The Lemonheads - Ballarat

from the LP Lovey, Atlantic Records, 1990

Ben Deily never had a fucking chance; for real, though it would have been impossible to know how talented Evan Dando really was when they were just high school pals forming a band, the fact that they played the same instruments (guitar & drums both) and wrote songs meant that conflict was sure to rear its banal head. This was the first album where Deily was officially gone, giving Mr. Dando complete control of the sound direction and songwriting duties; forgive my harshness, but you get a clear sense of how little Ben was needed. This song was the opener, and it jumps out at the listener like a rabid dog, cheerleader cadence collapsing into horrorshow screaming care of Dando’s then- girlfriend Juliana Hatfield (of indie rockers Blake Babies), and that’s her backing on the chorus sounding like a church singer. The tunes were still fast enough to sound tough but not nearly as quick as before, a more solid coming together of the loud/soft ethos implied by the band’s name, “sour on the outside, sweet on the inside”. The lyrics are pretty cryptic, “…I looked down the mountains, there’s a hole, there’s a tired old fountain, there’s a soul, the time draws near; give me all of your fear, give me, all of your fear…” Considering all the shit Evan Dando has taken for being a pretty boy, I’m always happily surprised by the sharpness of those sparkly white teeth!

Herceg - Chonspóid

from the LP Controversy, Warner Bros. Records, 1981



The artist currently again known as Prince has sure taken his fans and detractors alike on quite an excursion, both musically and socially, the likes of which only come around once or twice in a generation; I’m gonna preface this whole post by highlighting one important fact: Prince is a musical GENIUS, period. While he may take eccentricity to levels rarely seen on this side of the pond, and he may have completely lost his marbles when he started suing the fans that posted pictures of him on the web without his expressed permission, no one can deny this dude’s mad skills, proficient on over 10 instruments and particularly scorching on the guitar! This track pretty much summed up the gossip surrounding Prince’s initial rise to fame, and his ‘don’t give a fuck’ attitude about it all, “…I just can't believe all the things people say, am I black or white, am I straight or gay...I can't understand human curiosity, was it good for you, was I what you wanted me to be; do you get high, does your daddy cry…do I believe in God, do I believe in me; some people wanna die, so they can be free; I said, life is just a game, we're all just the same… controversy… controversy…” He had to expect some disagreement & debate over his outrageous, freeform sexuality; I mean, this is the guy that had an ode to sex called “Sister” on the album before this that, well, the title basically lets you know… To be sure, as history has gone on to play itself out, one has to wonder if Prince actually enjoys some of the hullabaloo that he has fostered for over 3 decades now. Even if the guy is sort of a douchebag, it will never stop me from loving his discography, or posting his music for that matter (smirk), even if I do have to title things in different languages!

REPOST: Bow_House - Dancing

from the LP Mask, Beggars Banquet Records, 1981



Dancing probably isn’t the first activity people associate with the modern gothic subculture, because let’s be honest, with all the chains and random metal accessories these kids wear it would present some real safety issues to anyone that was standing near them, so it’s most likely better that they just continue to mope about, hands plunged firmly inside their pockets; however, back in the early ‘80s, goth rock could be heard spinning on the turntables of many DJs, the frenetic pace often making it better for nightclub dancefloors than new wave. Bauhaus was one of the best, fashioning some of the most idiosyncratic and alluring soundtracks within that scene, and looking every bit the part, with singer Peter Murphy & guitarist Daniel Ash appearing like the near-dead offspring of some hairdresser vampires and the cast of Rocky Horror Picture Show, all the while, “…dancing to the dark side of this tune…”

Hot Tuna - Genesis

from the LP Double Dose, Grunt Records, 1978



For a lot of fans, the work that guitarist Jorma Kaukonen & bassist Jack Casady did under the mantle of Hot Tuna both equaled and, for many, eclipsed that of their former band, the Jefferson Airplane; frankly, most of the music is so different that I feel it’s a bit like comparing apples with peyote buttons. First of all, can I just say, there are few cooler bands names out there than Hot Tuna, and it was actually their second choice after the record company gave their initial idea, ‘Hot Shit’, the boot. Tuna have always been at their best jamming live on stage, and this set was taped on the last tour of the decade; extra points for the album’s lysergic title and blotter-like cover art. This reflective love song was culled from Jorma’s first (and best, in my humble opinion) solo album, an achingly beautiful piece of acoustic folk, electrified here and set to the warm, honeyed timbre of Kaukonen’s voice, “…the time has come for us to pause, and think of living as it was, into the future we must cross, must cross, and I'd like to go with you…you say I'm harder than a wall, a marble shaft about to fall, I love you dearer than them all, them all; I’d like to stay with you…and when we came out into view, and there I found myself with you, when breathing felt like something new, new; along with you…going along with you…”

Jamie Jupitor - Computer Power

from the 12” single, Egyptian Empire Records, 1984



Even though most of the big electro cuts that dropped back in the ‘80s came from NYC, Miami or Detroit, there was a small yet impressive hub of artists in the LA area that held it down for the west coast, centered around producer Greg Broussard, a.k.a. the Egyptian Lover; he was the brains behind this track, and several other electro classics. The looped piano riff sounds dark & foreboding, which goes along with the lyrical theme of a twisted computer who seeks to mate with an earth woman, assuring the ladies that his, “…kinky parts will blow your mid…”; he also appears to be smoking weed and mentioning world domination, and considering this came out the same year as James Cameron’s Terminator, one has to wonder if Mr. Broussard came right back to the studio after watching that movie, smoked a phat blunt, and proceeded to deliver unto as this stunning bit of electro insanity.

Phonat - Ghetto Burnin' (Mojito Remix)

from the CD Phonat, MofoHifi Records, 2009



This bright & tracky style of house seems to have become all the rage over the last couple of years, sometimes being referred to as ‘nu-disco’ or ‘disco-wave’, neither of which really do it justice; whatever you want to call it, I’m just thrilled that house music appears to be getting the BOOM back, after an extended detour in breezy lounge hell. Phonat is the moniker of 23 year old Italian guitarist and beats-maker Michele Balduzzi, and this kid ain’t fucking around; the initial comparisons to Ratatat don’t even begin to scratch his surface, with every song on this debut album sounding different and unique from one another. He even selected one of the baddest-ass CD covers of the year, befitting of a 7 foot tall giant (yes, he is actually 7 ft. tall!); I am helplessly hooked, and rabidly look forward to any new material of his in the future.

Heart - Magic Man

from the LP Dreamboat Annie, Mushroom Records, 1976



This song has got it all: monster guitar riffs for days, lock tight drumming, references to marijuana and the occult, a hazy interlude with earthy percussion, a grandiose Moog synthesizer, and some spooky chanting, not to mention Ann fucking Wilson bitches (that’s the banshee-like brunette older sister on the left, for all those uninitiated in the Heart-ness)!!! Ann actually penned this as a quasi-biopic tale, the “Magic Man” being her boyfriend & the band’s manager Michael Fisher, who barely escaped jail for dodging the draft, which is why Heart really came together up in Vancouver instead of their home, Seattle. Fisher’s brother, guitarist Roger, lifted that slowly strummed, atonal chord heard in the verses from Dark Side of the Moon to great effect here, but also turns in some absolutely stunning solo work. The lyrics unfold like a dream, “…winter nights we sang in tune, played inside the months of moon; never think of never, let this spell last forever…‘come on home, girl’ he said with a smile, ‘you don't have to love me yet, let's get high awhile, but try to understand, try to understand, try, try, try to understand--- I'm a magic man’…” Taking a page from heroes like Zeppelin, Sabbath & Blue Oyster Cult, Heart understood one of the greatest keys to rock stardom, which is, be mystical.

Convertion - Let's Do It

from the 12” single, SAM Records, 1980



“Yes ya’ll, put your hands up in the air, and rock it like you just don’t care…let’s do it, do it, there’s nothing to it…” Ahhhh, weren’t times simpler when the above phrase was enough, no pretension, no big words, no greater social importance, just getting down. Producer and arranger Greg Carmichael was another partner that Patrick Adams teamed with sometimes, mostly notably in their influential project the Universal Robot Band; here they enlist the killer pipes of Leroy Burgess & a grip of his family members, backed by a solid crew of sassy divas, “…let me know you want to do it too…don’t cha like it, don’t cha like it?!” Along with Mr. Burgess’ infamous vocal stank, the real star of the show here is the flanged out synthesizer, which seems to have a life & mind of its own---it’s always a safe bet to assume a synth (often an army of them) will take center stage in most Adams & Carmichael productions.

Lush - Thoughtforms

from the EP Scar, 4AD Records, 1989



Lush’s glittering experiments in melody and sound were never short of awe-inspiring, volatile & capricious in all the right ways, inviting you deep within their forest of densely layered guitars and airy vocals, leaving your head spinning from all the unexpected twists and turns in harmony which they take along the way---it’s not easy to fuck with melody and time signatures in this manner, gently bobbing between 3/4 and 3/5 time while deconstructing the minor chords just enough to keep things feeling mildly inebriated. Although the sonic atmosphere feels slightly sinister, guitarist & vocalist Emma Anderson’s lyrics are a happy psychedelic mess, “…I need purple veins and scenic greens, they can make me soar and touch extremes; I just fell down from whitest skies, and now I start to realize, and all the colors talk to me…now you're times nearly through, colors are dripping down red and blue; I'm standing in the middle of a great glass ball, I'm told that I've nothing but I'm having it all…”

Roy Davis Jr. - Smoothness Mixtape

Side A, 1999



This mixtape might just as well have been called “Anthemness”, as famed house DJ Roy Davis Jr. smoothly rolls through a handful of 1999’s biggest house tracks, the first half of ’99 anyways; coming up under the tutelage of icons like Lil’ Louis & Farley Jackmaster Funk, Roy developed a leaning towards uplifting and soulful house tracks that are often heavy on the vocals---but don’t be fooled, as the switch around 13 minutes into this mix shows you, he can take things deep into the ghetto real fast, and I mean that as a compliment! This tape is filled with tunes which beg to be heard while surrounded by the concrete & glass skyscrapers of an urban metropolis, hard beats for big city streets, the kind of filtered disco madness that, sadly, isn’t heard much in house music anymore.

El Xoc - Police & Thieves

from the LP The Clash, CBS Records, 1977



Though I loved both bands with all my eager, pubescent heart at one time in my life, when push came to shove, I would always fall down on this side of the Clash vs. Sex Pistols debate / rivalry, something about their unyieldingly curious nature I suppose---oh, and they could actually play their instruments. What really set them apart though, right from the beginning, was their willingness to fiddle around with different genres and influences, even as the punk scene was still trying to find its own voice; I’ve almost wondered at times whether P.I.L. was initially just Lydon trying to play catch up in the “boundless interests” game…? This peppy cover of a Junior Murvin classic was a nice respite on the Clash’s paint-peeling debut album, forging a bridge between punk rock and reggae which still exists to this very day; hell, Sting & the Police went on to work this idea into a very successful career for themselves. Even though these lyrics were informed by the mean streets of Jamaica’s ghettoes and shantytowns, they are relatable to anyone that’s felt the pig’s heat or the tendrils of violent crime, “…scaring the nation with their, guns & ammunition…”

Mott the Hoople - One of the Boys

from the LP All the Young Dudes, Columbia Records, 1972



Taste in music is neither purely cyclical or purely linear, and thus, it sometimes seems as if there is no explaining for the revolving door of popular trends and tastes which can come to define a band’s rise and/or fall; case in point, Mott the Hoople. These guys were indisputable cult heroes across the pond back in the ‘70s, scoring top ten UK hits with both singles and albums, but here in the USA they never had one recording breach the top 20; in all honesty, previous to the last couple of years, Mott’s legacy in the States has primarily consisted of classic rock radio’s infinite spinning of their quasi-hit “All the Young Dudes”, and even that is often wrongly presumed by Americans to be the work of it’s writer, David Bowie. Now that I think about it, perhaps it was their connection to Bowie which doomed them in the US, because the nature of their hard rocking boogie should have made them huge over here. That being said, it seems as if Mott may finally breakthrough, thanks to some crack music journalists and the glam-sound revival, Ian Hunter’s face has been all over the place here of late, and I for one think that that’s just peachy! This celebration of all things testosterone related comes across with only the slightest of a wink & nudge, “…well I grow my hair just to scare the teacher, my goodness gracious me ain't little Johnny a creature, and I lost count of the times when I never bathed; I'm one of the boys, one of the boys, I don't say much but I make a big noise…” So what does it mean if the teacher is the one growing his hair long…?

Ghosthustler - Someone Else's Ride

from the CDR, self-released, 2007



The subgenre known as “dream wave” starts right here, with now-defunct Austin, TX trio Ghosthustler, a group mostly remembered for having been Alan Palomo’s first major project (he’s the guy from VEGA and Neon Indian), as their existence was so brief that they never even got to drop an album proper; although it pains me to say this, these kids were raised on Daft Punk & Felix da Housecat (oh crap man, I am getting old), and this interpretation of the ‘80s comes not from real memories, but what they think the ‘80s might have felt like. Where a lot of bands who are trying to do this come off sounding cheesy and insincere, Palomo’s songs utterly glisten, which says to me that this boy really did his homework; not only does this track stand easily alongside any classic new wave anthem you put next to it, it surpasses the lion’s share of its own influences. I’m fully aware of the fact that vapid zombie-hipsters have co-opted all of Palomo’s music as their current soundtrack, but any true fan of ‘80s music, or synthesizer led rock in general, will fall helplessly in love with Ghosthustler’s carefree smoothness.

Stone Harbour - Summer Magic

from the LP Emerges, Lion Records, 1974



Autumn along the front range always feels like an extended summer, albeit interspersed with patches of chilly weather; the only thing about that is, when winter arrives, she comes correct---one week you’re hanging out in shorts and sandals, and the next week its scarves and heavy coats. I’m not complaining though, I actually love the diversity of seasons, and winter’s included; maybe it’s because I grew up in Florida, but some part of me still gets all excited inside when I see snow piling up on the ground, even though I’ve lived through enough winters in cold climates to be bored with it. Something about the harsh weather awakens the survivalist portion of my brain, which in turn sends my thoughts adrift in all sorts of different directions, ultimately always coming back to the idea that we are so better prepared to persevere through winter than people in the past, and that always makes my grateful ass settle a little deeper in my chair cushion, bare feet warming over the central heat vent. This lo-fi duo hailed from Youngstown, Ohio, and anyone from that half of the state will tell you, Y-town is both ghetto & crooked; James Traficant Jr. anybody? Also, having spent a couple of winters in Cleveland I can tell you, once summer is gone, you don’t see the sun very much until spring; thus, it makes sense to me that these cats hung out getting high in their basement a lot, composing gently baked tunes and recording them on 4-track machine, the result of which almost sounds like it could be a GBV album.

Peter Tosh - I Am That I Am

from the LP Equal Rights, Columbia Records, 1977



“I’m not in this world to live up to your expectations, neither are you here to live up to mine…I am that I am, I am, I am, I am…” This seemingly simplistic view of existence is actually quite profound, seeing as how no one else has to live your life but you, the concept that we should “live and let live” has been largely diminished in our modern world of nanny governance and nation building; to be sure, I’m not some douchebag cultural relativist, I don’t apologize for thinking many cultures’ treatment of women and other groups is deplorable and never okay, but is it our job as America to “re-educate” the nations of the world that we deem to be “less civilized”? Do we even have a fucking leg to stand on at this point??! On a more micro- level, I’m a firm believer in the notion that genuine & lasting personal growth is impossible unless you have first come to a point of complete and total acceptance of all that you are; that doesn’t mean you have to be satisfied with the status quo, but you have to completely accept who you are and where you are at---otherwise, whatever corrections you may assemble will be heaped upon a flimsy foundation, and the gear you don’t want to face will still be lurking in the shadows. Holy shit, I’m starting to sound like the Al Franken character Stuart Smalley (“…I’m good enough, I’m smart enough, and doggone it, people like me…); how crazy is it that he’s a senator now, I think it’s cool. So, in conclusion to this deeply stoned ramble of a post: be who you are, do what you gotta do, and dig that. I am that I am. Word.

The Stooges - Loose

from the LP Funhouse, Elektra Records, 1970



I must confess, as I scroll through the Stooges discography (which, admittedly, only truly contains four albums), it remains something of a hit-or-miss affair for me: some tracks are just plain boring, and not in any sort of intellectually redeeming way either, while other songs shine as bright as the fucking sun, and they continue to captivate my mind, listen after listen… shit, I’ve probably heard this track 10 or 11 times in a row just while writing this, and I’m not even close to my saturation point yet! “…I’ll stick it, deep inside…and I’ll stick it, deep inside…’cause I’m loose…” Iggy Pop tossed this triple entendre out on the table like it was a dare, and after listening to the legion of takes they included on the full Funhouse sessions (from Take 2, “…well i'm flyin' on a red hot wiener, yeah I'm ridin' on a big hot dog; well it's a thing that's slick and greasy, well it's a thing that's big and long…”), it’s clear that Elektra records got off easy with the take that wound up on the album. Ron Asheton’s explosive guitar playing here blows any beliefs about him being mediocre right out of the water, his acidic solo blazing all over the place in a rather Hendrix- inspired display of instrumental prowess. People talk a lot about what a junkie Iggy became, and he was a dope fiend, but his top drug of choice (and the substance which ultimately led to his getting put away in an asylum more than once) was always Quaaludes, the most entertaining downers ever invented for human consumption; I mean, I pulled my shit together a while ago now, but it’s probably a good thing that there are virtually no interesting (i.e. Tuinals, Seconals, Nembutals, ‘Ludes) depressants floating around anymore.

Memory Cassette - Surfin

from the EP Call & Response, Sincerely Yours Records, 2009



The genre-bending experiments of one Dayve Hawk (the man behind such monikers as Memory Cassette, Memory Tapes & Weird Tapes) have been salve for my mind through every season of this year; in this song alone I hear shoegazing & dream pop in the processed lyrics and minor chords, post-punk drumbeats with a techno sub roar, all of it treated with psychedelic flourishes throughout. The result is an absolutely radiant patchwork of postmodern release, giving the listener a fast-paced trip over the ocean---those real waves at the very end of the track are a lovely touch. I don’t give a fuck if it is hipster territory, I dig what Mr. Hawk is doing and look forward to both future releases and new aliases! Extra points for the strange, glowing cover photo-art.

Ner_Vaughn_Uh - Moist Vagina

from the 12” All Apologies, Geffen Records, 1993



Excepting for that week which followed the announcement of Cobain’s death, I didn’t really listen to any of my Nirvana albums for a while afterwards, a fact which I didn’t even realize until I popped Bleach in my car a few years ago and it was like getting punched in the face it felt so new. I think his suicide upset me more than I initially let on, and the latent effect was my shelving of those tunes for a period of time; meanwhile, my path changed dramatically, the rave scene altered my life for a while and rock music in general wasn’t heard around my home that much, for years actually. At any rate, I’m happy to be enjoying Nirvana’s music again, sifting through the influences more clearly, basking in his bleak sense of humor. The lyrics to this particular song are a good example of that light-heartedness, “…she has a moist vagina, I particularly enjoy the circumference; I've been sucking the walls of her anus, anilingus…I prefer her to any other, Marijuana, Marijuana, Marijuana…” Is it a graphically indulgent ode to freshly harvested sensi, or was Kurt letting us know that he liked to rim out his girl’s ass when he got stoned? We may never know, but I’m grateful for the quandary just the same.

Yolk - Bish Bosh

from the 12” single, Ruffbeat Records, 1992



Starting things off with a sample lifted from one of my all-time favorite De La Soul joints (“The Magic Number”), this old school breatbeat track from the Gloucester based trio Yolk was guaranteed to catch my attention, and it still sounds fresh to my ears almost two decades later; they go on to sample A-Ha’s “Take On Me” as well, which was a bloody brilliant move! At the time when it came out this track banged really hard, but the considerable evolution of beats since then has left it feeling a bit lighter on its feet, a good outcome I believe; for real, it’s difficult to imagine this being considered “hardcore” anymore, even ten years ago for that matter. For some reason though, all in all, this song and much of the early ‘90s breakbeat output has aged rather well, perhaps suggesting that the breaks themselves are never gonna stop moving our feet.

Las Puertas - Soul Kitchen

from the LP The Doors, Elektra Records, 1967



Fuck the naysayers, The Doors totally deserve their endless hype, in my humble opinion anyways; they might not have broken a ton of new ground musically speaking, but the combination of their minimal take on American blues matched with the Lizard King’s existential and debauched, bearded prose (not to mention his endearing, deep-bellied delivery) does something for me that no other band can, tapping into humanity’s animalistic nature with such efficacious success that one almost has to wonder if all the haters are just a bunch of uneasy prudes in bed… I know the surviving members are on record saying that Oliver Stone’s movie wasn’t very good / accurate, but they at least partially owe this never-ending second wave of fans to that film, in my estimation; I can clearly remember when it came out, in the spring of ’91, because over the course of a month’s time there were suddenly throngs of new, young hippies walking around the beach and mall. I was into them before that of course, and in fact, my mom is currently in possession of a very damning video-tape (VHS) where I’m lip-synching to “Light My Fire”, something which I should probably take back ownership of next time I visit the fam. Anyways, this track off the Doors’ debut album has never lost it’s appeal to me: upbeat, easy going music matched with sharp brilliant lyrics, “…the cars crawl past all stuffed with eyes, street lights share their hollow glow, your brain seems bruised with numb surprise; still one place to go, still one place to go…let me sleep all night in your soul kitchen, warm my mind near your gentle stove, turn me out and I'll wander baby, stumblin' in the neon groves…”

Pineapples - Come On Closer

from the 12” single, Danse Records, 1983



This pummeling italo track is a perfect example of how the internet has changed the underground, remaining a secret weapon for many DJs over the years but gradually having become more and more obscure over time, leaving a $200+ price tag on clean copies of the original 12”---enter, the Infernet (as Ween calls it). Now this track has been remixed and cut up by throngs of beats-heads, including a heavenly deconstruction care of Alan Palomo (aka Neon Indian) for the title track to his recent LP, in which he slowed and processed this song into a glorious, gauzy mess. In my humble opinion, this is the way things should be; it’s not as if Roberto Ferrante, the guy behind Pineapples and other rare italo one-offs, sees any of the money exchanged on the used LP market anyways. No musician sets out to have their music available only to a select few that are wealthy enough to drop a couple hundred bucks on a freakin’ single! And thus, we can all revel in the cheap-sounding lushness which is vintage italo, though put together more masterfully than your average burner, I must say; it’s really true, “Italians do it better”.

The Flamin Groovies - City Lights

from the LP Teenage Head, Kama Sutra Records, 1971



Yet another example of an incredible band who, while managing to endear themselves to every music critic on Earth (the infamous Lester Bangs was actually present at these recording sessions for fuck’s sake), never managed to rise above cult status amongst the population at large, which is always a rotten shame both because the musicians should have gotten more notoriety, and, more importantly, because so many more people should be enjoying this music! The Groovies were always somewhat out of step with the prevailing trends, self-consciously so in fact, and it gave them the freedom to roam all over rock ‘n’ roll’s vast atlas; their debut album, released in the late ‘60s, was so un-psychedelic that you just know they had thoughtful grins on their faces. This LP, their third, is an easy pick for my favorite of theirs, and while the comparisons to Sticky Fingers are certainly warranted (hell, the incredible piano you hear on this track is care of producer Jim Dickinson, who also played the piano on “Wild Horses”), I find this album more genuine than the other, but not quite as good; that being said, Mick wishes he could sound as redneck as guitarist & vocalist Roy Loney does here!

Musique - In the Bush

from the LP Keep On Jumpin, Prelude Records, 1978



This notorious Patrick Adam’s production leaves precious little to the imagination, “…I’d like to do the things you like to do, too, I’d like to do it do it; I want to do the things you want to do, too, so baby let’s get to it…are you ready, are you ready for this, do ya like it, do ya like it like this…push push, in the bush, push push, in the bush…you know I want to get down…” For this reason, the song was banned from most radio stations, dooming it to relative obscurity outside of nightclubs, where its predictable popularity sent the single to the top of Billboard’s dance charts. For my part, to carry along with the gratuitous nature of the song, I am a big fan of bush---feels good & looks good. The recent trend of pubic shaving is revolting to me, the end product either resembling pre-pubescence or the elderly in appearance; thus, I send this song out to inspire the world unto a more natural vibe, recalling the overwhelming majority of human history which had razors working all over our bodies but decidedly not, “…in the bush…”

Rational Youth - Dancing on the Berlin Wall

from the LP Cold War Night Life, Yul Records, 1982



I’m no blind patriot, as any of you who read this blog regularly can easily surmise, but I am a lover of FREEDOM man---the freedom to live as you want, say what you think & believe what you choose while respecting others’ right to that same freedom. It was 20 years ago today that the Berlin Wall began to crumble, an event which set in motion the end of Communist leadership in Europe, and a few years later, led to the collapse of the Soviet Union itself. I remember being glued to the television set, watching Tom Brokaw’s coverage on NBC and feeling so happy for all those East Berliners that could now walk freely across into the West without fear of being killed; it was such a stark contrast to see that one side of the wall (west) was completely covered in beautiful graffiti pieces and murals, while the other side of the wall (east) was totally blank. The French Canadian trio Rational Youth were an above-average coldwave act that released this gleaming album in the early ‘80s, at a time when the Cold War was at its most frigid, and the very idea of dancing on the Berlin Wall would have been, in practice, suicide. Astoundingly enough, that is exactly what wound up taking place on this night, back in 1989: thousands of revelers from each side of the fence, dancing hand in hand atop that most hated structure, an act so metaphorical in nature & yet so vivid and real in action that footage of the event still makes my eyes water a bit. People gotta be free…

Pink Floyd - Echoes

from the LP Meddle, Harvest Records, 1971



This song is the definitive apex of space rock, voyaging free from gravity throughout the universe, traversing the windswept ice deserts of Saturn and trawling the depths of Venus’ dark indigo seas, bathing in dense layers of atmospheric sound which can leave the truly stoned individual who listens to this with headphones on wondering if they have, indeed, momentarily left the Earth---which I have to presume was the ultimate goal of space rock in the first place, right?! Floyd had tread into these waters before, albeit much more briefly (i.e. “Astronomy Domine” or “Interstellar Overdrive”), but never had they created such a mesmerizing opus as this, cinematic in both scope and delivery. It all begins with what sounds like the sonar or radar on a submarine, pinging the depths to let you know just how deep we’re gonna go; the actual noise you hear was generated by patching a friggin’ grand piano into a rotating Leslie amp, typically only done with Hammond organs at that time. The track moves through several suites, giving the listener the impression of motoring around the interplanetary atmos in a small craft, passing through a variety of colors & environments, with not a single dull moment to be found within the entire 23+ minutes of epic madness. This piece made it very clear that Pink Floyd still had a lot to say, and didn’t they go on to prove that assumption right!

The Smiths - Hand In Glove

from the 7” single, Rough Trade Records, 1984



I realize I’m gonna take some shit for this post, so let’s just get right to it: I like the Smiths mainly due to Johnny Marr’s inspired and inimitable guitar-playing, and although I’ve grown to tolerate and, at times, enjoy his unique vocal stylings, Morrissey’s only constant draw for me is his witty lyrical ability. That mastery of words is already proudly displayed on this, their debut single, and when you consider the topic being discussed here, one has to give them some props for the courage to take that risk, “…hand in glove, the sun shines out of our behinds, no it's not like any other love, this one is different because it's us; hand in glove, we can go wherever we please, and everything depends upon how near you stand to me…and if people stare, then people stare; oh, I really don't know and I really don't care…” This is stuff was rather atypical from the prevailing new wave trends of their time, sounding more like the paisley underground scene in LA than their synth-centric peers in Manchester and London; I can’t say enough good things about the chord progressions that Marr generated, on song after song, this debut being one of his best, in my opinion anyways. Morrissey helped a generation of gay youth with this number, giving them a spine & a voice all at once, with no apologies, and not even a filthy word to be found, “…kiss my shades...” ---precious stuff!!

Leon Haywood - Tenderoni

from the 12” single, Modern Records, 1984



This boogie monster finds Leon Haywood at the end of a rather successful career that spanned two decades and encompassed just about every style of black music that came along; the one common thread in Leon’s music, from his soul cuts to disco to ‘80s boogie like this, is his unabashed embracing of a glossy, slick production, so fresh & so clean clean. Mr. Haywood is probably best remembered, by heads anyways, for his track “I Want’a Do Something Freaky to You”, which has been sampled by throngs of hip-hop producers over the years, most notably on Dr. Dre’s seminal cut “Nuthin’ But a ‘G’ Thang”. This burner is definitely a fitting epitaph to one of soul music’s more unsung heroes; Montreal duo Chromeo had an underground smash with a track of the same name, but it isn’t actually a cover, although it’s equally funky.

Eeep, Une Souris - Ganja Smuggling

from the LP Wa-Do-Dem, Greensleeves Records, 1981



It’s incredible to see how much the so-called ‘dancehall’ genre has changed over the years, this classic sounding far closer to regular roots reggae than the hip-hop influenced dancehall which reigns supreme these days; although I must confess, the new school vibes are fun to wild out to sometimes, particularly if the alcohol has been flowing, I definitely prefer this style of vintage sounds from the late ‘70s & early ‘80s. The idea for it grew out of the Jamaican tradition of soundsystems (basically block parties), at which MCs would “toast” over top of the instrumental versions or dubsides the DJ was spinning; to be honest, this practice predates hip-hop by almost a decade, and if you listen to some of the older stuff it becomes clear just how influential it must have been in rap’s evolution. Ripton ‘Eek-A-Mouse’ Hylton is one of the most veteran MCs still doing his thing, deftly navigating through all the varying trends inside dancehall and remaining one of the most popular acts around, always turning in a standout set at annuals like Reggae Sunsplash or Reggae on the Rocks; his stage name actually comes from a horse he used to bet on at the tracks all the time. This song has some obvious appeal, in sound & name, and with the Roots Radics at his back and Prince Jammy on the controls, this LP was bound for glory, “biddy, bong bong, biddy eh-ehh…”

Sly & the Family Stone - Skin I'm In

from the LP Fresh, Epic Records, 1973



Few entertainers lived out their drugged-up messes of a life more publicly than did Sylvester ‘Sly’ Stone; between all of the canceled gigs and his famously wasted & bizarre television appearances (watch the uncut clips on youtube of his perilous interview and performance on the Dick Cavett show; I fucking want them boots and the knit hat he’s got on!), he sadly turned into a caricature of himself, winding up a hermit in relative seclusion for the better part of the last two and a half decades. I have to admit, I think the kind of spotlight which he lived in after becoming a rock star would have made me lose my shit as well, like Dave Chapelle did---life under a microscope just isn’t for everybody. Thankfully for all us fans however, Sly managed to put out a nice chunk of funk before he disappeared, truly some of the most spirit-lifting, hand-clapping, body-shaking tunes this side of the Mount Holy Olive Baptist Church of God & Christ’s Macadamia Jubilation Congregation!! This reflective, almost pensive, track has always caught my attention, his words so melancholy yet assured, “…oh-oh, if I could do it all over again, ah oh-oh, I'd be in the same skin I'm in; the clothes I wear, and the things they dare me to do…ahh, places I go, ah oh-oh, people I know; the things I gain, oooh, sometimes they rain on me…hey, skin I'm in, hey-ah, and the things I never, never win...”

Ultravox - Passing Strangers

from the LP Vienna, Chrysalis Records, 1980



It must have been awfully gratifying for the remaining members of Ultravox when the first record they released, following the near band-ending departure of frontman John Foxx, was the group’s first to break into the UK Top Ten charts; like, “piss off then John, we didn’t need you anyways…” His departure marked a musical shift in the band as well, with guitarist Midge Ure taking over the lead spot and driving things in a notably more pop-friendly direction, albeit still very distinctive & full of character. The lyrics here include a tad more thought & nuance than your standard new romantic single, “…we were talking, passing strangers, moments caught across an empty room; wasted whispers, faded secrets, quickly passes, time goes, time goes by too soon…” It’s all driven along nicely by Warren Cann’s metronomic drumming and produced by none other than krautrock’s guru of engineering Conny Plank, the entire LP having been recorded inside his legendary Cologne studio.

Sonic Youth - Brave Men Run (In My Family)

from the 7” Death Valley ’69, Iridescence Records, 1984



It’s plausible to argue that the legacy & overall impact Sonic Youth has had within the world of alternative rock is perhaps greater than the actual music they have produced (actually, Thurston has admitted as much in interviews), which is not to take away from their discography at all, but only to highlight the fact that Sonic Youth (SY), for all intensive purposes, has been a litmus test for “coolness” as long as I can remember, which is at least 3 decades; hell, just considering the amount of bands who got their start thanks to an opening slot for SY, they have easily earned their eternal spot in the mountain of rock’s true heroes. Although in recent years they have mightily blazed through a headspinning amount of modern musical genres, they firmly grew out of NYC’s infamous ‘no wave’ scene (more written about than listened to, quite frankly), and this 7” finds them just barely beginning to toy with the idea of a melody; I love when Kim sings, or whispers, or growls---her power is hypnotic. I like the disconnected eulogy vibe here, mourning the loss of courage, and the many different things which she could be referring to with that seemingly oxymoronic phrase, “brave men run”. The playful & often atonal direction of Sonic Youth’s early musical experiments still fascinate me, that raw guttural edge slicing deep into your brain, severing the concept of prediction and leaving you awash in oceanic swells of feedback and fuzz.