Having done an epic amount of street powder while getting handjobs in the groupie van is not enough.
Hell, Steven Tyler claims to have spent million on cocaine over the years, but would Aerosmith have sounded one iota different if they’d been straight edge? Skip Spence – to start, essentially the Rosetta Stone for drug-induced madness, this is an archive of excess.
Paul Westerberg sounds nearly bereft, the money spent, the bottles broken, the giddy buzz ten years gone.
The rest of the band is surly and indifferent in turns.
Drake overdosed on pills at age twenty-six, but left this album as a legacy, one mostly ignored at the time but now rightly regarded as brilliant– a collection of delicate and starkly personal statements that makes no concession to anything but simple expression and sheer despair. Miles Davis – Here Davis purposely and irrevocably destroys his legacy as Cool Birther and icon of be-bop by recording an incendiary slice of rock-tinged funk jazz, replete with upper register wah-trumpet, John Mc Laughlin’s fusion licks, and enough pimp stroll overtones to soundtrack the entire output of Iceberg Slim.
The Dead Boys owned CBGB for a while, trading on their combination of anthemic stupidity, surly brilliance, and rivers of cheap booze.
Listening to this album is like soaking in bourbon-flavored Palmolive: an absolute joy. Bobby Fuller – Most famous for the early-sixties hit “I Fought The Law”, which has been covered by every punk band in history, and which he originally recorded (but was actually written by Sonny Curtis–who wrote the theme to the ), The Bobby Fuller Four’s “Let Her Dance” is a genius example of throwback fifties rock run through an echo chamber of surf-reverb.
RAMPANT MADNESS, cheap powder, and the whiskey river: below are the 50 most debauched, sodden, and certifiable records in music history.
The rules are simple: being merely eccentric while swathed in outlandish clothing fails to qualify.