“The original version of Crosby Stills Nash + Young‘s Carry On is entirely okay. It makes its point. The revolution may have peaked but, man, we’re still on the edge something beautiful, man, so nothing else to do but carry on, man, to peace love and understanding, man. Live however, captured on 1971’s 4 Way Street, you actually believe it. Love is coming for us all. War shall be forever banned. Richard Nixon will not be re-elected in a year’s time by the single biggest landslide in history, America will not keep mucking around in Vietnam for four more bloody years. It’s the jamming, of course. Neil Young and Steve Stills facing off (with rhythm section Fuzzy Samuels and Johnny Barbata in strong support) riding the wave to heaven’s gate itself, leaving the original song far behind for at least ten minutes. Meanwhile in a hotel in Las Vegas, Hunter Thompson is glimpsing through ancient eyes what he’d come to call the high water mark. These things are not unconnected.” (Philip Random)
“Motron was right. I was wrong. It turns out the Fugswere the first genuinely Underground American outfit, certainly of psychedelic 60s. I was arguing hard for the Mothers of Invention, but no, it turns out the Fugs beat them to it. They weren’t as good as the Mothers, but that’s a different argument. Kill For Peace (from the Fugs’ Second Album by which point the Mothers were in the game) certainly set things straight about what was going down over in Vietnam: if you don’t like foreigners and their strange habits and customs, then kill them, for peace, because if we don’t, the Chinese will. It stands to reason.” (Philip Random)
Edwin Starr was the big voice behind War (What is it good for?), one of the great Motown singles. Here he’s pulling back a bit, weary of it all, just wanting some way out of the madhouse of modern life.
“I would’ve been eleven or twelve the first time I heard Steppenwolf’s Monster album. My friend Peter’s old brother had joined one of those record clubs that gave you ten albums for a dollar, but I guess he didn’t like this one, so he passed it down. The title track was an epic sort of suite that, in retrospect, went on longer than it needed to. But the story it had to tell of an America that was eating its children was rather essential to my still growing ears (and brain). Helped me to make sense of the Vietnam War (still ongoing) and all the riots and protests on TV, including what had just gone down in Kent State. Soundtrack for a monster movie – no question.” (Philip Random)