and erupting for almost fifteen minutes, the band having grown over the years into a monstrous garage apocalypse of noise and negation that was nevertheless playing the biggest festivals, topping the highest charts, like the answer to the question: what happens if you cross a Mod with a supernova?

Such that maybe eight years later, an eternally frustrating late teenage night, nothing to do, nowhere to go, just me and my friend Doug, a 26er of Tequila, his dad’s Camaro and an 8-Track of Live At Leeds. It’s snowed recently, so we take it down to an empty mall parking lot and cut loose with power slides, fishtails, spinouts. True heavy metal thunder. Although it would’ve been truer if the Camaro didn’t have an automatic transmission. Which we fried. So we ditched the car, hiked home and let his dad report it stolen the next morning. We never did get caught.  Although maybe fifteen years later Doug got busted for some kind of insider trading, then split the country while out on bail. One of these days, I guess I’ll get the full story, but I doubt I’ll be any less confused.” (Philip Random)

164. home computer

“I guess you could say this strange age we still find ourselves in officially landed with Kraftwerk in 1981 — everyday people owning artificial brains, keeping them in their homes next to the TV maybe, playing games on them, writing with them, making music. Not that I was paying it all much attention in 1981. I was mostly confused in 1981, or more to the point I was fighting confusion, because I’m still confused. I just gave up the fight a long, long time ago. Which gets us back to Kraftwerk, Computer World. What an album! Sounded exactly like the future that we all had coming, ready or not. And I guess I was. Ready, that is. In spite of all the confusion.” (Philip Random)

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(photo: Kevin Komoda)

198. Satisfaction

“1978 sometime. I’m home alone watching Saturday Night Live, and BAM! Devo hits the stage with their take on the Rolling Stones’ Satisfaction and … well, call it a Ballad of a Thin Man moments (ie: that Bob Dylan song where he sneers at straight old normal Mr. Jones and says, ‘Something is happening, but you don’t know what it is, do you?’) Except I wasn’t even twenty years old yet, how the hell could I be as uncool as Mr. Jones? And anyway, I had heard Devo already and didn’t hate them, but I didn’t exactly get them either. What I was, of course, was confused, which I’d eventually realize was the whole point. Devo existed to confuse. The trick was to trust this confusion, maybe even love it, embrace it as the true and weird future for all of mankind. Or something like that. I guess I’m still confused, but man, I do love that first Devo album.” (Philip Random)

(image source)

366. will to love

“It’s 1977 and punk rock may be erupting but Neil Young‘s gone strangely, evocatively ambient … for one song anyway, all heartfelt yearning and fireplace hisses and crackles. Will To Love being an example of a unique artist at the peak of his powers doing something the’s never really done before so well that he’ll never really have to do it again. Found on American Stars And Bars a mish-mash of an album that also includes Like A Hurricane and some pretty much straight up Country stuff, making it a more or less perfect evocation of one man’s confusion. And don’t kid yourself, everybody was confused in 1977.” (Philip Random)

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