“Apparently Je T’aime … moi non plus (the Jane Birkin/Serge Gainsbourg version) was a big deal international hit way back when. Just not here in the Americas. Because the first time I was even aware of it was at least twenty years after the fact, and that would’ve been in the background somewhere, cool radio, maybe somebody’s mixtape at a backyard barbecue, people playing croquet in the foreground. But it did eventually hit me. It did stick. The kind of easy cool melody and pop fresh production that destroys time, transcends decades, and then there’s the subject matter and its rather unabashed eroticism. Or as my friend Angela once put it, ‘The French may have gotten a lot wrong when it came to rock and roll, but they sure knew how to do dirty without it coming across as unclean.’ What it was (and still is) is pretty much pop perfect to my ears and (special thanks to North America’s rampant Puritanism) still not overexposed hereabouts, thus allergy free. And for the record, Ms. Birkin would’ve been twenty-one when she recorded her vocal, so it’s all entirely legal.” (Philip Random)
“In which Nina Simone proves the experts wrong. The Bee Gees peaked long before all that disco foo-furrah of the later mid-70s, probably in 1967 with To Love Somebody which may just be the greatest song of unrequited love ever written, the proof being in the covers, everybody from the Flying Burrito Brothers to Michael Bolton to the Chambers Brothers to Billy Corgan, Roberta Flack, Michael Buble, Janis Joplin, Eric Burdon taking a swing at it … but nobody ever owned it like Ms. Simone, whose pumped up 1969 take removes all adornments, just tells it like it is-was-will-always-be. I lost somebody. I’m broken. I don’t think I’ll ever be fixed. At least I still believe in my soul.” (Philip Random)
“Idiot Wind has to go out to Angela, and me. We officially broke up in 1988. It just took me three years to finally get it one long, strange, lonely summer day that began with an urge to drop a little solo LSD, climb a small mountain, check out the scenery. And it was good. But then came the long descent, lots of time for deeper, darker reflection in the solitude of the forest, and meanwhile, on the walkman I had Bob Dylan‘s Blood on the Tracks playing, because I’d exhausted all the more cosmic stuff on the way up. And damn if all that earthbound grit and spite didn’t just start talking to me, particularly Idiot Wind‘s angst driven symbols and reflections, like nine hundred different stories all kaleidoscoping into one by the end, the part where the idiocy doesn’t just blow when you open your mouth, but also when I open mine. Because like some smartass said just the other day, there’s no I in team, but there’s two of them in idiot. Welcome to love, I guess, the part they don’t mention in all the fairy tales, the not happily ever after part. Which is why we need the music of Mr. Bob Dylan from pretty much any phase of his career. Post-fairy tale all the way.” (Philip Random)
“Second of two in a row from Love‘s 1967 masterpiece Forever Changes, because it really is an album (as opposed to a collection of songs). Or as an ex-DJ friend once put it – ‘I find it hard to put tracks from Forever Changes in a mix, because they always work best next to each other, as part of the intended flow.’ And these songs aren’t exactly out to take prisoners, not obviously anyway. They’re just content to work a warm and consistent and slightly hazy (perhaps smoggy) LA vibe of heartbreak and beauty and colours forever changing and whatever else it is that Arthur Lee‘s singing about. With titles like Maybe the People Would Be the Times or Between Clark and Hilldale, he’s clearly singing about everything. But love most of all.” (Philip Random)
“I don’t believe I heard Love’s Forever Changes until at least the 1990s. Not consciously anyway, because it is the kind of album that might’ve just slipped by. Not for any inherent weakness so much as its subtlety and, I guess, its timelessness – its strings and horns and multicoloured melodies and mysteries. It may have come out of Summer of Love Los Angeles, but heard in the background at a café or from the next room at a party, it could be almost any decade (since the 1960s anyway). As for Alone Again Or, it’s all in the title, I guess. Not so much a love song as a lack of love song, yet there is still hope. It is 1967 after all.” (Philip Random)
Second of two in a row from the Swans, 1988 being the year that they gave us not one but two covers of everybody’s favourite suicidal love song, both actually quite good. Jarboe‘s version gets the nod here, because she’s got the nicer voice, and it’s more gentle. And we definitely needed some gentle niceness by the time 1988 landed, Winter of Hate in full effect. Not that Love Will Tear Us Apart could ever be mistaken for a song bereft of cataclysm.
“It’s 1970 and Elton John is still a ways from superstardom. Which doesn’t mean he may already have recorded the best album of his career. It’s called Tumbleweed Connection and yeah, it’s working a slightly silly concept about the old west, but the songs are so good, who cares? With Love Song a particular standout for me if only because it’s been so overlooked in its understated, ambient lushness. Almost too beautiful. And it’s a cover. Lesley Duncan wrote it.” (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.
“No, Nazareth didn’t f***ing write Love Hurts. It was Boudleaux Bryant, a guy who most definitely knew a thing or two about love and how it simultaneously sets you free as the wind and carves raw chunks out of your soul. My essential version has to be Gram Parsons and Emmylou Harris’s take — quiet, heartfelt, grievous and true. Unfortunately, Mr. Parsons would be dead before the world ever heard it.” (Philip Random)