014. The Final Countdown*

Installment #14. of The Final Countdown aired Saturday-June-30-2018 (c/o CiTR.FM.101.9).

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 over a year of radio if all goes to plan, and when has that ever happened?

TFC-014

Installment #14 of The Final Countdown* went like this.

1031. Ennio Morricone – an Indian story
1030. Screaming Blue Messiahs – wild blue yonder
1029. Doors – soul kitchen
1028. REM – Cuyahoga
1027. Flatt + Scruggs – down in the flood
1026. Queen – someday one day
1025. Gordon Lightfoot – Don Quixote
1024. Flying Burrito Brothers – lazy day
1023. Alan Parsons Project – Dr Tarr + Professor Fether
1022. CloudDead – rifle eyes
1021. Pauline Easy – Billie Jean
1020. The Leisure Society – Cars
1019. Cookin’ with Kurt – soup du jour
1018. Holger Czukay – Dancing In Wide Circles
1017. Godley + Creme – Consequences [stampede + mobilization]
1016. Sun Ra – nuclear war
1015. Lovin’ Spoonful – day dream
1014. John Mayall – sitting in the rain
1013. Arthur Louis – knockin’ on heaven’s door
1012. Wall of Voodoo – on Interstate 15
1011. John Martyn – I’d rather be the devil
1010. Aphex Twin – analogue bubblebath
1009. Jenny Owen Youngs – Fuck Was I
1008. Sonic Youth – I’m Not There

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.

 

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529. Cuyahoga

“I gave up trying to figure out what Michael Stipe was on about very early on. The first few REM albums, he was mumbling, which made it easy. But then, come Life’s Rich Pageant, he was suddenly enunciating, you could now decipher words – they just weren’t adding up. Except maybe Cuyahoga. Because I’d read about the Cuyahoga as a little kid. The river that was so polluted with man made chemicals and whatever that it actually caught fire, Cleveland, Ohio, 1969. That’s the kind of fact that’s all too meaningful.” (Philip Random)

REM-1986-roadside

709. Oddfellows Local 151

Come 1987, REM had already conquered the world of indie-cool with four solid albums of ever increasing finesse, articulation, even a hint of crossover commercial success. Which made album #5 Document pivotal in terms of what might happen next. Yes, it continued the commercial ascendancy, but it also went the other way with the likes of Oddfellows Local 151, a track that Peter Buck referred to at the time as either the worst thing they’d ever done, or the best, he wasn’t sure yet. Either way, its deeply fried Southern weirdness helped set the stage for one of those outfits who, love ’em or hate ’em, were going to be around for a good long while.

REM-1987-live

821. Strange

“I realize it’s not cool to prefer REM’s cover of Strange to Wire’s original, but who even heard Wire’s first three albums when they were new? Not anyone I was hanging with. So to me, REM’s more jangly, more rocking, more fun take is the original. And given that it comes from 1987’s Document, that means they’re at their pre-mega-mainstream peak.  Still suitably artful and obscure, but beginning to enunciate.” (Philip Random)

rem-1987

875. the backyard

Miracle Legion came our way in 1984 amid the so-called jangle pop resurgence that followed REM’s initial breakthrough. Suddenly it was okay, cool even, for guitars to sound nice again, melodies sweet. In the case of The Backyard, that meant a tight, driving bit of melancholy about early childhood, a time when your whole world was your backyard, but even that could break your heart.

miraclelegion-1984

945. ghosts on the road

Guadalcanal Diary generally got compared to REM back in the day, because they were also from Georgia and their guitars had a tendency to jangle. But their songs always felt more direct to me, less concerned with being Art, with melodies that tended to get stuck in your head for days afterward. Their first release, In The Shadow Of The Big Man, was jammed with such stuff.” (Philip Random)

guadalcanalshadow