002. The Final Countdown*

Installment #2 of The Final Countdown* aired Saturday-March-17-2018 (c/o CiTR.FM.101.9).

Youtube playlist (not entirely complete or accurate).

The Final Countdown* is our longest, most random and (if we’re doing it right) relevant countdown yet. Which is rather a long of way saying, we’re not one hundred percent sure yet what it’s all about – just the end of result of a long and convoluted process that finally evolved into something halfway tangible back in early February. 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.

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Installment #2 of The Final Countdown* went like this.

1275. Towa Tei – congratulations
1274. Negativland – greatest taste around
1273. Little John + The Monks – black winds
1272. Atmosphere – get fly
1271. Brian Eno + David Byrne – I feel my stuff
1270. Flaming Lips – Pompeii am Gotterdammerung
1269. Pet Shop Boys- Where the Streets have no Name
1268. Tranquil – Ruby
1267. Giorgio – Automaton
1266. John Mayall- dry throat
1265. Clash – Jimmy Jazz
1264. Cornelius – tone twilight zone
1263. Lord Sitar – blue jay way
1262. Miike Snow – Animal (Mark Ronson remix)
1261. Japan – gentlemen take polaroids
1260. Dub Syndicate – the precinct of sound
1259. Dixie Hummingbirds- loves me like a rock
1258. Mothers of Invention – America drinks and goes home
1257. Mothers of Invention – Ritual of the Young Pumpkin
1256. Neil Diamond – Free Life

Randophonic airs pretty much every Saturday night, starting 11 pm (Pacific time) c/o CiTR.FM.101.9, with streaming and download options usually available within twenty-four hours via our Facebook page.

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001. The Final Countdown*

Installment #1 of The Final Countdown aired Saturday-March-10-2018 (c/o CiTR.FM.101.9).

Youtube playlist  (not entirely complete or accurate).

The Final Countdown* shall be our longest, most random and (if we’re doing it right) relevant countdown yet. Which is rather a long of way saying, we’re not one hundred percent sure yet what it’s all about – just the end of result of a long and convoluted process that finally evolved into something halfway tangible this past February. Which is itself rather hard to explain, so it’s probably best to just to listen to the radio show one week at a time (most weeks anyway) for as long as it takes, and it will take a while.

FINAL-01

Installment #1 went as follows:

1297. Percy Faith + Orchestra – Theme From a Summer Place
1296. Cut Copy – Future
1295. Brian Eno – China My China
1294. Bullion – I just wasn’t made for these times
1293. BGM – People Got to Be Free
1292. Gabor Csupo – Nomad Rap Shadow
1291. Dr. John – big chief
1290. 2 Badcard – Noise Polluters
1289. Genesis – in the beginning
1288. Air – dirty trip
1287. Residents – nice old man
1286. Scott Walker – Montague Terrace (in blue)
1285. Mashmakhan – Letter from Zambia
1284. Creatures – ice house
1283. The Do – Tammie
1282. Ellen Foley- torchlight
1281. Bob Dylan – million dollar bash
1280. Terry Edwards + the Scapegoats – version city
1279. Cosmic Invention – ryugin
1278. Vince Guaraldi, Bola Sete + Friends – star song
1277. Lee Scratch Perry + Mad Professor – dub those crazy baldheads
1276. Manfred Mann’s Earth Band – earth the circle [parts 1+2]

Randophonic airs pretty much every Saturday night, starting 11 pm (Pacific time) c/o CiTR.FM.101.9, with streaming and download options usually available within twenty-four hours via our Facebook page.

 

500. guns of Brixton

“More than any other track, I’m thinking Guns of Brixton is what hooked me to the Clash. Because as much as I’d enjoyed their punk and powerful raving and drooling, this was obviously something else. Reggae, I guess, but not really. Because there’s way more going on here than just some white people ripping off Jamaican sounds, making it all sound like tourist music. Nah, Guns of Brixton is dangerous. What do you do when the cops bust in?” (Philip Random)

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520. safe European home

The Clash’s second album Give ‘Em Enough Rope may not be their best, but it sure delivers with Safe European Home, the-only-band-that-mattered captured at peak ferocity, moving beyond mere punk into a realm that is best thought of as superlative.  And the words aren’t entirely stupid either, though the same perhaps can’t be said of Rudy.

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597. Sean Flynn

“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)

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609. Rudy can’t fail

“It took me a while to properly discover Rudy Can’t Fail – probably because I wasn’t playing side one of London Calling that much. Because I’d already heard the lead off title track a pile by the time I actually owned it. And it’s not as if there was anything lacking on the other four sides, The Clash being at the absolute peak of their attainments. Anyway, a summer day, 1984 I think, a mostly empty beach on one of the local islands, me and a few friends and a ghetto blaster. All of us rich kids (sort of), none of us remotely rich, all of us at that point in our lives where we were having to start think seriously about our futures. Go to law school. Go to business school. Get into real estate. Get a job at a bank. Eat human flesh. We were smoking a little dope, drinking a few beers, and suddenly Rudy came on care of the current mixtape, and it was exactly what my universe needed. Something to do with freedom and art having a way better groove than f***ing economics. It’s been on the personal playlist ever since.” (Philip Random)

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739. the card cheat

“Second of two in a row from London Calling, the greatest rock and roll album ever (arguably). Released at the very end of the 1970s, that at least makes it the first indispensably great rock and roll album of the 1980s, maybe the last. Commercial radio, of course, only played two tracks but all four sides were nigh on brilliant – the power and rage of full-on punk tempered only enough to allow everything else to burst on through. With The Card Cheat, that meant widescreen rock all brassed up and gunning for the promised land, which is again miles beyond anything Bruce Springsteen could have hoped for at the time, who I’m only mentioning here because his 1980 double album The River had no problem getting played all over the radio.  And it was at least two sides too long.” (Philip Random)

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807. White man in Hammersmith Palais

Speaking of bass culture, (and contrary to popular belief) it needs to be said that White Man in Hammersmith Palais was neither The Clash‘s first reggae song, nor its best — that was Police + Thieves (or maybe something from Sandinista). But it was the first one they actually wrote, Joe Strummer to be specific, slipping out of his punk mindset long enough to wax poetic on politics and music, Robin Hood and Hitler, black and white, everything really.

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896. groovy times

The Clash telling it like it was in 1979 (and now for that matter). Got a problem with the weight of the world? You’re just not thinking, grooving, acting fast enough. In fact, they were so prolific (and good) at the time that they dropped Groovy Times as a b-side. First band since the Beatles to be that hot. And probably the last.

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