“Combat Rock is far from the Clash’s best album. Yet it may have their best single song. Indeed, I’ve argued as much more than once, Straight To Hell working an oddly open groove to make ample room for a gush of Joe Strummer passion and consciousness that manages to cover all manner of unstable ground. British Colonialism, American interventionism, junkiedom. ‘Could be anywhere – any frontier – any hemisphere – no man’s land’ being a key line, speaking to the universality of it all, the (r)evolution that the Clash were always propounding, though not always so eloquently as here. Want to get to the heart of 99-percent of what’s wrong with the planet today? Start with everybody who’s been just shoved aside by history and its dubious intentions. We need to be needed. All of us. Every frontier. Every hemisphere. Else it’s straight to hell. All of us. The only band that mattered maybe the last time they mattered.” (Philip Random)
“Second of two in a row from the Clash‘s last truly great, truly world beating album, the six-sided monster known as Sandinista. In the case of One More Time (and it’s dub), that means the ideal soundtrack for an ironic walk through an upscale suburban enclave on a warm spring evening (‘must I get a witness for all this misery?’), particularly if there’s a house on fire a few blocks away, sirens a-howling, black smoke rising, and you’re a little high on LSD. This actually happened to me, 1981 sometime. I ended up watching it all from maybe a block away, and thinking (not for the first time) that the Apocalypse wasn’t something that was coming, it was already here, and I was in the middle of it – and so was everybody else. Armagideon times indeed.” (Philip Random)
“Have I raved enough yet about Sandinista, the vast and multifaceted Clash album that doesn’t generally end up on Best Of All Time Lists? London Calling being the one that tends to get all the glory. Which it deserves, of course, but I would submit that sometimes more really is MORE when it comes to art, beauty, meaning, rebellion everything. Which, in Sandinista‘s case means thirty-six tracks spread across six sides of vinyl, enough to drown in if necessary. And maybe it is. Necessary. Because Sandinista is the greatest band in the world (at the time) firing all of their guns at once and hitting way more often than they miss. Broadway shows up at the end of Side Four. A slice of Beat-like poetry that may start out weary and down for the count. But never count this band out. Ever. Not in 1980-81 anyway.” (Philip Random)
“I first discovered Bankrobber via Black Market Clash, a compilation of various singles, b-sides, versions etc that came our way toward the end of 1980, perhaps driving home the point that no other outfit in the world mattered more. I mean, consider the evidence. In 1979 and 1980, The Clash release London Calling (two record set), Sandinista (three record set) and Black Market Clash which, as a subsequent CD reissue would prove, was itself just a tip of the iceberg in terms of unreleased stuff. And these non-album ‘rejects’ were often straight up brilliant as Bankrobber’s pumped up dub grooving rather forcibly argues. Hell, I know one guy who seriously considered going into a life of crime based on its simple logic of stealing form the filthy rich but not hurting anybody in the process. Then he sobered up.” (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.
“I liked Spanish Bombs from first listen, which would’ve been summer, 1980, bombing around suburbia in co-worker Gregory’s hot rod, London Calling being the only album I ever remember him playing. It was that kind of album. Still is, I guess. But Spanish Bombs wouldn’t truly land with me until about ten years later, a beach, a bonfire. Some girl I’d never met before grabbed an acoustic guitar and nailed it, nailed me. It was love at first sight, first chorus. Sort of. Because I’ve never seen her since. Except sometimes when Spanish Bombs comes on, like a ghost, I guess, lost in some mythical Andalusia.” (Philip Random)
“Come 1980, The Clash really had nothing left to prove to anyone, having delivered perhaps the greatest rock and roll album of all time in the waning days of 1979, the four-sided monster known as London Calling. So what to do next except everything, which gave us the six-sided mega-monster Sandinista. Charlie Don’t Surf shows up well into things, a song that takes a line from Apocalypse Now and extrapolates from there, all distant helicopters and dreamy if discordant keyboards. A friend of mine heard it once at a bar in Jamaica and it worked so well it didn’t even register until a few hours later that The Clash’s take on reggae had made it to a Jamaican mixtape! Were they really that good? Apparently so.” (Philip Random)
Selections available on this Youtube playlist (somewhat inaccurate).
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?
988. Psychic TV – IC water
987. Alice Cooper – The Man With The Golden Gun
986. Stan Ridgway – the big heat
985. Negativland – vacuum cleaner + guitar
984. Matthew Dear – get the rhyme right
983. Basement Jaxx – Distractionz
982. Human Drama – The Carpet Crawlers
981. Dukes of Stratosphere – the mole from the Ministry
980. John Lee Hooker – pots on, gas on high
979. Stooges – no fun
978. The 3 Heads – Warning
977. Prince Buster – One Step Beyond
976. Flowchart – lovefingers
975. Clash – the equaliser
974. African Head Charge – African hedge hog
973. Sleigh Bells – Ring Ring
972. Guru Guru – oxymoron [immer middle]
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.
The thirteenth of a planned forty-nine movies, each forty-nine minutes long, featuring no particular artist, theme or agenda beyond boldly going … who knows? Or as Werner Von Braun once put it, “Research is what I’m doing when I don’t know what I’m doing.” And we definitely have no idea where all this will take us.
13. The Need
Clash – if music could talk
Jimi Hendrix – stone free again
John Martyn – I’d rather be the devil [part 2]
Brian Eno + Jah Wobble – spinner
African Head Charge – crocodile shoes [excerpt]
Sun Ra – exotic forest
Drome – hinterland
Minutemen – you need the glory
David Pritchard – the march of Mallory Bat
CTI – the need
Simple Minds – brass band 
Further installments of the Research Series will air most Sundays at approximately 1am (Pacific time) c/o CiTR.FM.101.9, with streaming and download options usually available within twenty-four hours via our Facebook page.