“It’s all in the title. Teenage Kicks kicks like a f***ing teenager. In the best possible way. Or as The Who put it way back when, the kids are alright. They always are, they must be, such is the life force itself, all those eternal teenage hormones, hardons, heartbreaks, total havoc. The Kicks Must Continue or else seriously, why bother? And the thing is, you don’t have to be a teenager to get it. I wasn’t. I was twenty the first time I heard Teenage Kicks. And if my math is straight, so was Feargal Sharkey when he sang it, and John O’Neill when he wrote it. Power pop for the f***ing ages, I say. The Undertones were NOT a punk band. Yet in true stupid music biz fashion, I doubt it got played even once on commercial radio here in the Americas. And people wonder why I so deeply detest the f***ing Knack.” (Philip Random)
“To be clear, the Jesus Christ Superstar album to have is the first one, the Original London Cast recording featuring the likes of Ian Gillan (JC), Murray Head (Judas) and Yvonne Elliman (Mary M) in the vocal department and as hot a band as ever jammed themselves into an orchestra pit. Because it wasn’t just a gimmick. It was 1970 and, in the wake of The Who’s Tommy, it was official, the big deal Rock Opera was in. And what bigger deal could there be than Jesus Christ, the Man, maybe even the Son of God, to which Judas, his best friend, is calling serious bullshit in Heaven on Their Minds, the best single track on the album. ‘You may be purer than most, JC, but come on, man, you know and I know you’re just as human as the rest of us, so relax, drink some more wine and stop winding up the fanatics.’ What’s amazing is how heartfelt it manages to sound, and epic, and man, what a riff — an epic and concise chunk of thoughtful progressive rock, which really did get younger me realizing just how complex a tale those Gospels purport to tell.” (Philip Random)
One more from The Who’s Quadrophenia because Philip Random insisted, “Because how the hell can you represent Quadrophenia with anything but four selections? Quad being an abbreviation of quadrilateral which goes all the way back to Euclid, for Christ’s sake. The whole point of Quadrophenia being that young Jimmy has become divided four ways, four personalities, four faces. And it’s The Rock, an instrumental found way deep on side four, where he recombines, alone in a small boat, storm tossed and completely confused … until these four melodies all find a way to work together toward setting up the climax of whole shebang – Love Reign O’er Me. Which is a hell of song but it doesn’t make the list because the entire planet has already heard it at least forty times in the last three months.”
“The Who’s Quadrophenia is one of the very first things I heard when I finally got my own stereo FM radio – a Christmas present when I was fourteen. CKLG-FM (the local cool station) played the album in its entirety. I put the headphones on and had my young mind blown by this tale of … well, I guess I had no idea what it was about, except the ocean was involved, and motor scooters, and toward the end, some fairly shocking rape and pillage. That would be from the infamous Doctor Jimmy — young man getting swallowed by his dark side.
Drowned and I’ve Had Enough on the other hand were a little more about confusion than rage — the young man desperate for meaning, not finding any. As for the rest of the album’s four sides, well there’s a bunch more rage, mixed up with beauty and confusion, all working with gatefold cover and accompanying booklet to tell the rich (if not exactly clear) tale of a young man on the edge. Meanwhile the music is epic throughout, as grand as the Who would ever get, which was very much the thing in 1973 and 74. Epics everywhere, it seemed. The movie‘s not half bad either.” (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.
“London’s Pretty Things were always there in the swinging 60s, in tune with the times, if not in time with them (if that makes any sense), which means that by 1968, they were launching into realms psychedelic and beyond with the epic tale of Sebastian F Sorrow, a full-on integrated cycle of songs that hit the culture many months before the Who’s Tommy would make the notion of a rock opera a genuinely big deal. No, SF Sorrow didn’t sell that well, doesn’t generally get name-checked when the experts are trying to make sense of the age, but for me anyway, it stands up better than Tommy, minute for minute, song for song, maybe because it’s only a one record set, with the high point coming on side two, when SF Sorrow encounters the mysterious Baron Saturday (intended to represent Baron Samedi of Haitian Voodoo notoriety), who ‘borrows his eyes’ for a trip through the underworld, with terrifying consequences.” (Philip Random)
“When the Who did it, they called it Let’s See Action, but a title like Nothing is Everything was far more profound to my thirteen year old mind. I remember taping Pete Towsend’s version direct from FM radio (microphone jammed up against the tinny speaker, my little brother and sister being told to ‘Shut Up’ in the background). It got a lot of play for a while, like all my handmade cassettes. Then a couple of decades intervened and I pretty much forgot all about it. What eventually hooked me again (late 1990s now) was the lyrics and how eloquently they riffed on all the revolution everyone was amping for back in those barely post-60s days, and how doomed it all was. Rumour has it / minds are open / then you must fill them up with lies …” (Philip Random)
Youtube playlist (not entirely accurate).
The Solid Time of Change is our overlong yet incomplete history of the so-called Prog Rock era – 661 selections from 1965 through 1979 with which we hope to do justice to a strange and ambitious time indeed, musically speaking.
Part Forty-Three of the journey went as follows:
- Led Zeppelin – when the levee breaks
- Yes – roundabout
- Yes – Ritual 
- Who – Dr Jimmy
- Who – the rock
- Who – love reign o’er me
- Gong – Radio Gnome Invisible
- Gong – Flying Teapot
- Gong – The Pot Head Pixies
- Gong – The Octave Doctors And The Crystal Machine
- Gong – Zero The Hero And The Witch’s Spell
- Gong – Witch’s Song/I Am Your Pussy
This program marks the middle point (time wise, not numbering) of our overlong yet incomplete history of the so-called Prog Rock era – 661 selections from 1965 through 1979 with which we hope to do justice to a strange and ambitious time indeed, musically speaking.
Part Twenty-Five of the journey went as follows:
- Crazy World of Arthur Brown – prelude + nightmare
- Temptations – hurry tomorrow
- Nektar – remember the future [part 1]
- Hatfield + the North – the Yes No interlude
- David Bowie – station to station
- The Who – Tommy overture
- The Who – amazing journey
- The Who – sparks
- The Who – see me feel me
- Focus – birth
- Focus – Hamburger Concerto excerpts
- Al Stewart – roads to Moscow
Randophonic will be taking a brief break from new programming for the next couple or three weeks. Fresh episodes of the Solid Time of Change will return in the new year, every Saturday night, starting 11 pm (Pacific time) c/o CiTR.FM.101.9.