633. hot burrito #2

“Second of two in a row from Gilded Palace of Sin, the Flying Burrito Brothers’ debut masterpiece of countrified rock. Because you can’t really hear one Burrito without the other, both apparently concerning the same girl, the same tormented relationship, which of course only makes the country stylings more relevant. Or as Motron puts it, ‘the country stuff set the drugged out hippie rock stars free to mix whiskey and heroin and broken hearts – a terrible way to live, but it sure made for some kickass and essential music.” (Philip Random)

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713. In My Hour of Darkness

Gram Parsons was dead before the world ever heard his final album, Grievous Angel. Which made In My Hour Of Darkness, its final song (completely concerned with people who had died before their time) all too relevant, particularly the part where he sings his own eulogy: he was just a country boy his simple songs confess – and the music he had in him so very few possess. Who says there’s no such thing as ghosts? And angels, because that’s Emmylou Harris singing backup.

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734. sing me back home

Die young and rest assured, some record industry hack will make damned sure no recording that bears your name will remain lost on any shelf. Which, in the case of Gram Parsons, is a good thing, as it got us this straight up, true as nature take on Merle Haggard’s ballad about a guy who’s due to hang tomorrow, and he’s as ready as he’s ever gonna be. All credit to the rest of the Flying Burrito Bros, too, of course.

GramParsons-Nudie

1974 – Part 2 – future legends

Part Two of Randophonic’s three part celebration of the 40th anniversary of 1974 aired December 6th, on CiTR.FM.101.9.

Here it is in two Mixcloud streams.

And the Movie of the Week — Queen – Modern Times Rock + Roll

The podcast of the full program is available for download here …

Think of it as an at least halfway cool radio program from forty years ago playing not the popular stuff from the year, but the important stuff — the true wild and innocent sounds that kept the flesheating robots at bay for another three hundred days or so.  Brian Eno gets a lot of play because he released his first two solo albums in 1974 (and they, of course, changed everything forever). Otherwise, it’s a whole lotta everything, legendary and cool.

Brian Eno – needles in the camel’s eye

It hits you like a wall of solid pop.  Powerful and beautiful.

Roxy Music – all I want is you

A smart, sophisticated rocker from the band Eno had just left. Which raises the question. What would have happened if he’d stayed? What wouldn’t have happened? Would Richard Nixon even have had to resign?

Stevie Wonder – you haven’t done nothin’

In which even the blind man can see the bullshit.  74 was that kind of year.

The Undead – somebody super like you

From Phantom of the Paradise, definitely the best Faustian glam rock movie ever.

Sweet – ballroom blitz

In which the bubble-glam wunderkids hold nothing back, tear the whole room apart.

Sparks – talent is an asset

LA wasn’t glam enough so they moved to London and never really looked back. This one’s about Albert Einstein’s relatives.

Jade Warrior – monkey chant

Take an ancient Balinese monkey chant, lay down some psyche guitar. Disturb all the hippies.

Hot Chocolate – Emma

Emma has big dreams. She wants to be up on the silver screen. Spoiler alert: she kills herself in the end.

David Bowie – 1984 + sweet thing / candidate / sweet thing

Where was David Bowie in 1974?  A decade ahead of things in the year of the Diamond Dogs. Big Brother is supreme. Everybody loves him. And why shouldn’t they? Even monsters can be beautiful.

Brian Eno – seven deadly Finns

A single that didn’t really chart anywhere yet went a long way toward inventing the future sounds of punk, new wave etc. And it has yodeling.

Brian Eno – Third Uncle

It starts as a direct rip-off of Pink Floyd’s One of These Days.  By the time it’s over, it’s found an entirely other galaxy

Badfinger – just a chance

From their last album before the suicides started — the one that’s jammed with solid pop rock gems, but for whatever reason, got yanked from all the stores almost immediately after its release.

Strawbs – hero and heroine

Title track from another one of those shoulda-woulda-coulda-but-didn’t albums. Maybe Dave Cousins voice was just too weird, because you can’t blame all those mellotrons and angels amped way high in the mix.

Wings – nineteen hundred and eighty-five

The groove’s a killer. The production is pure drama. The lyrics don’t seem to be about anything. Where’s John Lennon when you need him?

Can – chain reaction

They’d just lost Damo Suzuki to the ozone or wherever. But they didn’t seem to mind, just kept working the infinite groove, pretty much inventing techno trance more than a decade ahead of schedule without realizing it.

Brian Eno – on some faraway beach

Lead off track from his first solo album — promising so much and, of course, he would deliver so much more.

Neil Young – ambulance blues

Neil is stuck on some dreary wintertime beach waiting for the paramedics to come. But it’s not an emergency really. The damage is already done.

Van Morrison – you don’t pull no punches but you don’t push the river

The true heart of Celtic soul gets laid bare here, epic and wise. You gotta learn to spot the difference between a foe you can knock down and a force of nature you best just go with, bound for great oceans and who knows what treasures on distant unseen shores?

Gram Parsons – 1000 dollar wedding

About as sad as sad songs get. And then he OD’ed on heroin.

Bob Dylan – dirge

Mr. Zimmerman enters the truly good part of his 1970s, and he’s definitely in a mood.

Anne Peebles – I can’t stand the rain .

It always rains too much. Why should 1974 be any different?

QUEEN – MODERN TIMES ROCK + ROLL (the Movie of the Week)

An almost one hour mix of Queen at the very beginning of their muchness.  Their first album (Queen 1) was released in 1973 but nobody heard it until 1974.

And by the end of 1974, we had two more to perplex and astonish us (Queen II + Sheer Heart Attack).

And confusing indeed it all was — a strange zone where Led Zeppelin and the Beach Boys seemed to hold equal measure, and everything in between.  Or as Philip Random puts it.  “Strange wild changes, absurd operatics, serious raunch, nymphs and ogres, black queens, white queens, Jesus Christ himself, fathers and sons, tenement funsters, lilies of the valley, tatterdemalions and junketers.  Bohemian Rhapsody was still over a year away and who needed it anyway? It was all there already. And if you were fifteen year old me, you ate it up.  Because it NEVER got any better than those first three albums and their Modern Times Rock’n’Roll … for lack of a better term.”