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 #20 of The Final Countdown* went like this.
915. Del Mar vs South Park – it’s gone
914. Marilyn Manson – Golden Years
913. Neil Young – for the turnstiles
912. Deerhoof – There’s A Kind of Hush All over the World
911. Queen – the night comes down
910. Wall of Voodoo – the passenger
909. Free – I’m a mover
908. Jimmy Castor Bunch – LTD [life truth + death]
907. Joe Cocker – feelin’ alright
906. Joy Division – the eternal
905. Alan Parsons Project – dream within a dream
904. Alan Parsons Project – The Raven
903. Cars – moving in stereo
902. Laurie Anderson – let x=x/it tango
901. The Orb – A Huge Evergrowing Pulsating Brain that …
900. Bob Dylan – you ain’t goin’ nowhere
899. Patti Smith – changing of the guards
898. Rickie Lee Jones – rebel rebel
897. Herbie Mann – push push
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“It’s 1982 and Laurie Anderson, who no one I know has ever heard of, has suddenly painted a picture of the future, equal parts strange and beautiful, yet already haunted. The whole album‘s a gem but the title track deserves special mention for the way it delivers this future — all shopping malls, drive-in banks and every man for himself. And yodeling, hallelujah to that, and to the big science that makes it all possible — those cooling towers off the edge of town, higher than any church steeple ever towered, hissing and droning, liable to melt down and explode at any second.” (Philip Random)
“Any history of 1980s rock-pop-whatever that does not give Laurie Anderson her own chapter is wrong, and that accounts for most of them. Mister Heartbreak was her second proper album and it started strong with Sharkey’s Day, which I’m guessing is a reference to the Burt Reynolds movie Sharky’s Machine that I never saw. But he was a cop and no doubt macho with corruption involved, and darkness all around, so temper of the times. Or maybe Sharkey’s Day has nothing to do with any of that. Maybe Ms. Anderson just saw the poster at some point, and something about it spoke to her – Burt Reynolds, his mustache and his gun, and everything that had to say about a culture. Where do you go from there?” (Philip Random)
“In which Jean-Michel Jarre offers up an epic smorgasbord of what were then very “now” techno-possibilities. I personally had little time for his earlier stuff (cosmic lite, to put it bluntly, though millions seemed to disagree with me). But with hip names like Laurie Anderson and Adrian Belew on board for Zoolook, it was hard to ignore, and a darned good thing, because the whole album really goes places, lead off track Ethnicolor in particular. Samples before we called them that, great crescendos and unearthly howls. The future definitely sounded cool, and ambitious.” (Philip Random)
“In which Laurie Anderson reminds us that sometimes you’ve just gotta go with your intuition. If you see a guy and he looks like a hat check clerk, he is a hat check clerk. And everything that suggests. To which I must add, I have no idea what that is. And I doubt Laurie Anderson did either, early 1980s, just rolling with the zeitgeist which she was in the process of turning inside out with her strange gear and her stranger stories. And the pinks of the world are still trying to make sense of it. Stop making sense.” (Philip Random)
Nothing sounded stranger, cooler, more fiercely new in 1982 than Big Science, Laurie Anderson’s debut album. But strip away the art-scene façade and, “She’s just a nice young lady playing her fiddle and telling stories. What’s so odd about that?” (to quote a Texan club owner from back in the day). From The Air would’ve been the one about the plane crash where the pilot thought he’d have some wordplay fun on the way down.