“Can’t You Hear My Knocking marks that precise moment at which I realized Punk Rock was dead (which is bullshit, of course, it was just going into remission for a while). It would’ve been summer 1988, a party at the joint we called the Palace of Failure. I remember I was sitting on the stairs, swigging from my ever trusty bottle of cheap red wine, no doubt stoned as well. Suddenly somebody yanked off the hardcore record that was playing, mid-song, which was fine by me, I wasn’t exactly paying attention. A few seconds of party noise and then … pure riff magic, the Rolling Stones at their most elegantly gritty, tearing everything up, the whole party immediately starting to groove. Even Mick Jagger didn’t sound that annoying. How was that possible? And then, the last two-thirds of the track, he wasn’t around anyway, just a full-on Latin groove and some hot soloing. Pure bliss and proof positive that whatever had been so horribly wrong with old school rock back in the early punk days had now passed, a dysfunction of the zeitgeist or whatever. And how the hell had I not heard this song before? Can’t You Hear Me Knocking, from Sticky Fingers, the one with the zipper on the cover. Which means I had heard it. Because my friend Gary had that album way back when, end of Grade Seven. I distinctly remember playing with the zipper. Which is kind of weird, now that I think of it.” (Philip Random)
“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)
“A friend (I won’t say their name) thinks I should somehow apologize for listing Rock ‘n’ Roll Nigger. But holy shit, how do you apologize for something like this? Yeah, Patti Smith’s not black, but she is one hell of a poet, so if she says she’s a nigger of the rock ‘n’ roll variety, I guess I have to take her word for it. Even as I’m sure that some will take issue, and they’ll probably be at least as right as Ms. Smith. Just call it all confusion, I guess. Fierce and true.
Speaking of which (and maybe the best damned argument for the word, the song, the song that contains the word) is the album it showed up on. 1978’s Easter, which is otherwise a mostly restrained affair, maybe even a little a dull. Though it does contain the biggest hit she ever had, Because The Night, the one Bruce Springsteen wrote for her. Which is hilarious really — all those Boss fans buying it, then getting spat on toward the end of side one. Such were the punk rock wars of the late seventies. Confusion everywhere … and it was good.” (Philip Random)
“Because I couldn’t really justify forcing the Beatles Revolution onto this list, and anyway this latter day Revolution (care of The Spacemen 3) pays it fierce and eviscerating and ultimately beautiful homage, all flesh eating distortion and simple message. Just five seconds. That’s all it would take for all the fucked up children of this world to rise up and tear everything down. The weird part is, I was in Britain when this was new. I even saw the t-shirts. But I didn’t get around to hearing any of it for at least a year, by which point grunge was breaking (or about to anyway), which is really what was going on here. Grunge before they had the marketing figured out. A punk rock that wasn’t in a hurry. And I mean that in the best possible way. Because once marketing got involved, it was game over for everybody but the unit-shifters.” (Philip Random)
“The album is called Generic. The contents are anything but, the band known as Flipper being one of those outfits that weren’t exactly punk, except what else could they be, except maybe one of the all time essential party outfits? With Sex Bomb my particular go-to for those times when the party really does need to last all night long even if there aren’t chemicals in your blood, just too much alcohol and perhaps marijuana and sloppy stupid eruptions of fun, un-focus, glory even … as we all throw in, do our part to keep this mad world at least in some loose connection with its axis (or maybe the opposite). I do recall thinking this, some late 80s punk party, in the basement of the place they called the Sewer View. A few bands had played, maybe even the Evaporators, but now it was just some guy’s party tape. Probably mine.” (Philip Random)
Because it’s the f***ing Sex Pistols, arguably the greatest rock and roll band of all time, at their most pop, such as it is. Pretty Vacant being the one you could find on a mixtape with the likes of Elvis Costello, The Who, The Doors, The Cars even, without offending anyone. Certainly no one you didn’t want to be offending. Based on an Abba song apparently.
“Second of two in a row from the Velvet Underground, with Sister Ray likely to hit many as more weaponry than music, or as a DJ friend once put it, some songs you play for people, some you play at them. Either way, it’s a seventeen-plus-minute argument for A. how willfully out of step the Velvets were with pretty much everything else that was going down at the time (1968), and B. how brilliantly, thunderously, violently ahead of that time they were. By which I mean, the world needed Sister Ray. It just didn’t know it yet. At least, that’s how it worked for me. Discovered maybe fifteen years after the fact, mucking around through the bowels of a radio station‘s record library, educating myself. And I ain’t gonna lie. The extreme length was a particular selling point because not only did it force the limits of what we called The Reality Barrier, it also gave one time to cover a prolonged smoke or bathroom break – all the prog-rock epics of yore still being frowned upon in those contentious, battle weary days of the so-called Winter of Hate.” (Philip Random)
“Neil Young’s Rust Never Sleeps was the final album of his best decade (1970s), the one where he acknowledged punk rock while reminding us that he and Crazy Horse had been making a proper garage racket long before the likes of the Clash, the Sex Pistols, the Ramones hit the scene. Not that Rust Never Sleeps is a punk rock album, just raw and loud, and that’s all reserved for Side Two which kicks off with the one of a kind epic Powderfinger. Epic, sorrowful, poetic — I always assumed it was about the American Civil War, a young kid left behind to defend the farm (or whatever), facing down an approaching enemy with no hope at all yet determined to pull the trigger anyway. But that’s just my read. Different from Neil’s, I’m sure. And everybody else’s for that matter.” (Philip Random)
“Dogs is the epic Pink Floyd track that you couldn’t put on when you and your high school friends all got high. You’d get maybe three minutes in and some idiot would say, ‘Let’s hear side one of Dark Side instead. It’s so cool when all those clocks go off.’ I came to really hate Dark Side because of those morons. Still do (sort of), or maybe I’m just allergic to it. I have none of that trouble with Dogs and its withering 17 minute rip into all things corporate, capitalist, evil. And the thing is, it found eighteen year old me at a pivotal moment, forced a consciousness that I’d been flirting with anyway. Something to do with just saying NO to every greed and conformist based assumption I’d been fed by every parent, teacher, coach, priest, expert I’d ever encountered. They’re all wrong, it shouted. Do what they say and you’re already dead, dragged down by a stone. Or as my friend Motron put it, Dogs is punk rock on acid, then slowed way down … but in a good way.” (PR)