“Idiot Wind has to go out to Angela, and me. We officially broke up in 1988. It just took me three years to finally get it one long, strange, lonely summer day that began with an urge to drop a little solo LSD, climb a small mountain, check out the scenery. And it was good. But then came the long descent, lots of time for deeper, darker reflection in the solitude of the forest, and meanwhile, on the walkman I had Bob Dylan‘s Blood on the Tracks playing, because I’d exhausted all the more cosmic stuff on the way up. And damn if all that earthbound grit and spite didn’t just start talking to me, particularly Idiot Wind‘s angst driven symbols and reflections, like nine hundred different stories all kaleidoscoping into one by the end, the part where the idiocy doesn’t just blow when you open your mouth, but also when I open mine. Because like some smartass said just the other day, there’s no I in team, but there’s two of them in idiot. Welcome to love, I guess, the part they don’t mention in all the fairy tales, the not happily ever after part. Which is why we need the music of Mr. Bob Dylan from pretty much any phase of his career. Post-fairy tale all the way.” (Philip Random)
“I can’t remember who said it, but it’s stuck. Jimi Hendrix (all gods bless him to the nine known edges of the universe) gets maybe too much credit for defining what one could do, psychedelically, with an electric guitar, in 1967. Because it’s not as if The Pink Floyd‘s Syd Barrett wasn’t also unleashing gobsmackingly apocalyptic electrical storms. Maybe he didn’t have the licks, the elemental voodoo blues bubbling from his soul straight through his fingers … but he did have the angles, the great sheets of discord and noise that it was going to take to get this souped up, superlative noise clear of the earth’s orbit, off into the vastness of beyond, even if it was ultimately within (which in Syd’s case, would sadly prove a bottomless void). The rest of the band weren’t half bad either.” (Philip Random)
“I believe I’ve already rhapsodized about David Byrne and Brian Eno’s My Life In The Bush Of Ghosts, how it changed everything forever, put sampling into the cool music toolbox, set more than just the white man free. But it was also a hell of a fun album in a creepy way, and nowhere more so than Jezebel Spirit, the track that used audio from an actual exorcism to serve its groove, which yeah, is pretty dime a dozen in certain goth and industrial circles these days, but man, what a groove! And this was early 1981. Ronald Reagan had barely been sworn in as President, John Lennon had only recently been murdered. Mix in the strong LSD that was suddenly so plentiful in my little corner of Americaland … and let’s just say some deeply weird realms were explored, entities encountered, the Winter of Hate enthusiastically engaged, not that we had the term figured out yet. But the soundtrack was already strong.” (Philip Random)
If you’re Peter Fonda and you want to impress John Lennon while tripping on LSD in a hot tub, tell him how you died once when you were a little kid. Guaranteed, you’re going to going to send the coolest Beatle someplace dark and scary, the only way out of which will be to write a stunner of a song in which A. he tells you, you’re making him feel like he’s never been born, and B. he and his band will go a long way toward perfecting the psyche-infused power pop record almost before it’s even been invented. Oh, those lovable mop-tops.
“It was the night John Lennon was murdered. My friend Simon dropped by with some LSD and, given the extremes of the moment, our fates were sealed. It was our profound duty to now trip the vast lysergic, play a pile of Beatles records and see where the mystical magical vibrations might take us. They took us to dawn, sitting in my car now, high up a hilltop, taking in the first grey light of a cold and misty day. We had Simon’s little brother asleep in the backseat with a dog named Alice (it’s a long story) … but the Beatles weren’t on the playlist anymore. We’d sort of lost track of them as things started to peak, the gods having other plans for us apparently. Now it was a mixtape Simon had made of more recent stuff, moody and cool and mostly instrumental. Except here was Peter Gabriel suddenly, singing Here Comes The Flood, but not the version from his debut album, this was sparer, sharper, far better. I later discovered it was from Robert Fripp’s Exposure album — everything peeled back to just voice, piano and some ghostly Frippertronics. A song of apocalypse, no question, of saying goodbye to flesh and blood. Yet not forecasting doom in the end, but rather a sort of dreamlike survival. And then the rain really started to deluge on that hilltop. And it still hasn’t stopped, not really, the 1970s being known as the last decade that the sun ever really shone.” (Philip Random)
“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)
(photo: Kevin Komoda)
“Second of two in a row from the Clash‘s last truly great, truly world beating album, the six-sided monster known as Sandinista. In the case of One More Time (and it’s dub), that means the ideal soundtrack for an ironic walk through an upscale suburban enclave on a warm spring evening (‘must I get a witness for all this misery?’), particularly if there’s a house fire in the vicinity, sirens a-howling, black smoke rising, and you’re a little high on LSD. This actually happened to me, 1981 sometime. I ended up watching it all from maybe a block away, and thinking (not for the first time) that the Apocalypse wasn’t something that was coming, it was already here, and I was in the middle of it – and so was everybody else. Armagideon times indeed.” (Philip Random)
Wherein Peter Green, main guitar man for the early Fleetwood Mac, lays down a blueprint for a blues rock that aims to move so far beyond the bounds of either blues or rock that a new name will probably be required – something that contains the fierce grit of the Mississippi Delta circa 1930, waters rising, levees about to overflow, but also the majestic sweep of a Ennio Morricone Spaghetti western soundtrack, that scene where the cold eyed killer looks into the mirror and sees something monstrous looking back. Which sadly, is what happened to Peter Green, sort of. He got swallowed by the monster – the Green Manalishi he called it in another song. Some say it was just money, greed. Others that it was the devil himself. Either way, Mr. Green disappeared down his own nasty psychedelic wormhole, went mad for a while, got lost. As for Fleetwood Mac, they did what any proper blues outfit would do. They played on.
“The gods must have had me in mind with America is Waiting, side one track one of My Life in the Bush of Ghosts, Brian Eno and David Byrne messing with African beats and rhythms, disembodied voices, all manner of weird noises, everything coming together to call down the venal soullessness of Ronald Reagan’s America, like the atmosphere itself was speaking to my concerns. How could all this not go well with the copious quantities of LSD that were bubbling around at the time? But the drugs wore off eventually. My Life In The Bush Of Ghosts didn’t, never has. Others may have used samples before, merged noise and rhythm and all manner of exotic tangents and textures. But once Misters Eno and Byrne had done their bit, this sort of stuff was emphatically here to stay, part of the firmament.” (Philip Random)