Hitsville 9/29/95

The 100 Greatest Moments in Rock History

Part 2: Frank Youngwerth's Reply

Here's Frank Youngwerth's response to my column of September 29, 1995. When he refers to "Sound Opinions" or "song of the week," he's talking about a now defunct radio program I did with Jim DeRogatis, who at the time was the rock critic at the Chicago Sun-Times.

Dear Bill,

As I’ve followed your writing and radio talking for several years, it was quite a kick to speak with you tonight on the phone.As a follow-up, I thought it might be fun to review your recent "100 Greatest Moments in Rock History" column, which I consider an interesting failure.

I assume you had in mind Roger Ebert’s similar list of great movie moments, which recently appeared in the Sunday Sun-Times. That was an excellent piece, I thought, in that it struck a balance between subjectivity (great moments in Ebert’s opinion) and objectivity (moments most movie fans/buffs would agree to be great ones). More often than not, too, Roger really captured the essences of the moments he chose.

Your list seemed to me to be more a matter of hit or miss. My specific reactions:

Original Column Youngwerth's Reply

100. Lou Reed in "Coney Island Baby": "I'm sending this one out to Lou and Rachel..." 100: I don't know "Coney Island Baby" but I wonder what's great about parodying the once-common disc jockey dedication? (How about Negativland's inspired deconstruction of a Casey Kasem long-distance dedication in I think it's "U2"?)
99. "Satisfaction." 99: "Satisfaction"--great, sure, but also way overexposed. And why not point out the excellence of Devo's cover?

98. The lack of inflection in Johnny Cash's vocals on "Ring of Fire." 98: How can a lack of something be a great moment? How does one get around the corny Tijuana trumpet parts? I rejoin: the snarl of "they're prob'ly drinkin' coffee..." in "Folsom Prison Blues."

97. The clattery drums and gentle guitar washes in Pavement's "Summer Babe." 97: I heard you play "Summer Babe" on Sound Opinions. Unremarkable, and I really want to like Pavement. (Bill, the Fall doesn't suck.)

96. Bob Mould groaning "I'm hardly getting over it" on Candy Apple Grey. 96: The greatest moment of Candy Apple Grey is Hart's "Don't Want to Know If You Are Lonely." (Or was that Mould?)

95. "You look like you been whupped with an ugly stick" (Jerome in Bo Diddley's "Say Man"). 95: This was the first "song of the week" I ever heard--first time I heard Sound Opinions. That's a nice memory. Kind of an obscure record to be a great moment, and I dig Bo, mind you. Great line, sure.

94. The opening echoey bass on "For the Love of Money." 94: OK, good pick--you might want to identify the source as classic Philly Studio pop-soul.

93. Ernie Isley's silky guitar on "That Lady (Parts 1 & 2)." 93: Again, I have to agree, though I bet it was received mostly as a Hendrix tribute. But what a beautiful record & groove.

92. Shane MacGowan's dissolute vocals in the Pogues' "Fairytale of New York." 92: I like the Pogues, but the point of "Fairytale..." is that it's a duet. My pick by them is the majestic "Lorelei"--Shane-less.

91. The key change in "Love Grows (Where My Rosemary Goes)." 91: I can relate.

90. "Wouldn't It Be Nice." 90: Ditto--you might have isolated the ritardando (where it slows down), or Hal Blaine's drums cutting through the "fairy music" intro.

89. The explosive start to Jimi Hendrix's "All Along the Watchtower." 89: OK, Bill, we're on a roll.

88. The dissonant, raspy violin--and dissonant, raspy harmonies--of the Raincoats' "In Love." 88: Raincoats--I've heard 'em and remember little about it.

87. "Maybe someday your name will be in lights / Sayin' 'Johnny B. Goode tonight!'" 87: Maybe the strongest entry--you've heard the song so often that you forget the power of this couplet.

86. Tom Waits's gutter stage patter on Nighthawks: "I'm so goddamn horny that the crack of dawn better be careful around me." 86: Waits is a character study, not a rocker.

85. The utterly nonsensical lyrics of Elton John's "Grey Seal." 85: Neat tune--I never thought about the lyrics. Isn't there a lot of utterly nonsensical lyric-writing in rock?

84. Robin Zander yelling "We're all all right" at the end of the live version of Cheap Trick's "Surrender." 84: Isn't that Robin and Rick or Tom? Don't forget the spoken intro, which the Beastie Boys once had fun with.

83. The doo-doo-doos in New Order's "Temptation." 83: Or the ones in the Stones' "Heartbreaker"!

82. The scratchy guitar sample in the Geto Boys' "Mind Playin' Tricks on Me." 82: Citing a sample as a great moment strikes me as redundant. Good record, though.

81. David Lindley's slide guitar on the second Jackson Browne album. 81: Belongs on another list such as "great supporting player appearances." Hey, how about Jack Nitzsche on Neil Young's "Old Man"?

80. Teddy Pendergrass's sultry voice in "Wake Up Everybody." 80: Incongruous--"Wake up..." is didactic--that's what spoils it for me. How about Teddy's Choose Me film theme?

79. Keith Moon's drumming on "Won't Get Fooled Again." 79: OK--I might say the use of "tapes" on Who's Next. And Keith on "I Can See for Miles."

78. The spaciousness of the arrangement of Stevie Wonder's "Master Blaster (Jammin')." 78: Gee, Stevie deserves better--how about his double-tracked harmonica improvs on "Too High"? Or the playlet on "Living for the City"?

77. The Flaming Lips' dissonant, magnanimous take on "What a Wonderful World." 77: Wasn't that a Sound Opinions exclusive? Not their best moment, and not a great song when not sung by Louis.

76. The French horns on Aretha's "(You Make Me Feel Like) A Natural Woman." 76: The horns are nice, but they're not rock. I like the horns on Percy Faith's "Summer Place"--a record that inspired #54 for sure.

75. Kim Deal's "How do you think it feels?" cameo in Ultra Vivid Scene's "Special One." 75: I don't think Kim or UVs belong on this list, but I haven't heard the track.

74. Eddie Van Halen's synth line in "Jump." 74: And not the organ part on "96 Tears"?

73. The wall o' guitars on Dwight Twilley's "I'm on Fire." 73: Yeah.

72. Run-D.M.C. calling themselves the "King of Rock" not rap. 72: Good point, lost over time.

71-70. John Doe and Exene's caustic Balin and Slick-style harmonies on "Johny Hit and Run Pauline"; Billy Zoom's cranked guitar. 71-70: I'd go "White Girl" maybe, but basically agree.

69. "Bruce Berry was a workin' man / He used to love that Econoline van." 69: Don't recognize this one.

68. The bass line in "Stayin' Alive." 68: I suspect you mean the low-pitched lead guitar line. I would.

67. The box-tap drumming on Buddy Holly's "Everyday." 67: You got that right. (Holly was nearly overlooked on the PBS Rock & Roll.)

66. "What's Going On." 66: Who'd disagree? But don't forget his nearly one-man-band performance (vocal, keyboard, including bass part) on "Got to Give It Up."

65. Elvis's "Don'tcha know I'm" interjection in "Suspicious Minds." 65: Did you know he attributed the fade-out--back in use on this one--to the same on "Helter Skelter"? (I think I once heard that.)

64. The concussive beginning of Portishead's "Sour Times." 64: I liked this group at the Vic, but the record's too overwrought.

63. Prince Be claiming his hip-hop props on PM Dawn's "Plastic." 63: Don't overlook Biz Markie's "Dedication."

62-61. Joey Ramone's cry of betrayal in "Bonzo Goes to Bitburg"; the glockenspiel. 62-61: I say: drum break in "Rockaway Beach."

60. All 18:05 of Stereolab's "Jenny Ondioline." 60: Even ten years from now?!

59. The utterly dry recording of the guitars in Led Zeppelin's "Trampled Under Foot." 59: Led Zep deserves its own 100 Greatest Moments list!

58. KRS-One spitting out "Tell me what the fuck am I supposed to do?" in "Love's Gonna Get 'Cha." 58: Naah--Chuck D's cameo on "Kool Thing."

57. The swirling synth in Patti Smith's "Frederick." 57: Yeah, but God does it date that record, but yeah.

56. Lou Reed's liner notes to Metal Machine Music. 56: Haven't read 'em. Two Lou Reeds so far and no Velvets?

55. Richard Manuel's tearful voice on "Tears of Rage." 55: Can't agree.

54. Barry White's "Love Theme." 54: Actually, "Love's Theme" by the Love Unlimited Orchestra.

53. The "See the trees my forefathers hung from" line on Arrested Development's "Tennessee." 53: I always thought you crits were overrating this group.

52. Johnny Marr's guitar reverb on the Smiths' "How Soon Is Now?" 52: You mean tremolo, Bill, but right.

51. David Lowery moaning "Just give me some tension relief" in Camper Van Beethoven's "(I Was Born in a) Laundromat." 51: Hasn't Cracker kinda spoiled the Camper legacy?

50. The southerner listing the northern ghettos in Randy Newman's "Rednecks." 50: I'll take your word for it. But Randy's not really rock, eh?

49. Mick Jones's guitar solo on Elvis Costello's "Tiny Steps." 49: At least you waited this long before citing a guitar solo.

48. Ricky Wilson's rattling guitar in "Private Idaho" by the B-52's. 48: Cool pick.

47. The fax machine sound in the Breeders' "Cannonball." 47: Kim Deal again? How about the camera(?) sound in Urge's "Stalker"?

46. Chrissie Hynde yelping "I got a kid / I'm 33!" on "Middle of the Road." 46: Yeah, I guess Chrissie belongs on the list. I like her "fuck off" in "Precious."

45-44. The dead stops in Suede's "Metal Mickey" and R.E.M.'s "Radio Free Europe." 45-44: And "Young Americans"--the list could go on. (Beach Boys' "Little Girl I Once Knew" is built around stops.)

43. The apocalyptic wails in the background of theClash's "White Man in the Hammersmith Palais." 43: Yeah, I can see that.

42. The 1:57 instrumental beginning of the Temptations' "Papa Was a Rolling Stone." 42: Except it sounds to me somewhat like the opening to People's Court TV show.

41. The anomie of the vocals in Chic's "Good Times." 41: Had to look up anomie, but this is one fine record.

40. The piano 'n' slide coda of "Layla." 40: But that opening guitar riff and the song proper are better! By the way the coda's the work of mom-killer Jim Gordon.

39-38. Mick Jones's soft, gentle vocals on "Stay Free"; the burst of guitar at the end. 39-38: Not one of my key Clash tracks, though I like the title.

37. Sylvester wailing "You make me feel / Mighty mighty real." 37: This record directly influenced "Blue Monday."

36. Prince's "Maybe I'm just like my father" line in "When Doves Cry." 36: And how about its lack of a bass line?

35. Elvis Presley's lugubrious, repulsive, mesmerizing performance of "My Way" at the end of This Is Elvis. 35: Much better: his "Baby, baby...I wanna play house-a wit choo."

34. The opening thunderous bass in Urge Overkill's "The Candidate." 34: I don't hear it being the bass, but hey I'm hip.

33. Jerry Butler singing "For Your Precious Love." 33: Thanks for playing it on Q-101--don't forget the Impressions.

32. The floating alarm clock in "A Day in the Life." 32: What's not great about this track?

31. The sampled squeals in LL Cool J's "Mama Said Knock You Out." 31 Yeah, samples again, whatever (how about P.E.'s mighty JB's trumpet squeal on "Don't Believe the Hype"?).

30. The last verse of John Fogerty's "Wrote a Song for Everyone." 30: He definitely belongs on the list. I like the Cody character in "Green River." (When you get lost come on home to...)

29. Polly Harvey howling "I'm walking on water!" on Dry. 29: My mom's name is Polly. Latest album has no actual songs, just vamps.

28. Chuck D's indignant "Elvis was a hero to most but not me" in "Fight the Power." 28: I thought Peter Guralnick cleared up the confusion--let's drop it. (And let's also remember the Isley Bros.' fierce track of same name.)

27. The rattling aridity--intellectually, atmospherically, morally--of Dr. Dre's "Dre Day." 27: I agree Dre belongs on list, but for "Straight Outta Compton."

26. "Shake Some Action." 26: I bought Teenage Head but never figured it out. Maybe it's time to try again.

25. The production of Tusk. 25: We're right together on this one, Bill.

24. The on-the-three-beat thump of almost any Al Green single. 24: Yep_nice tribute on the Eagles' "I Can't Tell You Why."

23. The opening 30 seconds of "I Want You Back." 23: On another roll now_people forget Michael's earlier career.

22. The way Bob Marley enunciates "in the government yard in Trenchtown" in "No Woman, No Cry." 22: Oh, whatever. (I prefer the Wailers' rhythm to Bob's wailin'.) Hey, where's "Papa's Got a Brand New Bag"?! Brown before Marley.

21. Rick Rubin's Zep sample on the Beastie Boys' "She's Crafty." 21: Don't you mean the one at the start of "Rhymin & Stealin"?

20. The harmonies in the Kinks' "Waterloo Sunset." 20: You're talkin' about a classic here.

19. The "launderette," "leatherette," "dinette set," etc. rhymes in David Johansen's "Frenchette." 19: Yeah, I guess David belongs here, but maybe with the Dolls?

18. The four a cappella seconds at the beginning of Otis Redding's "These Arms of Mine." 18: Any four seconds of Otis.

17. The pedal steel and strings crescendoing in George Jones's "He Stopped Loving Her Today." 17: Long one of my faves, and yeah, you hit the spot.

16. The earsplitting homage to "Be My Baby" at the beginning of the Jesus and Mary Chain's "Just Like Honey." 16: Like the 560th band to pay that particular homage.

15. "Be My Baby." 15: I'd isolate Hal Blaine's drum intro--that's the great moment.

14. The last verse of "A Hard Rain's A-Gonna Fall." 14: I don't get it_why? Protest don't rock.

13. "September Gurls." 13: Is rock history just recordings? Because I remember Alex's beautiful leads at the Metro Big Star show.

12. Keith Richards's guitar solo in "Gimme Shelter." 12: The opening, not the solo.

11. D. Boon murmuring "Me and Mike Watt, playing guitar" in the Minutemen's "History Lesson--Part II." 11: Another great Metro show (opening for Samhain c. 1985)

10. "The record company, Rosie, just gave me a big advance!" 10: Huh? (Probably heard this on Sound Opinions--didn't stick.)

9. Neil Tennant singing "I love you / You pay my rent." 9: Neil & Chris belong here too--another fine couplet.

8. Jon Langford screaming "I'm born inside the belly of rock 'n' roll" in the Mekons' "Memphis, Egypt." 8: You critics and your raves.

7-6. The guitars in the Replacements' "Left of the Dial"; Paul Westerberg's moan. 7-6: Ditto.

5. The sax break on Van Morrison's "Into the Mystic." 5: I pulled this out and played it--um, two great "foghorn" moments in rock are here and Polly Harvey's "Big Black Monsoon."

4. The opening chord, hit nine times, of "Anarchy in the UK." 4: Mine: "We mean it man / We love our queen / God save..."

3. Kurt Cobain singing the "My heart is broke" verse of "Dumb." 3: Guess we've all got our Kurt moments. I like the backups at "On a Plain"'s end.

2. "Walk Away Renee." 2: I'm dualistic on this one because much as I like the original, the Four Tops' cover must be taken into account.

1. The guitar falling out and the synthesizer welling up in the ninth bar of "Love Will Tear Us Apart." 1: Hmm--I've always preferred the flip side, "These Days." Why should this be #1? Cool change nonetheless.

Original Column	Youngwerth's Reply
100. Lou Reed in "Coney Island Baby": "I'm sending this one out to Lou and Rachel..."	100: I don't know "Coney Island Baby" but I wonder what's great about parodying the once-common disc jockey dedication? (How about Negativland's inspired deconstruction of a Casey Kasem long-distance dedication in I think it's "U2"?)
99. "Satisfaction."	99: "Satisfaction"--great, sure, but also way overexposed. And why not point out the excellence of Devo's cover?
98. The lack of inflection in Johnny Cash's vocals on "Ring of Fire."	*98: How can a lack* of something be a great moment? How does one get around the corny Tijuana trumpet parts? I rejoin: the snarl of "they're prob'ly drinkin' coffee..." in "Folsom Prison Blues."**
97. The clattery drums and gentle guitar washes in Pavement's "Summer Babe."	*97: I heard you play "Summer Babe" on Sound Opinions. Unremarkable, and I really want to like Pavement. (Bill, the Fall doesn't* suck.)**
96. Bob Mould groaning "I'm hardly getting over it" on Candy Apple Grey.	*96: The greatest moment of Candy Apple Grey* is Hart's "Don't Want to Know If You Are Lonely." (Or was that Mould?)**
95. "You look like you been whupped with an ugly stick" (Jerome in Bo Diddley's "Say Man").	95: This was the first "song of the week" I ever heard--first time I heard Sound Opinions. That's a nice memory. Kind of an obscure record to be a great moment, and I dig Bo, mind you. Great line, sure.
94. The opening echoey bass on "For the Love of Money."	94: OK, good pick--you might want to identify the source as classic Philly Studio pop-soul.
93. Ernie Isley's silky guitar on "That Lady (Parts 1 & 2)."	93: Again, I have to agree, though I bet it was received mostly as a Hendrix tribute. But what a beautiful record & groove.
92. Shane MacGowan's dissolute vocals in the Pogues' "Fairytale of New York."	92: I like the Pogues, but the point of "Fairytale..." is that it's a duet. My pick by them is the majestic "Lorelei"--Shane-less.
91. The key change in "Love Grows (Where My Rosemary Goes)."	91: I can relate.
90. "Wouldn't It Be Nice."	*90: Ditto--you might have isolated the ritardando* (where it slows down), or Hal Blaine's drums cutting through the "fairy music" intro.**
89. The explosive start to Jimi Hendrix's "All Along the Watchtower."	89: OK, Bill, we're on a roll.
88. The dissonant, raspy violin--and dissonant, raspy harmonies--of the Raincoats' "In Love."	88: Raincoats--I've heard 'em and remember little about it.
87. "Maybe someday your name will be in lights / Sayin' 'Johnny B. Goode tonight!'"	*87: Maybe the* strongest entry--you've heard the song so often that you forget the power of this couplet.**
86. Tom Waits's gutter stage patter on Nighthawks: "I'm so goddamn horny that the crack of dawn better be careful around me."	86: Waits is a character study, not a rocker.
85. The utterly nonsensical lyrics of Elton John's "Grey Seal."	*85: Neat tune--I never thought about the lyrics. Isn't there a lot* of utterly nonsensical lyric-writing in rock?**
84. Robin Zander yelling "We're all all right" at the end of the live version of Cheap Trick's "Surrender."	*84: Isn't that Robin and* Rick or Tom? Don't forget the spoken intro, which the Beastie Boys once had fun with.**
83. The doo-doo-doos in New Order's "Temptation."	83: Or the ones in the Stones' "Heartbreaker"!
82. The scratchy guitar sample in the Geto Boys' "Mind Playin' Tricks on Me."	82: Citing a sample as a great moment strikes me as redundant. Good record, though.
81. David Lindley's slide guitar on the second Jackson Browne album.	81: Belongs on another list such as "great supporting player appearances." Hey, how about Jack Nitzsche on Neil Young's "Old Man"?
80. Teddy Pendergrass's sultry voice in "Wake Up Everybody."	*80: Incongruous--"Wake up..." is didactic--that's what spoils it for me. How about Teddy's Choose Me* film theme?**
79. Keith Moon's drumming on "Won't Get Fooled Again."	*79: OK--I might say the use of "tapes" on Who's Next.* And Keith on "I Can See for Miles."**
78. The spaciousness of the arrangement of Stevie Wonder's "Master Blaster (Jammin')."	78: Gee, Stevie deserves better--how about his double-tracked harmonica improvs on "Too High"? Or the playlet on "Living for the City"?
77. The Flaming Lips' dissonant, magnanimous take on "What a Wonderful World."	77: Wasn't that a Sound Opinions exclusive? Not their best moment, and not a great song when not sung by Louis.
76. The French horns on Aretha's "(You Make Me Feel Like) A Natural Woman."	76: The horns are nice, but they're not rock. I like the horns on Percy Faith's "Summer Place"--a record that inspired #54 for sure.
75. Kim Deal's "How do you think it feels?" cameo in Ultra Vivid Scene's "Special One."	75: I don't think Kim or UVs belong on this list, but I haven't heard the track.
74. Eddie Van Halen's synth line in "Jump."	*74: And not* the organ part on "96 Tears"?**
73. The wall o' guitars on Dwight Twilley's "I'm on Fire."	73: Yeah.
72. Run-D.M.C. calling themselves the "King of Rock" not rap.	72: Good point, lost over time.
71-70. John Doe and Exene's caustic Balin and Slick-style harmonies on "Johny Hit and Run Pauline"; Billy Zoom's cranked guitar.	71-70: I'd go "White Girl" maybe, but basically agree.
69. "Bruce Berry was a workin' man / He used to love that Econoline van."	69: Don't recognize this one.
68. The bass line in "Stayin' Alive."	*68: I suspect you mean* the low-pitched lead guitar line. I would.**
67. The box-tap drumming on Buddy Holly's "Everyday."	*67: You got that right. (Holly was nearly overlooked on the PBS Rock & Roll.)*
66. "What's Going On."	66: Who'd disagree? But don't forget his nearly one-man-band performance (vocal, keyboard, including bass part) on "Got to Give It Up."
65. Elvis's "Don'tcha know I'm" interjection in "Suspicious Minds."	*65: Did you know he attributed the fade-out--back in use on this one--to the same on "Helter Skelter"? (I think* I once heard that.)**
64. The concussive beginning of Portishead's "Sour Times."	64: I liked this group at the Vic, but the record's too overwrought.
63. Prince Be claiming his hip-hop props on PM Dawn's "Plastic."	63: Don't overlook Biz Markie's "Dedication."
62-61. Joey Ramone's cry of betrayal in "Bonzo Goes to Bitburg"; the glockenspiel.	62-61: I say: drum break in "Rockaway Beach."
60. All 18:05 of Stereolab's "Jenny Ondioline."	60: Even ten years from now?!
59. The utterly dry recording of the guitars in Led Zeppelin's "Trampled Under Foot."	59: Led Zep deserves its own 100 Greatest Moments list!
58. KRS-One spitting out "Tell me what the fuck am I supposed to do?" in "Love's Gonna Get 'Cha."	58: Naah--Chuck D's cameo on "Kool Thing."
57. The swirling synth in Patti Smith's "Frederick."	*57: Yeah, but God does it date* that record, but yeah.**
56. Lou Reed's liner notes to Metal Machine Music.	56: Haven't read 'em. Two Lou Reeds so far and no Velvets?
55. Richard Manuel's tearful voice on "Tears of Rage."	55: Can't agree.
54. Barry White's "Love Theme."	54: Actually, "Love's Theme" by the Love Unlimited Orchestra.
53. The "See the trees my forefathers hung from" line on Arrested Development's "Tennessee."	53: I always thought you crits were overrating this group.
52. Johnny Marr's guitar reverb on the Smiths' "How Soon Is Now?"	*52: You mean tremolo,* Bill, but right.**
51. David Lowery moaning "Just give me some tension relief" in Camper Van Beethoven's "(I Was Born in a) Laundromat."	51: Hasn't Cracker kinda spoiled the Camper legacy?
50. The southerner listing the northern ghettos in Randy Newman's "Rednecks."	50: I'll take your word for it. But Randy's not really rock, eh?
49. Mick Jones's guitar solo on Elvis Costello's "Tiny Steps."	49: At least you waited this long before citing a guitar solo.
48. Ricky Wilson's rattling guitar in "Private Idaho" by the B-52's.	48: Cool pick.
47. The fax machine sound in the Breeders' "Cannonball."	47: Kim Deal again? How about the camera(?) sound in Urge's "Stalker"?
46. Chrissie Hynde yelping "I got a kid / I'm 33!" on "Middle of the Road."	46: Yeah, I guess Chrissie belongs on the list. I like her "fuck off" in "Precious."
45-44. The dead stops in Suede's "Metal Mickey" and R.E.M.'s "Radio Free Europe."	45-44: And "Young Americans"--the list could go on. (Beach Boys' "Little Girl I Once Knew" is built around stops.)
43. The apocalyptic wails in the background of theClash's "White Man in the Hammersmith Palais."	43: Yeah, I can see that.
42. The 1:57 instrumental beginning of the Temptations' "Papa Was a Rolling Stone."	*42: Except it sounds to me somewhat like the opening to People's Court* TV show.**
41. The anomie of the vocals in Chic's "Good Times."	41: Had to look up anomie, but this is one fine record.
40. The piano 'n' slide coda of "Layla."	40: But that opening guitar riff and the song proper are better! By the way the coda's the work of mom-killer Jim Gordon.
39-38. Mick Jones's soft, gentle vocals on "Stay Free"; the burst of guitar at the end.	39-38: Not one of my key Clash tracks, though I like the title.
37. Sylvester wailing "You make me feel / Mighty mighty real."	37: This record directly influenced "Blue Monday."
36. Prince's "Maybe I'm just like my father" line in "When Doves Cry."	*36: And how about its lack* of a bass line?**
35. Elvis Presley's lugubrious, repulsive, mesmerizing performance of "My Way" at the end of This Is Elvis.	35: Much better: his "Baby, baby...I wanna play house-a wit choo."
34. The opening thunderous bass in Urge Overkill's "The Candidate."	34: I don't hear it being the bass, but hey I'm hip.
33. Jerry Butler singing "For Your Precious Love."	33: Thanks for playing it on Q-101--don't forget the Impressions.
32. The floating alarm clock in "A Day in the Life."	*32: What's not* great about this track?**
31. The sampled squeals in LL Cool J's "Mama Said Knock You Out."	31 Yeah, samples again, whatever (how about P.E.'s mighty JB's trumpet squeal on "Don't Believe the Hype"?).
30. The last verse of John Fogerty's "Wrote a Song for Everyone."	30: He definitely belongs on the list. I like the Cody character in "Green River." (When you get lost come on home to...)
29. Polly Harvey howling "I'm walking on water!" on Dry.	29: My mom's name is Polly. Latest album has no actual songs, just vamps.
28. Chuck D's indignant "Elvis was a hero to most but not me" in "Fight the Power."	28: I thought Peter Guralnick cleared up the confusion--let's drop it. (And let's also remember the Isley Bros.' fierce track of same name.)
27. The rattling aridity--intellectually, atmospherically, morally--of Dr. Dre's "Dre Day."	27: I agree Dre belongs on list, but for "Straight Outta Compton."
26. "Shake Some Action."	*26: I bought Teenage Head* but never figured it out. Maybe it's time to try again.**
25. The production of Tusk.	25: We're right together on this one, Bill.
24. The on-the-three-beat thump of almost any Al Green single.	24: Yep_nice tribute on the Eagles' "I Can't Tell You Why."
23. The opening 30 seconds of "I Want You Back."	23: On another roll now_people forget Michael's earlier career.
22. The way Bob Marley enunciates "in the government yard in Trenchtown" in "No Woman, No Cry."	22: Oh, whatever. (I prefer the Wailers' rhythm to Bob's wailin'.) Hey, where's "Papa's Got a Brand New Bag"?! Brown before Marley.
21. Rick Rubin's Zep sample on the Beastie Boys' "She's Crafty."	21: Don't you mean the one at the start of "Rhymin & Stealin"?
20. The harmonies in the Kinks' "Waterloo Sunset."	20: You're talkin' about a classic here.
19. The "launderette," "leatherette," "dinette set," etc. rhymes in David Johansen's "Frenchette."	19: Yeah, I guess David belongs here, but maybe with the Dolls?
18. The four a cappella seconds at the beginning of Otis Redding's "These Arms of Mine."	*18: Any* four seconds of Otis.**
17. The pedal steel and strings crescendoing in George Jones's "He Stopped Loving Her Today."	17: Long one of my faves, and yeah, you hit the spot.
16. The earsplitting homage to "Be My Baby" at the beginning of the Jesus and Mary Chain's "Just Like Honey."	16: Like the 560th band to pay that particular homage.
15. "Be My Baby."	*15: I'd isolate Hal Blaine's drum intro--that's* the great moment.**
14. The last verse of "A Hard Rain's A-Gonna Fall."	14: I don't get it_why? Protest don't rock.
13. "September Gurls."	*13: Is rock history just* recordings? Because I remember Alex's beautiful leads at the Metro Big Star show.**
12. Keith Richards's guitar solo in "Gimme Shelter."	12: The opening, not the solo.
11. D. Boon murmuring "Me and Mike Watt, playing guitar" in the Minutemen's "History Lesson--Part II."	11: Another great Metro show (opening for Samhain c. 1985)
10. "The record company, Rosie, just gave me a big advance!"	10: Huh? (Probably heard this on Sound Opinions--didn't stick.)
9. Neil Tennant singing "I love you / You pay my rent."	9: Neil & Chris belong here too--another fine couplet.
8. Jon Langford screaming "I'm born inside the belly of rock 'n' roll" in the Mekons' "Memphis, Egypt."	8: You critics and your raves.
7-6. The guitars in the Replacements' "Left of the Dial"; Paul Westerberg's moan.	7-6: Ditto.
5. The sax break on Van Morrison's "Into the Mystic."	5: I pulled this out and played it--um, two great "foghorn" moments in rock are here and Polly Harvey's "Big Black Monsoon."
4. The opening chord, hit nine times, of "Anarchy in the UK."	4: Mine: "We mean it man / We love our queen / God save..."
3. Kurt Cobain singing the "My heart is broke" verse of "Dumb."	3: Guess we've all got our Kurt moments. I like the backups at "On a Plain"'s end.
2. "Walk Away Renee."	2: I'm dualistic on this one because much as I like the original, the Four Tops' cover must be taken into account.
1. The guitar falling out and the synthesizer welling up in the ninth bar of "Love Will Tear Us Apart."	1: Hmm--I've always preferred the flip side, "These Days." Why should this be #1? Cool change nonetheless.

I guess to me a list titled "The 100 Greatest Moments..." should go beyond just being an assemblage of personal favorites. And "...in Rock History" doesn’t seem to fully apply here—these are all readily obtainable recordings, moments any listener can repeat to their heart’s content. But consider John Lennon’s statement on TV last night (I’m now writing Monday) that none of their best moments were ever recorded! You could have more carefully qualified what you meant the list to be.

Ebert’s list covered "the movies," which for years people went out and gathered together (albeit in a darkened room) to see. Your list covers rock records, excluding listeners who don’t care for rock, including individuals who might very well have done all their listening at home alone, i.e., there’s a solipsism to your enterprise which limits readers’ potential to relate to what you’ve written. Ebert’s celebrating many moments most of us are likely to have experienced—and you’re quoting Bo Diddley’s maraca guy!

Anyway I assume you did the column in part to solicit this kind of reaction—it’s fun to talk about records!

You’re invited to my place for coffee & listening & talking when you’ve got the time—I’m in Marina Towers.

Regards,

Frank Youngwerth

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