1975

Reflecting on music made before I was born is different than looking back at music created during my lifetime. Rather than recalling a certain situation and the social context surrounding a new song, an older song is brought forward into the future and woven into a time and place not initially intended for it. I wish I could be there in, say, 1975 when the world first listened to and responded to a Neil Young song or a Roxy Music song. Instead I have to admire these songs as if they were old paintings, but like old paintings they can still evoke strong emotions and strike inner chords with an audience.

Anyway, here's a bunch of songs from 1975 I like.

Jigsaw - "Sky High"
This song was originally recorded for a kung-fu film, and naturally that translates to 1970s pre-disco awesomeness. Listen to those chick-a-was, that necessary but unnecessary orchestra. Most of my waking hours are spent trying to get this song out of my head.

Neil Young & Crazy Horse - "Cortez the Killer"
Most covers suck, but the fact that so many people have more than adequately covered this tune proves how great a song this is, at least on a fundamental level. Historically it's a little... off. But the imagery is fantastic, and the mood is just right. And even though there's seven and-a-half minutes of music to consume, that winding guitar leads you on a journey that somehow sidesteps time. Fade out, already over?

Patti Smith - "Elegie"
In 1975 popular acts of the time included Fleetwood Mac and Glen Campbell, among other -lite favorites. Music for the most part was predictable and safe. So when Patti Smith's Horses was released in November many people's concept of music was chewed up and regurgitated into something completely different. There were other "artsy" acts at the time, even in New York (especially in New York), but somehow Smith's music and persona best inluenced a nation of music-lovers who were tired of the same stale radio rock.
I like "Elegie" because it's the most accessible track on Horses (if her tunes sound strange now, imagine how they must've sounded thirty years ago), it's bare, it's pretty, and it's moody. John Cale of Velvet Underground fame plays bass on this track, too.

Roxy Music - "Sentimental Fool"
Speaking of artsy...
What do you do with two and-a-half minutes of distortion, noise, and feedback? Turn it into something coherant with a bass line, then when that's done with, turn the song into something completely different afterwards. You might hate Bryan Ferry's suaver-than-thou vocals, and the music may sound terribly pretentious, but when that saxophone speaks up you're suddenly listening to something very... cool. The song turns another another corner, plateauing instead of crescendoing, and ends very satisfyingly. Everybody needs to listen to the music of Roxy Music, even just to hate it, but mostly just to awash yourself in it.

10cc - "I'm Not In Love"
Love it or hate it, or privately love it and publicly hate it, "I'm Not In Love" is a terribly interesting song. Upon each listen you're given two choices: 1) pay attention to the lyrics, or 2) pay attention to the music. Lyricaly, the denial in this song is outstanding.

"I keep your picture upon the wall,
It hides a nasty stain that's lying there,
So don't you ask me to give it back."

(See, he's not in love, but obviously he is.)
As far as the music goes... well, synthesizers have a long history of screwing up otherwise good songs. It's hard to restrain so much power when it's at your fingertips. But instead of making cheesy electronics the song's focal point, it's painted onto the background to create a etheral bed comprised of processed (and re-processed) voices saying "aah." The effect is outstanding and a little bit haunting. Then there's that female voice whispering to me that big boys don't cry. I haven't the foggiest idea what that's about, but it works.
Cripes, I could write an entire dissertation on this song.
So anyway, the next time this comes on while you're shopping for clothes at Penneys, pay attention.