These 12 Mixtapes of Christmas have got nothing to do with Randophonic’s other 12 Mixtapes of Christmas from two years ago, or even with Christmas (beyond being a gift to you). And they’re not actually mix tapes, or CDs for that matter – just mixes, each 49-minutes long, one posted to Randophonic’s Mixcloud for each day of Twelvetide (aka the Twelve Days of Christmas).
There’s no particular genre, no particular theme or agenda being pursued, beyond all selections coming from Randophonic’s ever expanding collection of used vinyl, which continues to simultaneously draw us back and propel us forward (sonically speaking) — music and noise and whatever else the world famous Randophonic Jukebox deems (or perhaps dreams) necessary toward our long term goal of solving all the world’s problems.
Bottom line: it’s five hundred eighty-eight minutes of music covering all manner of ground, from Roy Orbison to Curtis Mayfield to Can, Bob Dylan, Manfred Mann’s Earth Band, Kraftwerk, Nitty Gritty Dirt Band and beyond (and that’s just from the first mix) — anything and everything, as long as it’s good.
“It’s true. Can saved us all at least a decade before most of humanity even knew of their existence (my corner of it anyway). While everybody else was reeling from the meltdown of the Beatles, the deaths of Jimi Hendrix, Janis Joplin, Jim Morrison, the end of 1960s in general, backtracking deeper and deeper into so-called authentic blues, or going all progressive, singing of castles, strange kingdoms, lost dimensions (not that there was anything particularly wrong with it) … the Communist-Anarchist-Nihilist combo known as Can (operating out of their own schloss in Koln, West Germany), were still fiercely working the Now, deep into the pretty much infinite groove of Halleuwah, the Lord be praised indeed! Howls and riffs and passing rips of melody and noise and the best f***ing drummer ever — the whole mad stew still sounding fresh and dangerous and profoundly ahead of our time even now, decades later. Why is it not way higher on this list then? Good question. I guess I must’ve been just post a phase of listening to it too much when I was compiling things.” (Philip Random)
“If you’re British, you’ve likely heard plenty of T-Rex in your time, maybe way too much. But over here in the Americas a track like Ride A White Swan never cracked pop radio back in the day, so it still retains the kind of freshness that turns heads, gets people nodding along, smiling, wondering, ‘Who is this?’ Like it was recorded last week, not better part of half a century ago. Still makes me smile pretty much every time I hear it, Marc Bolan’s oddly spry little ditty about skyways, sunbeams, druids and tatooed gowns. Some say it invented Glam. I ain’t arguing.” (Philip Random)
There’s nothing nice about The Stranglers, particularly through their earlier, better years before the heroin started slowing things down. With a song like Nice and Sleazy hitting like a crude, ugly throwback to at least the Dark Ages … except it’s just so damned good. Groovy, heavy and really just reminding us where rock and roll came from anyway. As sleazy as it needs to be.
“More proof that when it came to a certain kind of sunlit psychedelic sweetness (which it seems was only ever achieved by anybody in and around 1966-67) the singer songwriter (some called him a poet) known as Donovan had no peer. Yes, Bob Dylan’s poetry went deeper and destroyed more fascists, and Donovan did on occasion get lost in hippy dippy wormholes, but its damned hard to argue with the mystical magical stuff of Sunshine Superman (the album) a song like Legend of a Girl Child Linda in particular … whatever it’s about. Because I never really seem to be able to track it all the way through, the trance takes me, like I’m stuck in someone else’s dream, and sumptuous it is, all cascading crystals, hillsides of velvet, valleys of flowers.” (Philip Random)
“I guess I was twelve when I first started hearing about this guy named Alice Cooper who was some kind of reincarnated witch that murdered chickens on stage and hacked baby dolls to pieces, and his shows always ended with him getting hung from the neck until he was dead, but being a demon, he could never really be killed. But what was truly shocking was the music when I finally heard it. How good it was. Not just ugly noise like you’d expect from a baby murdering demon from hell, but actually kind of nice in places, beautiful even, which made the evil stuff all the more frightening, twisted, and yeah, hilarious, because anything that could piss off adults that much had to be hilarious. The album in question was Killer and now some decades later, it’s still song-for-song one of the best I’ve ever heard, from any band, from any era, with Dead Babies the epic track toward the end about, you guessed it, dead babies and how they just can’t take care of themselves. Sad but true.” (Philip Random)
“The mid 1980s were actually one of the coolest times ever on planet earth. It just didn’t make the papers much. You had to do some digging, listen to the right radio stations, go to the right movies. And few movies have ever got it more right than Return of the Living Dead – the one that doesn’t take anything remotely seriously and ends up being fiercer, wilder, better than than pretty much every other zombie movie ever made before or since. And the soundtrack album’s a definite keeper. Look no further than Roky Erickson‘s Burn The Flames, work of a certifiable madman, completely concerned with luxuriating in the very flames of hell. All for the love of brains.” (Philip Random)
“As a kid who hit his teens in the early 1970s, I sort of always knew about Frank Zappa and his Mothers and their various crimes against humanity, but I never really fell in love until I heard Absolutely Free toward the end of high school, Plastic People in particular, and how nastily, incisively, hilariously it skewered all the transparent, pre-fab zombies I walked the halls with, who I once thought of as friends, but now, they just seemed hard-wired for lives of desperate boredom, intent on becoming just like their parents, only worse, because normal always gets worse. Yet Plastic People is in fact not about suburbia 1977, but Los Angeles 1967, a grand piss take of pretty much everyone, even the hippies, and how there was plastic where their souls should have been. It was just that kind of town, I guess. Still is, apparently.” (Philip Random)
In which the Rolling Stones make it clear. They’ve been messing with the ole lysergic and listening to their Bob Dylan, and most important, figuring a way to make it all their own, dirty, noisy and true. It’s 1966 and the summer of love may be pending, but beware those shadows, long and deep. And your mother. Not just a little Freudian.