“It’s Christmas 1972, a party at family friends. I’m thirteen and barely old enough to be hanging with the big kids. Just shut up and sit in the corner. And then they all go outside to smoke a joint. They even invite me along, but no way, not with my parents barely fifty feet away. Which leaves me alone with the record that’s playing – Aqualung by Jethro Tull, getting to the end of Side Two, a song about all the religious bullshit they push on you when you’re a kid, which I had no problem agreeing with, particularly the part about God not being a simple toy. You didn’t just wind Him up once a week, say few stupid prayers and then get on with your everyday lying, cheating, stealing. Nah, if there was a God worth giving a shit about, He or She or It had to be magnitudes more complex and wise than that. I don’t believe you — you’ve got the whole damned thing all wrong.” (Philip Random)
“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)
In which Leonard Cohen weighs in on the stuff of love and confusion and those avalanches that sometimes cover one’s soul. We’ve all known them. In Philip Random’s case, there may well have been some LSD25 involved and yes, in fact, it eventually occurred to him that he hadn’t completely annihilated his ego, and that God Himself wasn’t singing to him from the far side of the room with a face as big as a fireplace. It was in fact a fireplace and a scratchy side of Leonard Cohen vinyl that someone had thoughtfully put on. And it was good.
“JJ Cale speaks the truth. JJ Cale who’s cooler than I’ll ever be, or Eric Clapton for that matter. In fact, I’m cooler than Eric Clapton, because no one ever confused with me God, except myself, of course, but that didn’t survive my twenty-seventh birthday. But enough about me. How cool was JJ Cale? He was mucking around with drum machines as early as 1971, yet so deep into his dirt poor sort of lazy rolling boogie, blues, country stylings that nobody bothered to take note. But Money Talks came twelve years later, sounding like it may have been thirty years earlier. Nothing cooler than fooling time.” (Philip Random)