“The First Roxy Music Album is still mostly ahead of its time even now decades after the fact (and the next four or five are pretty amazing as well). But it’s the first one that lays it all out – the glamour, the romance, the noise, the pop, the rock, The Future. And the single track that delivers it all in less than four and a half minutes, the one Roxy artifact I’d grab if the world was burning down (and it probably is), is Ladytron. Which (it occurs to me as I jot this down), I don’t even know what it’s about. It’s about a lady, of course, and beautiful at that, though I guess she may be a robot. But maybe Bryan Ferry‘s kiss can make her human. Or something like that. Equal parts fairy tale and science fiction and pure fun modernity, circa 1972.” (Philip Random)
There is absolutely nothing wrong with Brian Eno’s original take on Third Uncle. Bauhaus’s cover is just louder, fiercer, more dangerous, better. In fact, it gets downright harrowing before it’s done – a reminder that so-called Goth didn’t even exist at the time, Bauhaus being one of those rare outfits that forces a re-think, a whole new definition. Yeah, there were already lots of folks dressing in black, mourning for their own deaths, but they were just part of the greater scene, lurking in the shadows of the cooler clubs like something important was being born, but it hadn’t quite arrived yet. Until along came Bauhaus, looking good in black themselves, and way too loud to ignore.
“I believe I’ve already rhapsodized about David Byrne and Brian Eno’s My Life In The Bush Of Ghosts, how it changed everything forever, put sampling into the cool music toolbox, set more than just the white man free. But it was also a hell of a fun album in a creepy way, and nowhere more so than Jezebel Spirit, the track that used audio from an actual exorcism to serve its groove, which yeah, is pretty dime a dozen in certain goth and industrial circles these days, but man, what a groove! And this was early 1981. Ronald Reagan had barely been sworn in as President, John Lennon had only recently been murdered. Mix in the strong LSD that was suddenly so plentiful in my little corner of Americaland … and let’s just say some deeply weird realms were explored, entities encountered, the Winter of Hate enthusiastically engaged, not that we had the term figured out yet. But the soundtrack was already strong.” (Philip Random)
“The easy and wrong position to take on Roxy Music is that they were only good as long as Brian Eno was onboard (ie: the first two albums), ‘…a 1970s band playing 1950s music for the twenty-first century‘. It’s true that things changed with Eno’s rather abrupt departure. How could they not? But as their third album Stranded makes abundantly clear, Roxy still had more than enough rings for a proper circus. With Song For Europe an epic romance that offers verses in not just English and French, but Latin too, all toward … well, I don’t know what exactly, or where. It just sends me there, sweetly, strangely, and finally powerfully. Which I suppose is where Roxy did finally lose it for me – when they stopped delivering the power and the strangeness, opting for those misty water-coloured moods of Avalon which definitely shifted units, but just drove me resolutely elsewhere. Anywhere else really. Oh well.” (Philip Random)
“Remain In Light was the Talking Heads’ fourth album, and the one that finally forced me to admit they were probably the best band in America, possibly the world. Because here was the future, not coming, already here, and cool and strange in ways I just wasn’t prepared for. Rhythms and poly-rhythms and drones and eruptions taking songs in all kinds of unprecedented directions, like they’d somehow heard all the music in the world and figured a way to get it into a 40 minute album of so-called pop music, or in the case of Crosseyed and Painless (concerned with urban paranoia apparently) one less than five minute song. Brian Eno helped, of course.” (Philip Random)
“The first song from the first Roxy Music album makes it abundantly clear. This band is not concerned with the past. This is not a rock ‘n’ roll soaked in blues and authenticity. This is dissonance, angularity and cool high fashion, which no doubt must have felt like a hostile alien invasion if you were a certain kind of hippie in 1972. Hell, I didn’t even hear Remake/Remodel until at least 1979 and I just assumed it was some up and coming New Wave outfit, except they were way better than most. And I suspect the same would be true today. Still more about what’s to come than what has been.” (Philip Random)
“The gods must have had me in mind with America is Waiting, side one track one of My Life in the Bush of Ghosts, Brian Eno and David Byrne messing with African beats and rhythms, disembodied voices, all manner of weird noises, everything coming together to call down the venal soullessness of Ronald Reagan’s America, like the atmosphere itself was speaking to my concerns. How could all this not go well with the copious quantities of LSD that were bubbling around at the time? But the drugs wore off eventually. My Life In The Bush Of Ghosts didn’t, never has. Others may have used samples before, merged noise and rhythm and all manner of exotic tangents and textures. But once Misters Eno and Byrne had done their bit, this sort of stuff was emphatically here to stay, part of the firmament.” (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.
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 #22 went like this.
877. Brian Eno + David Byrne – help me somebody
876. Nico – I’m not saying
875. Wilco – heavy metal drummer
874. Severed Heads – advertisement + power circles
873. Sunroof – Hero
872. Monkees – porpoise song
871. Add N To X – plug me in
870. Brian Eno – The Lion Sleeps Tonight
869. Miriam Makeba – Mbube (The Lion Sleeps)
868. Osamu Kitajima – benzaiten [reprise]
867. Assembly – never never
866. Sonic Youth – Providence
865. Flying Burrito Brothers – sing me back home
864. Julie London – yummy yummy yummy
863. Madonna – justify my love [the beast within]
862. Bim Sherman & Dub Syndicate – Can I be free from crying?
861. Johnny Cash – don’t think twice, it’s alright
860. Lindstrom & Prins Thomas – Horseback
859. Arto Lindsay – light moves away
858. Leonard Cohen – there is a war
Tracks available on this Youtube playlist (not exactly accurate).