“Guts” (Live in Seattle KEXP-FM’s studio, 12-5-12) – John Cale

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Holy … f–king … s–t! This is a beyond incredible rockin’ version of one of John Cale’s best and most intense songs, done live in the studio for KEXP-FM in Seattle in December 2012. This was originally recorded in 1975 for his “Slow Dazzle” album, and was allegedly about Cale’s extremely angry and homicidal thoughts about a colleague of his who hooked up with Cale’s then-wife. You’ll notice in this nearly 40-years later version, Cale changes the pronoun on the infamous opening line from “my” to “his.”

Please keep in mind that the man intensely rockin’ the mic is over 70 years old. The fact that I share Welsh blood with this man gives me hope for my impending “golden years.”

“Flakes” – Frank Zappa

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From Zappa’s magnificent and gleefully obscene 1979 album “Sheik Yerbouti” comes “Flakes,” an anthem about unreliable repair technicians and the people that hire them. The Bob Dylan impression and the reference to “frosting a cake with a paper knife” are especially nice touches. “Flakes” is an unusually clean (though not that clean) track from “Sheik,” apparently Zappa’s best-selling album of all time. “Sheik” is also arguably the least politically correct and filthiest album to hit the Billboard Top 25 album chart until the ascendency of gangsta rap. That’s a compliment, by the way.

“Nightclubbing” – Iggy Pop

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From the David Bowie produced 1977 album “The Idiot,” comes the stomping, quaalude-paced “Nightclubbing.” If there was ever an anthem for vampires, this would be it. You can definitely hear the influence on Goth music, yet “Nightclubbing” does the Goth thing so much better than what resulted later on.

The song was later covered by Grace Jones, whose version I’ve included below. While I like Pop’s original better, I do like Jones’s odd, stoner-funk cover. The song made also made an appearance in the 1996 Danny Boyle classic film “Trainspotting.”

“Strange” – Wire / “Strange” – R.E.M.

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First up is the grinding, distortion-heavy,machine-like anthem of paranoia “Strange” by Wire, from their 1977 debut “Pink Flag.” As classic as this song is, the more upbeat, rollicking, garage band cover by R.E.M. from 1987’s “Document” album is probably better known. I can’t say which one I like better. I love how positively creepy and dreadful the original is, yet the R.E.M. version is one of their best, hardest rocking tunes. You decide.

“Boy or a Girl” – Imperial Drag

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One of the best tributes to early 1970s British glam rock ever recorded. As much as I love the soundtrack to Todd Haynes’s 1998 film “Velvet Goldmine,” Imperial Drag’s “Boy or a Girl” blows every song on that album out of the water. I remember hearing this for the first time on an Alabama radio station in the summer of 1996 and immediately was taken with how much this song was a perfect approximation of the English glam rock genre. Which is probably also why it was never a hit (even on “alternative” radio) and why I didn’t hear it again for another 10 years. Yes, English glam rock inspired a lot of American bands back in the day (R.E.M., many early American punk bands), with the exception of a few singles here and there (T. Rex’s “Bang a Gong,” Gary Glitter’s “Rock n’ Roll Part 2,” three Top 5 Sweet singles), glam rock didn’t have the same commercial impact as it did in the British Isles. In any case, the song has a wonderfully sleazy edge and I’m glad Imperial Drag recorded this with an absolute faith and love of a genre that never quite caught on in the United States.

“Crummy Stuff” – The Ramones

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“Crummy Stuff” sums up my sentiments these days about all kinds of “crummy stuff.” At age 43, there’s too many great movies I haven’t seen yet, too much great music I haven’t heard yet, too much great food I haven’t tried yet, good friends I haven’t talked to in a long time, terrific people I haven’t allowed myself to get to know better, and wonderful places I haven’t been to yet.

Seriously, why settle for McDonald’s, Katherine Heigl movies, or a–holes when the sublime is literally at your fingertips, two miles, a half-gallon of gas, a phone call, or email away? Enough with that “crummy stuff” already!  Time to bring on the stuff that makes life worth living.

“Poison Heart” – The Ramones

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From 1992’s “Mondo Bizarro,” comes one of the finest Ramones songs ever recorded. “Poison Heart” is a wonderfully mature song, both lyrically and musically. As much as I love the 1-2-3-4, three-chord, “30 songs in less than 60 minutes” style the Ramones are most famous for, they really excelled at longer, slower, more thoughtful material.

Written by Dee Dee Ramone after he left the band, the rights to this song were allegedly sold to the Ramones after they helped bail him out of jail. Dee Dee was a terrific (and underrated) songwriter. I’m sorry his own personal demons got the better of him. He had a lot of talent and had a lot more to give.

“Someone I Care About” – The Modern Lovers

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Jonathan Richman and his band the Modern Lovers were a real anomaly in the early 1970s. Like many singer-songwriters of the era, Richman wrote very sensitive lyrics that wore his heart on his sleeve. But those lyrics were backed with some uncommonly abrasive music for the period (supplied by future Talking Heads member Jerry Harrison and future Cars member David Robinson). In addition, Richman’s songs decried drugs and promiscuity at a time when no one had even thought of the term “straight edge,” let alone thought it was cool. When you add his unfashionably short hair and nasally vocals into the mix, he seemed like the guy who was begging for noogies and wedgies.

But despite his “uncool for the time” demeanor, Richman was as ballsy as Iggy Pop and Lou Reed (two artists Richman admired) and like Pop and Reed, seemed to invite abuse by his mere presence. “Someone I Care About” is Richman’s declaration about wanting a girl that he cares about, or he wants nothing at all. A marked contrast to many bands of the era promising to give women every inch of their love or wanting their women hot, sweet, and sticky. Richman may not be cool in the classic rock sense, but the perspective is refreshing and a lot more sane.  Produced by John Cale of the Velvet Underground.

“Natural’s Not In It” – Gang of Four

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Abrasive punk-funk (English Marxist variety) from the late 1970s. Sounds a lot like the early Cure, only with heavier bass and drums. I’m not sure if one band copied the other or if both bands were riding the same musical wavelength (their debuts came out around the same time). From the Gang of Four’s classic album “Entertainment!”

“Natural’s Not In It” made an appearance on the soundtrack for Sofia Coppola’s “Marie Antoinette” in 2006. However, its most notorious recent appearance was on a Microsoft Xbox Kinect commercial. A lot of people harrumphed over an extremely left-wing and anti-Capitalist Gang of Four song being used to sell a product. The band allegedly defended themselves by saying they were making a statement, acknowledging their own complicity in the Capitalist machine … or something like that.  Whatever.  I believe a band has a right to do whatever it wants to with its music.  However, when you choose to make strong statements, you have to acknowledge you’re going to get some grief if you do something that seems to be perpendicular to what you originally proclaimed.

“Keep Me in Your Heart” – Warren Zevon

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Zevon’s last song from his final album “The Wind.” Recorded when he was terminally ill with cancer, “Keep Me in Your Heart” was a nice way to say “Goodbye,” especially for an artist who wrote some extremely dark and cynical songs. This footage is from a documentary about the recording of Zevon’s final album. You’ll notice a lot of famous friends making appearances (Bruce Springsteen, Jackson Browne, Joe Walsh, Don Henley).