“Burnin’ and Lootin’ goes back to 1973, almost the beginning of the Bob Marley and the Wailers story (certainly in terms of the music getting heard anywhere outside of Jamaica) but it took almost twenty years for it properly nail me. April-29-1992, the LA riots, watching it all go down on TV, then throwing in with a radio show that night, mixing in live TV audio, surfing the chaos, mixing it up with various relevant tunes, which meant lots of gangsta rap, of course, almost as angry as the day itself. But the song that ended up cutting the deepest that night, spoke most profoundly to the underlying history, the centuries of evil bullshit and terror that had fed the monster we were watching – that was Burnin’ and Lootin’. Because the only thing new about what had happened to Rodney King was the man’s name.” (Philip Random)
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.
Selections available on this Youtube playlist (not exactly accurate).
The Final Countdown* is Randophonic’s longest and, if we’re doing it right, most relevant countdown yet – the end of result of a rather convoluted process that’s still evolving such is the existential nature of the project question: the 1297 Greatest Records of All Time right now right here. Whatever that means. What it means is dozens of radio programs if all goes to plan, and when has that ever happened?
Installment #19 of The Final Countdown* went like this.
934. Jesus Loves You – bow down mister
933. Horslips – King of the Faries
932. Bob Marley – Mr Brown
931. African Head Charge – Orderliness, Godliness, Discipline And Dignity
930. FM – one o’clock tomorrow
929. Kraftwerk – numbers + computer world 2
928. Michael Rother – Neutronics 98
927. Link Wray – Batman
926. Seeds – pushin’ too hard
925. Blodwyn Pig – variations on Nainos
924. Santana – Oye Como Va
923. JJ Cale – call me the breeze
922. Led Zeppelin – Bron-Y-aur stomp
921. Gentle Giant – wreck
920. Yello – blue green
919. Speedy j – pepper
918. Robert Fripp + David Sylvian – 20th Century dreaming [a shaman’s song]
917. Brian Eno – Over Fire Island
916. Brand X – unorthodox behaviour
Randophonic airs pretty much every Saturday night, starting 11 pm (Pacific time) c/o CiTR.FM.101.9, with streaming and/or download options usually available within twenty-four hours via our Facebook page.
“I believe that’s us Bob Marley is howling about here, our dads and granddads and uncles anyway – the crazy baldhead agents of colonial Babylon doing the devil’s work, making a mess of every beautiful thing in creation. Found on 1976’s Rastaman Vibration, the first Marley and the Wailers album to crack the American top ten. The times were a-changing. And you could dance to it.” (Philip Random)
“Mr. Brown is definitely the most garage sounding track I’ve heard from Bob Marley, which is not a surprise given Lee Scratch Perry‘s presence at the mixing board, conjuring his unique and multihued magic. Found by me on Rasta Revolution, a 1974 compilation of various pre-fame Marley and the Wailers odds and ends, which means it probably got recorded prior to 1972. Not that Marley saw much fame anywhere beyond Jamaica until after 1974 anyway. And then I didn’t stumble onto it until at least 1994. But it still felt fresh, if a little ripe.” (Philip Random)