During the course of doctoral studies, spent a fair amount of time on midnight buses between Toronto and Montreal. Arriving in either city around 6 a.m. or so, disgorged from the moving metal box. Fogged and covered with one’s own grime and that of forty or so others. Blurred, into the mist.
Was missing something in the music of the late 80s. Lots of keyboards, lots of melodies, but not that much cranked up guitar, with ripped barre chords.
Would arrive flat in early morning Montreal, stumbling up from Guy and René Lévesque to Concordia’s Guy Metro Building, at Guy and De Maisonneuve. Up to office to drop bags and try to focus on day. Had heard “I’ve had the time of my life” a bit too much.
Had prepared myself to crankout the flatness. Three cassettes purchased: Aerosmith’s Greatest Hits (emphatically the 1970s hits), Ted Nugent’s Little Miss Dangerous and AC/DC’s Fly On The Wall. Aerosmith moving the direction. Ted Nugent’s “High Heels In Motion” getting things further along:
Then AC/DC’s title song from the album Fly On The Wall:
“FLY…had ’bout all I can take”:
Turn it LOUDER in the empty office halls. Double shot of musical caffeine. Cleansing.
So many songs with that jack your veins effect. Remember feeling the same way when cranking up Humble Pie’s live version of “Four Day Creep” in the 1970s:
Or Mick Jagger’s “Wired All Night” in the early 1990s:
The timeless caffeine of the Rolling Stones’ “Jumpin’ Jack Flash“:
And “Street Fighting Man“:
Very much a place for early day musical rush. More times needed than perceived.
Postscript, July 30, 2011: Plus West, Bruce and Laing, “Why Dontcha”:
I remember giving the Why Dontcha album in 1979 or so to an M.B.A. colleague who became a close friend. I thought his tastes in music were softer, so was a bit apprehensive about this particular gift. His eyes lit up with the sound of the first chords: “This is fantastic.”