1,001 songs to listen to before you die...

[Liam]

437.      

‘American Girl’, Tom Petty and the Heartbreakers (1976)

I feel like Tom Petty is another artist that has largely passed me by due to a (perceived by me) lack of success in the UK relative to some other big US acts. However, this has been used in so many different places – it feels – that I am well aware of this song. This is another tune where I believe the lyrics had a lot of importance in its success as they tell a narrative that can easily be co-opted by the listener for someone they know or even themselves. The book mentions the similarity/outright theft of ‘Last Nite’ by the Strokes, which I somehow hadn’t realised. If you are going to steal, I guess you should at least steal from something good.

438.      

‘Detroit Rock City’, Kiss (1976)

I was thinking that I’d know this song as soon as it came on, yet I can only really hear ‘Tonight I’m Gonna Rock You Tonight’ by Spinal Tap. I guess that speaks volumes to how good the writers were at tapping into the sound of these big and brash rock bands from this time period. Maybe it is just me, but this just doesn’t do it for me like some of the other Kiss songs I know – that is, until the guitar solo. It isn’t anything spectacular, yet it lifts things above the rather solidly pedestrian song up until that point.

439.      

‘Young Hearts Run Free’, Candi Stanton (1976)

A song for all years. The disco element doesn’t date it like it could do for some songs, yet what it does do is hides how sad the song actually is. Stanton sings about a woman who stands by her cheating man as she can’t find the impetus to make a break for it. The simple repeated drums lay the groundwork, whilst the horns add some flourishes to help develop what is actually quite a simple song. Canton’s vocals are given room to stand out and are a particular highlight.

[Liam]

440.      

‘Chase the Devil’, Max Romeo (1976)

I won’t be the only one who primarily ‘knows’ this song through its sampling in the Prodigy song ‘Out of Space’, one of my absolute favourite songs. The most interesting aspect of this song are some of the weird things Romeo did during recording his songs – things like burying the tapes in the ground or blowing smoke on the reels. His is also probably one of the very few songs on this list that would have a guiro as a backing instrument.

441.      

‘New Rose’, The Damned (1976)

The first thing that really hits you with this song (and maintains throughout it) is the power and speed of the drums. This is noisy, fast and fun, whilst apparently being fuelled by ‘speed and cider’. The vocal break in the middle gives this a bit more of a dynamic feeling to avoid it from becoming a bit one note in style, before a breakneck end 45 seconds or so that ends where it began – with those drums. Hectic.

442.      

‘Anarchy in the U.K.’, The Sex Pistols (1976)

The Sex Pistols have never really been a band that I wanted to go back and check out. I was aware enough of what they had to offer, but I’ve never been a big fan of the older punk sound. No judgement for those who are, it just wasn’t something that appealed to me personally. The release of this was shortly followed by the infamous interview in which they swore on television, thus creating a maelstrom that carried them into the public consciousness in a manner that hadn’t been the case before. This was apparently the second attempt at recording this song – a version that geared towards recreating the live sound was turned down, whilst this version was seen as a more considered take and much better for it. Whether I like their sound or not, this must have been a real signal of intent during the mid-70s.

[Liam]

443.      

‘Poor Poor Pitiful Me’, Warren Zevon (1976)

Warren Zevon’s self-titled album had involvement from Stevie Nicks, Don Henley and Bonnie Raitt amongst others, suggesting that these musicians knew a good thing when they saw it. They had hitched their wagon to a singer-songwriter who soon proved that he had some skill in that department. This song wasn’t quite what I expected with the title, yet somewhat better. The clear guitar and drum sounds offer a backdrop for Zevon to talk about a run of bad luck that included things such as a failed suicide attempt and domestic abuse. The lyrics are at odds with the sound, which is what makes it an interesting slice of Zevon’s work. The clarity of the production in general was noticeable and made everything sound that bit bigger than it might have done otherwise.

444.      

‘Underground’, The Upsetters (1976)

The book speaks to this song setting the tone for future acts such as Massive Attack, and I can see it. This is an example of ‘dub’, not necessarily a style or genre of music that I was aware of. However, I do much prefer it to many of the reggae-esque songs that have come before it in the list. The use of echo and reverb give it a darker tone whilst still maintaining the overall groove that makes this style of music so enjoyable and largely quite accessible.

445.      

‘God Save The Queen’, The Sex Pistols (1976)

  Influenced by: My Generation • The Who (1965)   

Influence on: Smells Like Teen Spirit • Nirvana (1991)  

Covered by: The Bollock Brothers (1983) • Anthrax (1985) • Quorthon (1997) • Motörhead (2000) • Enrico Ruggeri (2004) • The Enemy (2008) • Nouvelle Vague (2009)

Outside of the opening bars of this tune, I don’t think I’ve ever heard it in full. It is hard not to compare it to ‘Anarchy in the UK’, which is a song I do prefer on balance of what I think they offer. ‘God Save…’ might be more controversial in its content as it linked the Queen to a fascist state and was released during her Jubilee for good measure…but it just isn’t as good overall. It lacks the hookiness to go with the noise that a lot of the 70s UK punk bands often managed to incorporate effectively.

[Curt McGirt]

That self-titled Warren album is the jam. I'd have preferred his version of "Carmelita" or "I'll Sleep When I'm Dead" or "Mohammed's Radio" but "Poor Poor Pitiful Me" is still a great choice. 

If you are interested in more dub then get ahold of some King Tubby, that was my entrance point and a bit of a revelation. I was never a reggae or ska fan really but dub opened me up to understanding and accepting those genres more. 

Woulda put "Bodies" over either of the Sex Pistols songs on here for sure. 

 

[Liam]

446.      

‘Trans-Europe Express’, Kraftwerk (1977)

Music video version:

 

Influenced by: Bayreuth Return • Klaus Schulze (1975)   

Influence on: Confusion • New Order (1983)   

Covered by: Señor Coconut y su conjunto (2000)   

Other key tracks: Autobahn (1974) • Radioactivity (1975) • Europe Endless (1977) • Showroom Dummies (1977) • Tour de France (1983)

Here is another act that I feel I should have gone out of my way to listen to before, but just never got around to it. This is also another song that you hear and try and imagine what it must have been liked first listening to it back in the 70s. This must have felt so ‘futuristic’ and forward thinking in terms of the sounds it used. That it was very legitimately about a train almost makes it better in some regards. There is that sense of lurching locomotion throughout, whilst the synthesiser going in and out in terms of volume was designed to mimic the Doppler Effect, further adding to the sense of movement.

447.      

‘Sweet Gene Vincent’, Ian Drury (1977)

Influenced by: Bluejean Bop • Gene Vincent (1956)   

Influence on: Oranges and Lemons Again • Suggs with Jools Holland & His Rhythm & Blues Orchestra (2001)  

Covered by: Robbie Williams (2001)   

Other key track: Sex & Drugs & Rock & Roll (1977)

My knowledge of Ian Drury is pretty limited outside of the ‘obvious’ songs, so I wasn’t entirely sure what to expect with this song. I definitely didn’t expect the slow opening, yet when things kicked into gear, everything fell into place a bit more. A song that – unsurprisingly – is an homage to Gene Vincent, it is a lively rocker with a playful tone to it. I like when UK artists keep their accent and though it meant the song had very little success outside of the UK, it is fun to hear Drury’s Estuary English accent recorded for posterity. A good song, nothing more, nothing less.

448.      

‘By This River’, Brian Eno (1977)

With vocals and keyboard only, this is a very minimalist song but is all the more effective for it. Apparently, Eno largely moved away from vocals during his work in the next decade, yet his voice is perfect for the atmosphere this song seems to be aiming for. The notes themselves feel upbeat when considered on their own, but as they fall together, it creates a melancholy atmosphere that is furthered by his forlorn sounding vocals. If anything, the song felt a little on the short side – I could have gone for a little more of it, that’s for sure.

[ohtani's jacket]

My first exposure to that Eno song was from The Son's Room, an Italian film about the grief a family endures when their son suddenly dies. It's impossible for me to separate it from the emotions in that film, but I have a friend who swears it's an uplifting song. Funny how people can hear such different things from the same piece of music. My wife hates the piano line and always told me to turn it off. 

Edited July 3, 2020 by ohtani's jacket

[Curt McGirt]

"Trans-Europe Express" came to me as cold as a fish out of the sea and I probably had the exact reaction to it you suggest. Blew my mind. Drove around the backwoods of Southern Illinois tripping my ass off without drugs. That entire album as a piece deserves an altar in a hall of fame. 

[Liam]

449.      

‘Dum Dum Boys’, Iggy Pop (1977)

Considering I know Pop purely for his short, rocking numbers, I was surprised to see a seven minute tune of his crack this collection. This is a song that reminisces about the Stooges, three years after Pop had taken his leave from them. I’m not sure whether I’d have picked it out myself, but when it turns out that David Bowie produced and part-wrote the song, it feels very Bowie-esque, at least for my knowledge of this era of his work. The guitars may not be as noisy or frenetic as some of Pop’s earlier work, but the relatively simple tune that is generated creates a groovy soundscape for his bittersweet lyrics, whilst the effects and echoes add a little touch of sonic interest. Probably my favourite song of his to end up on the list so far.

450.      

‘Come è profondo il mare’, Lucio Dalla (1977)

I’ve included the music video that was recorded only a few years ago seemingly, yet I believe this is a cleaned up version of the original rather than some new recording based on Dallas’ age. The jaunty whistle gives way to a song that is actually about the melancholy he was feeling, the book describing it as a meditation on the human condition. If you didn’t know that, it would be hard to tell, especially when you factor in some choral backing at points and the spare instrumentation. Dallas’ voice is very expressive and it is as you listen that you can perhaps hear the frustration that the rest of the song doesn’t always hint at.

451.      

‘Ghost Rider’, Suicide (1977)

Inspired by the Marvel comic of the same name, this is what happened when a sculptor and a free-form Jazz musician came together to try and mix the sensibilities of the Strokes and Andy Warhol’s pop-art movement. The term ‘anti-music’ gets used and there is an argument that this singular reliance on the drum machine and a one note riff is trying to boil music down to its very essence, seeing what was capable with the simples of commodities. Bands like Depeche Mode and Radiohead cited these as an influence, but I think it says a lot that I’m much more interested in their take on this stylistic choice of music. Not a bad song by any means, just one that came and went for me.

[Liam]

452.      

‘Orgasm Addict’, The Buzzcocks (1977)

Influenced by: I Can’t Control Myself • The Troggs (1966)   

Influence on: Uncontrollable Urge • Devo (1978)   

Covered by: Manic Hispanic (1992) • Momus (1996)   

Other key tracks: Boredom (1977) • What Do I Get (1978) • Everybody’s Happy Nowadays (1979)

Perhaps the strangest thematic subsection in music is that masturbation song. I hadn’t really thought too much about it, but there are quite a lot of songs about self pleasure and this is a very good example. Clocking in at just over two minutes, it is loud, raucous and very funny. Unsurprisingly, it wasn’t touched by the BBC and almost didn’t even get pressed due to its content. Still, this is a really good song irrelevant of the subject matter. In fact, as far as masturbation songs go, it is a stroke of genius and hard to beat…. I’ll see my way out.

453.      

‘Holidays in the Sun’, Sex Pistols (1977)

Influenced by: Chatterbox • New York Dolls (1974)   

Influence on: Good Times • Towers of London (2006)   

Covered by: The Bollock Brothers (1983) • Skid Row (1989) • Green Day (1997) • Hayseed Dixie (2007)   

Other key tracks: Satellite (1977) • Pretty Vacant (1977) • E.M.I. (1977)

I hadn’t expected more than two Sex Pistols songs on the list and this is definitely one that I haven’t heard before. It probably sits right in the middle of the other two in terms of my enjoyment, though perhaps I should be giving The Jam the credit since the main riff was stolen from ‘In The City’. This apparently led to a duel of headbutts between Sid Vicious and Paul Weller according to the book, which probably is the most exciting thing about this song. I don’t care too much for the vocals, but the crunchy guitar tone is at least enjoyable for someone who likes their music on the heavier side from time to time.

454.      

‘Peaches’, The Stranglers (1977)

Another for the ‘oh yeah, THAT song’ list. I had no idea what this was just looking at the title and the band name, but was instantly aware from the opening note. It also is another song that I don’t think I’ve ever had to listen to the whole way through, with the chorus being the main hook used…I’m guessing in films, TV and advertising? I’m not sure – it seems to be the only place I can imagine hearing this. A large debate about this song is whether the lead singer uses the word ‘clitoris’ or ‘clitares’, which may or may not be a French name for a swimsuit. Either way, this is a lot more talk/singy than I’d imagined heading in, though it is all about the simple yet addictive bass line anyway. That’s what makes this song ‘work’.

[Liam]

455.      

‘Ram Jam’, Black Betty (1977)

This is one of those songs where I feel what it brings to the table is pretty self-evident. Lyrics to singalong to? Check. Loud guitar to enjoy? Check. Hooky drum work? Check. It is at its best when it isn’t necessarily trying too hard to do anything outside of the ordinary – the solo in the middle is good, just the move into it halts the momentum of the song in my opinion. Dumb and loud – just the way it should be.

456.      

‘Born For A Purpose’, Dr. Alimantado and The Rebels (1977)

Recorded in 1977, but not released on an album until 1981, this song came about when Alimantado was recovering having been run over by a bus on Boxing Day 1976 – an incident that may have been due to his deadlocks as they were frowned down upon in Jamaica. Lyrically and musically, this is a very good song. The sense of not wanting someone to determine what you do with your life made Alimantado an inspiration in the UK punk scene of all places, whilst the understated musical accompaniment rolls along, providing a percussive sound that makes you want to move your body. Alimantado’s vocals are also very good – he has a melodic delivery that is easy on the ear.

457.       

‘Zombie’, Fela Kuti and Africa 70 (1977)

It took a brave man in Nigeria during this time period to ridicule the military, yet that was what Fela Kuti chose to do with this twelve minute song. The backlash was ridiculous: he was beaten up, his mother was murdered, and his studio was destroyed. However, it served some purpose as it inspired rising up in other areas of Africa, such as Ghana. Kuti was a saxophonist so responsible for the jagged rhythms that carry the song, whilst it was the lyrics that were designed to make the army seem foolish. The biggest affront was that some of this mocking came from women as the backing singers chanted ‘Zombie’. This isn’t really my jam at all, but I can definitely see why it is here and it isn’t a bad tune by any means.

458.      

‘Wuthering Heights’, Kate Bush (1977)

Influenced by: A Really Good Time • Roxy Music (1974)   

Influence on: Silent All These Years • Tori Amos (1991)   

Covered by: Pat Benatar (1980) • White Flag (1992) • Angra (1993) • James Reyne (2000) • The Puppini Sisters (2006) • Hayley Westenra (2006)

The book makes the point I was going to make immediately – this is as eye opening or startling as any Sex Pistols or the other groundbreaking acts that came about in this year, but in a very different way of course. Bush was only nineteen when she released this song and became the first British female to top the chart with a self-penned song. The real hook is her high pitched wail, which apparently was her trying to embody the role of the book heroine, a book that she didn’t even particularly care for. This feels over the top in all the best ways and is a hard song for me personally not to enjoy.

459.      

‘Uptown Ranking’, Althea and Donna (1977)

There is a swagger throughout this song that makes it hard not to enjoy. Streetwise patois adds to that feeling of ‘cool’ that emanates from every moment of the tune. It was rare – based on this list at least – to have lyrics from women that prominently featured them talking themselves up in some fashion, or showing off about how they looked and what they wore. This appealed to enough people to go to number 1 in the UK which is the least it deserved.

460.      

‘I Feel Love’, Donna Summer (1977)

A controversial song as it took disco away from its African-American soul and funk roots, this was one of the first noteworthy tunes that had a completely synthesised backing track. This feels like the perfect amalgamation of a musical world that were still enthralled by disco but had just had bands like Kraftwerk rock up to the party. Whether people liked the removal of the human element to the backing track, it is hard to argue that the synthesised melodies don’t create a pulsating and busy background which Summer’s clear vocals laid on top. Making up the ‘Future’ section of her album ‘I Remember Yesterday’, Summer was pretty much spot on as we headed into the 80s.

[Liam]

461.      

‘Peg’, Steely Dan (1977)

Outside of being named after a sex toy and ‘Do It Again’, I know very little about Steely Dan. What I learned from this sub-four minute song is that they knew how to craft an enjoyable jazzy pop song. Alongside dynamic and harmonious vocals, the instruments create a lively background even as the lyrics hint at something slightly sleazier. The guitar solo in the middle could feel somewhat chucked in for the sake of it, yet it adds a further hint of funk to proceedings. Really fun work.

462.      

‘Marquee Moon’, Television (1977)

I was very confused as I thought this was the band who did ‘Tequila’, but turns out that was Terrorvision. I’m sure you really needed to know about my stupidity, so there you go. Apparently, these were pioneers for New York punk, yet there is nothing very punk about this ten minute sprawling tune outside of perhaps the relative minimalism of the instrumentation, especially the bass. One of the things I’ll give it credit for is that it is put together in a manner that makes it feel that the length is warranted – it doesn’t feel artificially inflated. Two solos might have been too much, but the song builds to them in a way that is enjoyable throughout. This also feels pretty timeless, probably due to the amount of bands who could feasibly have been influenced by Television as a whole.

463.      

‘Like a Hurricane’, Neil Young (1977)

The book spends a lot of time talking about the genesis of this song – a woman called Gail that Young had become enamoured with during a trip to La Honda as he recuperated from surgery to his vocal chords. What followed was a song about what they term ‘corrosive longing’. I’ll be honest, it took me a few minutes to really ‘get it’, but by the time the solo kicked in, I was there. I think Young’s voice is one you either love or don’t necessarily care for and I oscillate between those two situations depending on what song he is singing. In this song, it works for me at least.

[Liam]

464.       

‘The Passenger’, Iggy Pop (1977)

I had absolutely no idea that this was Iggy Pop. It was a song that I never truly attributed to anyone and mainly remember from its use in adverts. Between the guitar work and the la-ing, this has too many hooky parts to not make it a favourite. The lyrics talk about the excesses of nights spent in Germany apparently, though the tune itself was created by Ricky Gardiner on an idyllic spring walk. Perhaps it is the juxtaposition of what could be a pleasant enough instrumental mixed with a darker lyrical content that make it truly work.

465.      

‘Stayin’ Alive’, Bee Gees (1977)

Influenced by: TSOP (The Sound of Philadelphia) • MFSB (1974)   

Influence on: I Was Made for Lovin’ You • Kiss (1979)   

Covered by: Mina (1978) • Happy Mondays (1991) Dweezil Zappa (1991) • N-Trance (1995) • Dimension Zero (2007) • MegaDriver (2007)

There have probably been other songs, but to me this feels like one of the first songs that showed the power of the film soundtrack. Written for ‘Saturday Night Fever’, it was interestingly created without reading either the essay the film was based on or the screenplay for the movie itself. With that in mind, they struggle that the Bee Gees explore in the song lyrically are quite in keeping with the tone of the film, even if the overall musical tone is somewhat lighter than some of the darker elements that the movie explored. Whilst the whole thing feels very 70s, it is testament to the quality of this disco tune that it still has staying power to this very day. Between the falsettos and the fashion, it could so easily have been mocked and ignored, but at base it is a very good song and it gets the recognition I feel it deserves.

466.      

‘Wonderous Stories’, Yes (1977)

Influenced by: I Believe in Father Christmas • Greg Lake (1975)   

Influence on: Northern Lights • Renaissance (1978)  

Covered by: Magenta (2009)   

Other key tracks: Close to the Edge (1972) • Awaken (1977) • Going for the One (1977)

There was a time in my musical interest that I can imagine really liking this song. 2020 is not that time. I’m sure that if you like Yes, you really like them, but this is all just a bit too twee for me. The woodwind, the reverb on the vocals in places, the synthesisers, the lyrics – one would be ok, but it just gets layered in a fashion that does so little for me. By the end, I was beginning to warm to it a little…but not enough to really enjoy it in the manner that many probably do.

[Curt McGirt]

I own Yes albums and I've never ever heard of that song. Just throw on "Roundabout" and call it a day. If they list something off of Tales from Topographic Oceans now I will laugh and laugh and know that they were getting super high while writing that book.  

The Live Rust cut of "Like A Hurricane" is better. So is "Cortez the Killer". 

"Little Johnny Jewel" is the only Television song I could ever get into

 

Edited July 11, 2020 by Curt McGirt

[ohtani's jacket]

Spoiler

1976

The list seems to be gravitating toward punk and reggae at this point, which is understandable. I do think it's strange how every now and again they include a song that is so well known you'd have to be from another planet, or spent your life living under a rock, to have never heard, then completely ignore the likes of Fleetwood Mac. 

I feel like they didn't represent Funkadelic or Parliament. Maybe there is a George Clinton song later. They probably should have included Maggot Brian or One Nation Under a Groove, but I still like the more party oriented Parliament stuff:

Great solo track from Bootsy:

A sampler of some the funk from 1976:

 

 

 

 

 

This sounds like a 60s tune, but it's a beautiful song:

This was a UK group that sounded every bit as good as their American counterparts:

How was this not on the list? One of the all-time great disco anthems:

I really think some Flamin' Groovies should have made the list:

Nick Lowe too:

A YouTube comment says this sounds like the Beach Boys and Zappa's love child:

I guess the New York Dolls have come and gone on the list, but I always liked this song:

This has a hard edge to it:

Early Pere Ubu single:

This fascinating piece of pop music is definitely a song you should hear before you die:

Blondie will no doubt be on the list, but this is fun anyway:

Sufficiently noisy:

Cherry bomb!

Heart should have been on the list, too. For shame.

 

Edited July 16, 2020 by RIPPA
causing loading issues

[ohtani's jacket]

Ugh, Jet Boy was a re-release from 1973. Still a great song, though. 

[ohtani's jacket]

Wuthering Heights is one of the best pop songs ever, IMO. I think the book is wrong about Bush not liking the novel. What she didn't like were her vocals on the track. She ended up re-recording them in the 80s, which is sacrilege if you ask me, but it's her song. 

I know I Feel Love changed music and everything, but am I the only one who likes Love to Love You Baby better? Probably. 

At least they chose a Neil Young song with a glorious solo. 

Curt, I think that Yes song is from their Going for the One album. The one that has Awaken on it. 

[Liam]

467.      

‘Go Your Own Way’, Fleetwood Mac (1977)

Influenced by: Street Fighting Man • The Rolling Stones (1968)   

Influence on: The Game of Who Needs Who the Worst • Cursive (2000)   

Covered by: NOFX (1989) • Seaweed (1993) • The Cranberries (1998) • Wilson Phillips (2004)

Some of the best songs are written from a position of hate. With marriages falling apart all around the place, this was Lindsey Buckingham’s feelings about his relationship with Stevie Nicks laid bare. Unlike Nicks who took a slightly calmer take on things in ‘Dreams’, this is a very bitter song lyrically, but all the better for it. It clashes in a good way with the chorus, creating a song that defies you to singalong even though the feelings are so raw. Apparently, some of the lyrical choices left any chance of a friendship after their break-up practically non-existent, but it left a grand legacy in the form of this song.

468.      

‘”Heroes”’, David Bowie (1977)

Influenced by: Hero • NEU! (1975)   

Influence on: Heroes Symphony • Philip Glass (1996)

Covered by: Blondie (1980) • Nico (1981) • Pink Lincolns (1987) • Billy Preston (1993) • TV on the Radio (1996) • Oasis (1997) • Philip Glass (1997) • King Crimson (2000) • Peter Gabriel (2010)

A song about romantic defiance, this was recorded in Berlin and referenced Tony Visconti’s new love for a girlfriend whilst he was still married. The latter part of that sentence means very little to me, but the song did go on to be covered by a whole raft of artists as you can see. I like Bowie. However, I wouldn’t profess to being a huge fan and “Heroes” isn’t as good in my eyes as some of the other songs of his that I enjoy such as ‘Life on Mars’ and others. The emotive delivery does sell the narrative well, whilst there is an occasional bleakness in the instrumentation I enjoy. I get it, even if it doesn’t do as much for me as it does for some people.

469.      

‘Exodus’, Bob Marley and the Wailers (1977)

Random factoid: my ex-girlfriend’s uncle was a Wailer. With that out of the way, it is worth noting that the central piano tune for this was taken from the film ‘Exodus’, about the founding of the state of Israel. With Marley having moved to London following a failed attempt on his life, the lyrics felt pertinent to his situation and wider Rastafari ideologies. I feel there are more notable/popular songs by Marley, yet this was the album that really took him to the global musical world. Coupled with the message, this deserves a place on the list.

470.      

‘River Song’, Dennis Wilson (1977)

The first Beach Boy to release a solo album, Dennis Wilson released Pacific Ocean Blue in 1977. This was the opening track and apparently was indicative of the layered, somewhat overproduced tone of the album as a whole. Still, this hymn to country living is an epic little number, even though the sheer amount of ‘faffing about’ could be considered detrimental to some people. There is a brief moment of calm before the end, though that soon gives way to an exhortation to ‘do it’ and ‘run away’. I really liked this, considering it is a song (and an album) I’ve never even heard of.

471.      

‘Whole Lotta Rosie’, AC/DC (1977)

Influenced by: Lucille • Little Richard (1957)

Influence on: Welcome to the Jungle • Guns N’ Roses (1987)   

Covered by: Acid Drinkers (1994) • W.A.S.P. (1995) • Anthrax (2003) • Guns N’ Roses (2009)   

Other key track: Highway to Hell (1979)

I might be a little bit on the ‘AC/DC basically played the same song every single time’ bandwagon, which I know is a vast oversimplification of what they did, yet it also my belief that when you do what you do as well as they do, I’m not surprised. There are few bands who just get rock and roll in the way that they did. The noise, the lyrics, everything. Somewhat humorously, this is a song about a groupie who was on the larger side and her run in with Bon Scott, a man who was known for liking a bigger woman. You could debate as to the lyrical content and whether it would fly these days, but there is a dumb stupidity and genuine affection that rises it above being something a little too sleazy in nature.

472.      

‘Blank Generation’, Richard Hell and The Voidoids (1977)

Influenced by: The Beat Generation • Bob McFadden & Dor (1959)   

Influence on: Pretty Vacant • Sex Pistols (1977)   

Covered by: Angel Corpus Christi (1989) • The Heartbreakers (1991)  

Other key track: Love Comes in Spurts (1977)

Based off of a song called ‘The Beat Generation’, this was a much more nihilistic concept lyrically and anthemic due to its less than subtle chorus. Hookier and more complex than some of the other punk bands out at this time, it also inspired ‘Pretty Vacant’ as Malcolm McLaren wanted the Sex Pistols to write their own version of the song, yet more English. Perfectly enjoyable, if nothing that will stick with me for long afterwards.

[Curt McGirt]

On 7/12/2020 at 6:41 AM, ohtani's jacket said:

Curt, I think that Yes song is from their Going for the One album. The one that has Awaken on it. 

That was their eighth album! Damn. I've never even seen the cover to it and it would certainly be one to remember

I'm surprised it didn't run into censorship issues like the Scorpions covers Hipgnosis did. 

[Curt McGirt]

13 hours ago, Liam said:

Covered by: NOFX (1989)

Featuring Greg Graffin from Bad Religion. This is defo one for the absurd covers thread. 

[ohtani's jacket]

That cover was hilarious. My mum used to put Rumours on any time she drove anywhere. Would have loved to slip that in the car stereo. 

[Liam]

Pre-warning - 475 has loud, loud feedback at the start. My ears did not like it.

473.      

‘Bat out of Hell’, Meatloaf (1977)

I’m pretty sure I stole this album out of my Stepmum’s CD collection after she had sent some stuff ahead before her move to the UK from Canada. I unashamedly love this song and this album: it is epic, over the top, and earworm-y from start to finish pretty much. The song is arguably the best (though not my personal favourite – ‘You Took The Words Right Out Of My Mouth’ probably takes that spot) from an album that went on to sell millions worldwide. I’ve mentioned this before with some of the longer songs, but what this does well is that it builds momentum and never really lets up. That is helped by how there are different ‘suites’ that change things up to add enough variety to keep a listener engaged.

474.      

‘Lust For Life’, Iggy Pop (1977)

Adverts and film soundtracks have a lot to do with any of my knowledge of Iggy Pop it would seem. This may have been released in 1977, but as for many non-Pop fans, it rose to prominence in my eyes in the Trainspotting soundtrack just shy of twenty years later. This is all about the driving riff that is utilised to such good effect in the aforementioned film. Apparently, Pop took the signature tune of the Armed Forces Network whilst living in Berlin as his inspiration for the riff. I like the song, but I care very little about what Pop is doing for some reason – it is all about the instrumental work for me.

475.      

‘Non-Alignment Pact’, Pere Ebu (1977)

My ears were not thankful for the thirty seconds of synthesiser feedback that start this song, I know that much. What follows is equally odd in terms of what they were going for. Shrieking guitars, faux-earnest sounding vocals, electronic pulses and beats: it is definitely something to hear. At centre, the book suggests that this is akin to rockabilly, yet with a lot of different bells and whistles thrown at it. I’m not sure if I fully agree, but I definitely know that I have no fucking clue what I just listened to.

476.      

‘Blue Valentines’, Tom Waits (1978)

This is moving more towards the Waits that I know, though still not quite as gravelly in his delivery. The last track of an album that explores ideas around ever-increasing tragic romance, the sparseness of the instrumentation allows Waits’ tortured vocals to be the star. There are some strings, but they are somewhat restrained and the lyrics are poetic in nature. Maybe this might have been more impactful when heard as part of the full album as I imagine it was designed to be the song that saw romance truly circle the drain. Waits at times almost belches the words out, lurching from the stomach as he sells the pain of lost love. It isn’t for everyone, but will be loved by those who are a big fan I’m sure.

477.      

‘Heart of Glass’, Blondie (1978)

Influenced by: I Feel Love • Donna Summer (1977)   

Influence on: Take Me Out • Franz Ferdinand (2004)   

Covered by: The Shadows (1979) • Chet Atkins (1981) • Erasure (1997) • Toshiyuki Yasuda (2002) • Vitamin C (2003) • Skye Sweetnam (2004) • Faye Wong (2004) • Nouvelle Vague (2006) • The Puppini Sisters (2006)

Considering I’ve really enjoyed everything that I’ve heard from them, I’ve never really delved too far into Blondie’s back catalogue. This is probably the highlight for me, though at the time many saw it as Blondie ‘selling out’, even some members of the band. There is a dreaminess to this disco/pop/rock classic that I’ve always liked, helped by Harry’s high pitched vocals. As I get older, it is also worth mentioning that Harry gets more and more attractive to me. I feel like I missed out not getting that sooner.

478.      

‘Every Fallen In Love…(With Someone You Shouldn’t’ve), The Buzzcocks (1978)

Influenced by: I Can’t Get Next to You • The Temptations (1969)   

Influence on: I Can’t Make You Love Me • Bonnie Raitt (1991)   

Covered by: Fine Young Cannibals (1987) • Pete Yorn (2004) • Thea Gilmore (2004)

The English teacher in my finds the use of the double contraction exciting; the music fan in me has always absolutely adored this song. The lyrics are easy to empathise with when it comes to matters of the heart, whilst the hooky chorus begs to be sung along with. The drums and guitars offer just the right amount of racket for this song about unrequited love, with the whole thing turning up, punching you in the face, and leaving in under three minutes. Rock/punk class.

[ohtani's jacket]

Spoiler

1977

I quite liked the choices for 1977. A lot of good songs there. I was happy they included some Fela Kuti.

1977 was arguably the peak year for punk. There were a lot of great bands putting out records in '77 -- Television, Wire, Ramones, The Clash, The Sex Pistols, Richard Hell & The Voidoids, X-Ray Spex, The Saints, The Damned, The Adverts, The Strangers, Heartbreakers, Buzzcocks, and Dead Boys. And that's just stuff that a guy like me knows. If you're hardcore into punk, there's probably all sorts of awesome shit out there.

Of course, the book can't include it all. It's interesting seeing which tracks they pick. I thought they chose the wrong track for someone who's never heard Television. Venus and Prove It were better singles from them.

 

Of the tracks they left out, I think Mannequin is the song with the biggest rep. At least in the circles I move in:

They already included some Ramones, but this is one of my favorites:

I fucking love The Jam era Paul Weller. Don't get me started on Jam era Paul Weller. I had a British co-worker once who could not understand my fixation.

These would have been my picks for the book:

 

 

And just in case you think disco killed funk and soul:

 

 

 

 

 

I feel like the book needs some Roy Ayers. This is as good as any:

This is smooth:

Once this gets going, oh boy:

Marvin:

I was only familiar with the Richie Havens version of this song, but this is the original and possibly the record of '77:

 

Edited July 16, 2020 by RIPPA
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[ohtani's jacket]

Spoiler

1977 cont..

OJ, and I love all the women of the world:

 

Garage punk? Power pop? I dunno what you call this:

Some weird shit for my readers:

 

 

 

And a song from New Zealand:

 

 

Edited July 16, 2020 by RIPPA
causing loading issues

[Curt McGirt]

I could argue that this might be the more important Wire track.

It is a strong blueprint for hardcore punk, later covered in iconic fashion by Minor Threat. 

Now speaking of iconic, this came out in '77 too: 

 

Edited July 16, 2020 by Curt McGirt

[RIPPA]

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