I’ve had this particular issue of Mojo Magazine for the past 28 years and it still gets handled regularly, more than any of the other books and periodicals that I’ve ever seen fit to hang onto over the years. The edges are dog-eared and frayed from decades of referencing and it’s spine is bound together with clear packing tape. It’s cover is dry and cracked but the collage of iconic rock and roll images—intended to be a clever spin on the Beatles Sgt. Pepper’s album cover layout—are still clearly visible.
At the time I would take my lunch down by the Thames with a spicy vegetable samosa that I would purchase from the Pakistani news agent at the Monument tube station and relax with a full view of London Bridge, the Tower of London, and Shakespeare’s Globe Theatre. Once the majesty of this scenic splendour eventually wore off (and it did eventually), I did what most Londoners do and sought out a discarded newspaper from another nearby bench.
I was living on a pretty fixed income at the time, enough to pay rent, five days’ worth of lunchtime samosas, and a beer at the end of most work nights if someone had not already purchased one for me, so needless to say that my life was not extravagant by any means and I didn’t take lightly to spending extra money on anything, much less a daily newspaper. However, on this particular day at the Pakistani news agent, I simply could not avoid spending the extra £2.35 on this particular feature magazine headline:
“THE 100 GREATEST ALBUMS EVER MADE!”
As a young and budding music aficionado, how could I resist?
Flipping through quickly there in the stand, I saw that the article featured albums by all the standard big heavies in the music world—the Rolling Stones, Led Zeppelin, Bob Dylan, etc—pretty vanilla stuff really, but there were enough modern and interesting inclusions that I thought it might be worth the gamble anyway. And so for the next few sunny afternoons, in the shadow of the weird high-tech architecture of the Lloyd’s of London building, at one of the world’s most historic vantage points, I got blissfully lost in history’s Pantheon of Rock and Roll albums.
Of course it was 1995 and my musical diet at time consisted mainly of Blur, Oasis, and whatever other pop pablum was being pushed down my throat by the British music press. (Spice Girls anyone?) In particular I was hooked on A Northern Soul by Verve which was also released that summer. (Great album!)
In other words: I was eons away from most of the albums mentioned in this article.
And even where I had heard of the album before, I was not still not very well versed in it.
Instead I snubbed them for being “old”.
Others albums by Can, Donald Fagan and Gram Parsons were complete mysteries to me; totally outside my normal musical radar.
With few exceptions, I dismissed them all.
I was still young and looking for the next “big thing”, not looking to go backwards in time.
How naive I was.
But for whatever reason, maybe it was the hot summer’s heat radiating off the Monument to the Great Fire of London, on this particular day I decided to purchase a magazine with my lunchtime samosa that I would end up holding onto—with great care mind you—for the better part of 30 years.
Even then, it wasn’t until months later when I had another frivolous moment and dropped another £6.00 on a vinyl copy of Van Morrison’s Astral Weeks at a vendor’s stall in the Portobello Market. There is a good chance that it might have been the three pints of Old Speckled Hen in my system on this specific sunny day, but when I found this album it was nothing short of divine intervention, for this album happened to be ranked at #2 according to my magazine*.
Not the greatest album mind you, but the second greatest album.
Good enough I suppose.
Why this seemed so poignant at the time—God only knows—but I thanked the good Lord above for revealing it to me anyway and dropped the money quicker than Michael J. Fox feeding change into a parking meter (what?). Unfortunately, it would then sit on a shelf in the bedroom of my cold water flat in West Ealing for the next two years.
I didn’t even own a record player.
My bad.
Blame it on the Old Speckled Hen.
In fact, it wouldn’t be for another four or five years after that before I would ever get around to playing it. I had by then migrated back to Canada into my first downtown bachelor apartment and I thought that this record would make an excellent bohemian-like token to hang on my wall. I primarily listened to jam-based hippie rock at the time, bands like the Grateful Dead and Phish, so I had little time for musical antiquities other than for decorative purposes.
It did look cool on my wall.
The odd visitor might comment on what a great album it was and I would just nod approvingly, never having listened to the record even once. Aside from what I had read back in London nearly a decade previous, I had no more familiarity with the record than I did, say, the topography of Lithuania.
I was living a lie.
This secret shame was only remedied later still by yet another three-beer impulse purchase, this time at a local church bizarre. On this occasion however, I brought home an ancient and well-worn turntable for a mere ten dollars**.
Finally!
A chance to right a grievous wrong.
An opportunity to redeem myself.
I took down the record off my wall and put it on my archaic turntable to see what I had been missing out on all these years.
I was immediately transported to a different, magical place; blown away by the avaunt-guard marriage of rock, jazz, gospel, blues and folk, all swirling together into a vivid psychedelic tapestry.
To say that ‘the world had changed for me’ would be the understatement of the century.
What other albums had I missed out on?
So began a new quest to discover these the rest of these tired, out-dated albums with the August, 1995 edition of Mojo Magazine as my Magna Carta.
My next revelation was the Kink’s Village Green Preservation Society (#91).
In that precise moment, it was the single greatest thing I had ever heard.
That was quickly followed by equally impressive listens to the Zombies Odyssey & Oracle (#97), Todd Rundgren’s A Wizard, A True Star (#93), Hot Rats by Frank Zappa (#89), Marque Moon by Television (#77) and Raw Power by Iggy & the Stooges (#98).
In each case I found something unique and oddly beautiful.
My musical landscape was shifting—growing.
I started re-listening to the albums that I already knew but had grown apart from, albums like Kate Bush’s Hounds of Love (#60), R.E.M.’s Automatic for the People (#37), Massive Attack’s Blue Lines (#68), Joy Divisions’ Closer (#53), and the Smiths eponymous debut album (#94). I even checked out the real moldy goldies of which I was particularly skeptical—the likes of Elvis Costello, Dusty Springfield and Joni Mitchell—with a fresh ear and was not disappointed in the slightest.
In fact, it was all strangely fresh and exciting.
Locating each of the hundred records listed in this magazine has become something of an idée fixe, for had it not been for that original impulse purchase I might not have discovered the punky brilliance of Pere Ubu (The Modern Dance, #22), been regaled by the unique story-telling and character development of Randy Newman (Good Old Boys, #84), developed a new-found appreciation for Steely Dan (Gaucho, #90, Can’t Buy a Thrill, #73), Countdown to Ecstasy, #13), or realized that they must be playing Talk Talk’s exquisite Spirit of Eden (#87) in Heaven’s waiting room.
Largely thanks to this magazine I have learned an appreciation for Jazz (Miles Davis), Blues (Muddy Waters), Prog Rock (Kraftwerk, Can, Roxy Music), and Funk and Soul (James Brown, Stevie Wonder, Sly Stone) and I have shared them all with my family now.
Sometimes ad nauseum I’m afraid.
(Too bad suckers)
Regardless, all of these were alien landscapes to me before given my limited purview.
Doors had been opened; horizons had been expanded.
That Mojo Magazine from the summer of 1995 has since become my personal musical “Bible”, and the Astral Weeks record the catalyst for a lifelong obsession.
Sure I still have a penchant for new and modern music, but I also now have a better breadth of appreciation for the styles of music that I would have otherwise scoffed at, and my world is absolutely a better place for it.
P.S.> If anyone is in possession of on original pressing of Robert Wyatt’s Rock Bottom album (#100) and are willing to part with it, please do not hesitate to contact me.
* Behind only the Beach Boys Pet Sounds at #1 and beating the Beatles Revolver at #3.
** My drunken impulse spending has gotten proportionately more lucrative over the years. A sure sign that I am well on my way to establishing great success.
P.S.S. (if such a thing exists)> you can find the aforementioned list HERE. (You’re welcome)