“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)
“This is UB40 before they lightened up, became banal and sold gazillions of records. This is UB40 when they were still serious contenders, working the dark and delicious dub regions of the late 1970s, early 1980s, unafraid of what lurked there. In the case of Madame Medusa, that meant twelve plus minutes of serious groove that would continue to rock dance floors well into the 1990s – at least it did whenever I was given access to the turntables. What a band! What a loss!” (Philip Random)
“It’s hard to get a specific date on Bucky Skank, just sometime in the 1970s, probably post 1972, which I don’t even know for sure, it just feels right that it came from the Black Ark, Mr. Lee Scratch Perry and his Upsetters being known for their stoned and wistful wandering both in and out of time. The groove is odd, almost broken. The lyrics are mostly nonsensical to my non-Jamaican ears. But it always brings a smile.” (Philip Random)
“Lazarus eventually showed up in truncated form on the Boo Radleys‘ third album Giant Steps, arguably the greatest album ever that hardly anyone’s ever heard (except a bunch of Brits in 1993 or thereabouts), but the version you need to hear is the original 12-inch single mix with the extended and ultimately profound lead-in. Over a minute before there’s a discernible beat, almost three before the trumpets of heaven properly unleash like the Lord’s own light shining through, turning confusion to epiphany, sorrow to joy, undeath to everlasting life (there is a difference). I may not believe that Jesus Christ is my Lord and Saviour, but I do believe in this song.” (Philip Random)
An early single provides strong evidence that Bauhaus were far more than just a goth outfit (the term didn’t even exist until after they’d split up). What they were was smart, innovative, never remotely boring, with Terror Couple Kill Colonel working all manner of studio exploration to get seductively under the skin, into the blood.
“Gary Clail gets the credit here but there are all kinds of folks involved in this coolly groovy yet grimly apocalyptic few minutes from 1991, with On-U Sound at the heart of it all. I’d say the 1980s were more their time, when their fusion of dub, punk, politics, NOISE mattered most. It manifested in various bands, singers, poets, players, but it was pretty much always Adrian Sherwood working the final mix. With a track like False Leader pulling it all together, throwing down a gauntlet that the future’s still trying to figure out. And yes, they are still at it.” (Philip Random)
The Final Countdown* is Randophonic’s longest, most random and (if we’re doing it right) relevant countdown yet – the end of result of a long and convoluted process that finally evolved into something halfway tangible in early 2018. The 1297 Greatest Records of All Time right now right here, if that makes sense. And even if it doesn’t, we’re doing it anyway for as long as it takes, and it will take a while.
Installment #8 of The Final Countdown* went like this.
1150. DJ Me DJ You – because [DJ Swamp remix]
1149. Funkadelic – Vital Juices
1148. Rolling Stones – dance[s]
1147. Invaders of the Heart – voodoo-psyche
1146. America – a horse with no name
1145. Residents – hanky panky
1144. Eno-Moebius-Rodelius – tzima n’arki
1143. King Crimson – groon
1142. Marc Barreca – oleo strut
1141. Renaissance – trip to the fair
1140. Klaatu – prelude
1139. Tomita – snowflakes are dancing
1138. Tipsy – bunny kick (your mothers mix)
1137. Brian Eno – I’ll come running
1136. Guess Who – key
1135. Grateful Dead – Alligator etc
1134. Telesp – Scarab
1133. Ozark Mountain Daredevils – E E Lawson
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.
Known as the English Beat in the Americas, the British Beat in the Australia, The Beat were a big part of the groovy side of the so-called post-punk/new wave era, certainly at home in Britain, with the dub mix of Mirror in the Bathroom a nifty little number that was effective on the dance floor, in the background at parties, in the car whilst negotiating traffic. Which has always been the special appeal of dub to me – music which is mostly absent words, yet moving in a particular direction anyway. Something to do with sound-tracking the ongoing corrosion of the so-called Western World. And it’s fun.
“Speaking of reggae, I’d be lying if I said the Clash weren’t one of my key entry points, still to this day maybe the only white reggae band that ever truly mattered. Because somehow or other, they got the depth of it, not just the easy, stoned sunshine grooves. Like Sean Flynn (concerning Errol Flynn’s son, a photojournalist who was killed in the Cambodian spillover of the Vietnam war) a song which maybe isn’t reggae at all, but it’s definitely dub, Apocalypse Now derived hallucinatory helicopter blades, intense heat, but you’re somehow floating above it all, finding just enough altitude to see some beauty without denying any of the tragedy.” (Philip Random)