Saturday, January 06, 2018

2017 Highlights & Shows # 691 & 692

For my best of 2017, me and my co-host selected 10 albums that we each liked and played these and other selections from 2017 across two episodes. You can download these episodes under the playlists below. I’ve included each of our top 10 lists in this post, followed by a little write-up of each of our top five albums that we liked from 2017.

Dave’s Top 10 Albums of 2017:

1. The Sadies - Northern Passages
2. Chad VanGaalen - Light Information
3. Ty Segall - Ty Segall
4. Dion Lunadon - Dion Lunadon
5. King Khan Murderburgers
6. Oh Sees - Orc/OCS - Memory of a Cut Off Head
7. Protomartyr - Relatives In Descent
8. The Courtneys - II
9. Black Lips - Satan’s Graffiti or God’s Art?
10. Teenanger - Teenager

Adam’s Top 10 Albums of 2017:

1. Mount Eerie - A Crow Looked At Me
2. LCD Soundsystem - American Dream
3. Ty Segall - Ty Segall
4. King Drule - The Ooz
5. Slowdive - Slowdive
6. Priests - Nothing Feels Natural
7. Perfume Genius - No Shape
8. The Courtneys - II
9. Protomartyr - Relatives In Descent
10. Father John Misty - Pure Comedy

A Few Write-ups From A Selection of Our Top 10 Lists:

Dave's Top Five:


1. The Sadies – Northern Passages


Northern Passages is the 10th full-length album released by Toronto’s The Sadies, who formed in 1994. This album makes connections with the band’s past, musically and spiritually as well as connecting with the present and future. Several of the songs on Northern Passages are like walking into a wide-open field. With each track The Sadies make new paths and breathe new life into previous paths that they’ve travelled through in the past. “Riverview Fog” opens Northern Passages in a psychedelic folk fashion. It is slow and conjures up the feeling of walking on an overcast day prior to a rainfall. Lyrically the song acts as a letter and combination of thoughts to an old reclusive friend that you haven’t spoken to in a while. “Riverview Fog” is said to be about Rick White of Eric’s Trip/Elevator, who alongside Greg Keelor (of Blue Rodeo), Dallas Good, Travis Good, Sean Dean and Mike Belitsky of The Sadies played in The Unintended. With lyrics such as “I know that’s not where you’re at today/Stay calm in your quiet getaway”, “Long gone are the days/They’ve all passed away” and “But I know you’re where you need to be/Out in the country”, “Riverview Fog” mixes up a complex pairing of thoughts and reflectiveness, while at the same time displaying a hopefulness. With an overall sound that can be described as an “acid-folk-country-punk trip”, Northern Passages finds The Sadies navigating through familiar and new territories. The Sadies are not travelling through a path less travelled here, but they are creating their own.

2. Chad VanGaalen – Light Information

Chad VanGaalen has always been known for his own unique style, one many call off-kilter indie rock. Recorded and produced by himself (with the exceptions of a few parts on a few tracks), the music on Light Information predates 2014’s Shrink Dust. As usual, VanGaalen’s music takes provides the listener with a different, often darker perspective on many things. Musically, the album produces its own unique rhythms, but at the same time seeming to have more catchy melodies, combined with many of the creepy, paranoid induced lyrics. “Mind Hijackers Curse”, is a warbly post-punk inspired track, “Locked In The Phase” gets more psychedelic, as “Host Body” tells the haunting tale of parasitic demons that “Eat me from the inside/I can already hear them chewing”, but one that seems to bring forth a tale of someone taken over by one of these parasites, to represent and save (or doom) the others. This can be seen as a look into our modern, Internet, quick spread information driven world. A subject that is touched upon in many different ways on Light Information.

“Mystery Elementals” is a fuzz driven track, “Old Heads” is an off-kilter pop song that only VanGaalen could write. Songs about how technologies need to constantly replace, or regenerate itself. “Golden Oceans” dips into garage punk waters, as “Pine And Clover” is a haunting ballad, as the album closer “Static Shape”, combines folk with synthesizer sounds. Light Information as VanGaalen stated in a press release is about “not being comfortable with anything really”. As a result, Light Information revels in unease, producing tales of paranoia, isolation, and alienation, among other themes reflecting our modern technological landscape.

3. Ty Segall – Ty Segall

Following Ty Segall’s 2016 noisy concept album Emotional Mugger, Ty Segall released a self-titled full-length album in 2017. This album, is not as noisy as its predecessor, however, that doesn’t mean that there aren’t noisy moments found on this album, there are plenty. This album is also the second full-length album released by Ty Segall that is also a self-titled release. His first was in 2008, at the beginning of his recording and musical garage adventures as a solo artist, with Segall playing the majority of the instrumentation. 2017’s Ty Segall release seems like a new beginning of sorts for Segall. This is the first full-length album where it was recorded with a live band in a room since 2012’s Slaughterhouse, which was recorded with the Ty Segall Band. Despite being produced (or recorded by) Steve Albini, this does not get in the way of the album. It has its own feel. This album isn’t a concept album as was the noisy horror punk of Emotional Mugger and it’s not as glossy sounding as 2014’s Manipulator, but despite what his previous albums have to say, this one has its own thing to say. There is no overarching concept here and the last twelve seconds of this album provide us with a glimpse of an answer to the points I’m bringing up here. The eleventh track on Ty Segall is a twelve second song titled “Untitled”. It is clearly a false start of one of the other songs found on this album, followed by laughter. This ending may seem odd to some, but it also provides a simple sonic example, that Ty Segall may be trying new things and has released multiple albums throughout his career, but, he’s still Ty Segall. He hasn’t forgotten his beginnings and we don’t know where he’ll go next musically.

4. Dion Lunadon – Dion Lunadon

For the past seven years, Dion Lunadon has been playing bass in New York’s A Place To Bury Strangers. Prior to exploring the noisy world of A Place To Bury Strangers, Dion played in numerous bands. The D4 are now known as garage legends from New Zealand and were part of the garage revival of the late 90s/early 2000’s. Dion played guitar in this band and would take lead vocals on several tracks at times, trading off with Jimmy Christmas, The D4’s other singer/guitarist. Following the end of this band, Dion relocated to New York, where he started a new group, The True Lovers. This band adopted a more soulful approach, but after about a year and one album they ended too. Beneath the noisy waves and bass grooves in A Place To Bury Strangers, something was rising to the surface. For Dion and was a raw, unbridled blast of songwriting. During a recording/touring break with A Place To Bury Strangers, Dion wrote fifty new songs and from this list he culled eleven tracks (twelve if you count the B-side to 2016’s Com/Broke single) to create what would become his first self-titled and debut album. The songs that make up Dion Lunadon are filled with a certain raw, visceral aesthetic. Dion Lunadon explores a noisy world encompassing a variety of influences drawing on punk, garage, psychedelic, post-punk and others while lyrically it taps into urban life and the frustrations and determinations that come along with it. Dion Lunadon is an album that was created within a certain moment in time and it is something that not only grabs, but demands your attention.

5. King Khan - Murderburgers

Murderburgers is the first solo album released by King Khan. Khan, who has been releasing music usually of the garage, punk and soul/R&B variety since the early 2000’s, has been part of many bands including King Khan & The Shrines as well as The King Khan & BBQ and countless others. For this album, Khan was backed by Oakland, California band The Gris Gris. Recorded in about a week, the album was produced by Greg Ashley at his Creamery Studio, which is no more. At just ten tracks, the album shows a new depth to the music created by Khan. “Discrete Disguise” is a soulful island ballad, “It’s Just Begin” gives the listener a taste of folk rock, “Run Doggy Run” adds some psychedelic soul sounds to this album’s palate, while “It’s A Lie” brings garage rock flavours. “Born In 77” is a proto-punk Stooges rave-up, “Teeth Are Shite” is a sleazy garage punk track, “Desert Mile” delves into the blues, and “Winter Weather”, the album’s closer, is a slow garage soul ballad. When all ten tracks are put together, the combination of musical ingredients may surprise some, but Murderburgers provides the listener with an eclectic platter of King Khan’s musical abilities.

Adam's Top Five:

1. Mount Eerie – A Crow Looked at Me


There is a clear distinction between A Crow Looked at Me and other recent releases that address leaving behind this mortal coil, such as Blackstar or You Want it Darker. The later albums are exercises in accepting mortality. Elverum’s record details the experience of losing a loved one. In 2016, Elverum’s wife Geneviève Castrée the Washington based singer, performer, and visual artist passed away from pancreatic cancer. A Crow Looked at Me is the aftermath of this loss, recounting in excruciating detail the process of mourning Phil Elverum went through. There is something so pure and raw in his depiction of the day-to-day aspects of life after his wife’s death that truly underscore the loss. It is these minor details, the eruption of grief that comes from the most seeming mundane of events, that tangibly relay this experience: trying to remember whether she liked Canadian Geese, sorting items in her vacant room, and crying after receiving a backpack in the mail she had ordered for their daughter.

For anyone who has dealt with the death of a loved one, A Crow Looked at Me will resonate all too strongly. Elverum never obfuscates or embellishes, but gives direct and impactful descriptions in his songs. On the album’s final song, Elverum recounts a trek with his daughter where they spot a crow circling overhead. Rather than a sign of resolution, the crow acts as a reminder of the presence death constantly has over them. It is a sobering admittance that there is neither consolation nor closure. To the album’s credit it offers no instructions on how to deal with grief, for there are none. A Crow Looked at Me is a painful record. However, it may be the most crucial record of 2017. During a polemic year in which the divisions of politics, race, class, gender, and privilege have been reminded to us again and again, Elverum has produced a work that talks about one of the few truly universal subjects that crosses all divisions and boundaries. By articulating his personal pain, Elverum reminds us of the one aspect in which we are the same.

2. LCD Soundsystem – American Dream

If you would have asked me at the beginning of the year whether the world needed another LCD Soundsystem album, my answer would have been a resounding “no.” I thought I had my full of the nostalgia-drenched, new wave tinged dance-rock that the band helped to popularize in the late 2000’s. Yes, Murphy is still pilfering riffs from late 70’s art-rock (the grinding guitars of “Change Yr Mind” take liberally from Brian Eno’s “No One Receiving”). Yes, the album still permeates with fat, warm sounding synths. And yes, Murphy still waxes philosophically over his growing alienation from the youth culture he once inhabited. However, for all the familiarity there is also a lot of change. The album is less dance-oriented than its predecessors, marked by slower paced songs and darker textures. There has never been so much atmosphere on an LCD Soundsystem record before. As a result the album projects a very serious mood that is all too appropriate for the matured lyrical focus of James Murphy.

As one would suspect from a title like American Dream, the album sees Murphy casting a critical eye towards the society around him. Online, commercial, and youth culture are thoroughly scrutinized, all the while Murphy tackles these subjects with humour, nuance, and refreshing self-awareness. Some topics broached include government surveillance (“Other Voices”), the escalating political and ideological rifts within America (“Call the Police”), and the false promises of individual identity offered by consumer culture (“Tonite”). While darker in scope than any of the band’s previous releases, the album’s bleakest moment is left for its closer: “Blank Screen,” a slow pulsing eulogy for Murphy’s deceased friend and musical idol David Bowie. More than just an acceptable return to the studio, American Dream acts as a revitalization for the group. It is a warts-and-all snapshot of what it means to live in America in 2017, and perhaps the band’s best and most mature record.

3. Ty Segall – Ty Segall

Ty Segall is the logical culmination of the artist’s past ten years of output. For 36 glorious minutes the garage-rocker rummages through the sounds of The Beatles, Stooges, and Syd Barrett to create a kaleidoscopic sonic experience.“Break a Guitar” is not so much a song but an anthem, celebrating the destructive and creative powers of rock. “Orange Colour Queen” is Segall’s most beautiful and emotive ballad to date. Then there is the 10 minute freak out “Warm Hands (Freedom Returned)”, the definitive moment of the rocker’s career - Ty sounds like he is exorcising the ghosts of Hendrix, Bolan, and Ashton throughout with his incendiary playing. In a year when rock music seems to be losing its presence in the van guard of modern popular music, Ty Segall is an electrifying reminder of the energy, passion, and rawness that makes this music so powerful.

4. King Krule – The Ooz

On The Ooz, Archy Marshall does the inexplicable: the artist doesn’t so much create an album, but a country of sound. In this new land the searing psychobilly of the Birthday Party sits comfortably beside icy Wu-Tang hip-hop, ambient soundscapes merge into indie-guitar freak outs, and the line between dissonance and melody is irrevocably blurred. This 70 minute downer-rock suite takes the best of what Marshall did in the past and magnifies it; Marshall has never sounded as melancholic as on “Slush Puppy,” as contemplative as on “Half Man Half Shark,” or as vicious as on “Dum Surfer.” An epic and immersive listen.



5. Slowdive – Slowdive

Slowdive could have been a simple cash-in, banking on 90’s indie nostalgia for the band’s signature guitar based dream-pop. Instead, it turned out to be one of the most powerful statements of the group’s career. Familiar shoegaze guitars and hazy vocals are paired with more innovative arrangements, vaster atmospheres, and an increased focus on volume. While most bands tend to soften with age, Slowdive have never sounded as explorative or self-assured as on “Roving Star” and “Slomo.” These intense numbers are aided by the album’s production, which relies on live-recording rather than the processed textures of their earlier work. The result is Slowdive’s rawest record to date, an album that pays homage to the band’s legacy while simultaneously striving for innovation.


Show 692 (Best of 2017 Part Two):

1. James O-L & The Villains - Back Then (Wild Goose Jack EP - Famous Last Records - 2017)
2. Diane Motel - Get Through To You (Lonesome For The Colour - 2017)
3. Ariel Pink - Bubblegum Dreams (Dedicated Bobby Jameson - Mexican Summer - 2017)
4. Tough Age - Everyday Life (Shame - Mint Records - 2017)
5. Cellos - Demagogue (The Great Leap Backward - Harbour House - 2017)
6. Tobin Sprout - Future Boy/Man of Tomorrow (The Universe and Me - Burger Records - 2017)
7. Sprinters - Young As Me (Sprinters - Icecapades - 2017)
8. Thee Rum Coves - Behind Your Smile (Out Tonight EP - Aeroplane - 2017)
9. Chain & The Gang - Rome Wasn't Burned In A Day (Experimental Music - Radical Elite Records - 2017)
10. Alvvays - Hey (Antisocialities - Polyvinyl Record Co. - 2017)
11. Kevin Morby - 1234 (City Music - Dead Oceans - 2017)
12. Slowdive - Star Roving (Slowdive - Dead Oceans - 2017)
13. King Khan - Winter Weather (Murderburgers - Khannibalism - 2017)
14. King Krule - Half Man Half Shark (The Ooz - True Panther Sounds - 2017)
15. Dion Lunadon - Com/Broke (Dion Lunadon - Agitated Records - 2017)
16. Ty Segall - Paper (Ty Segall - Drag City Records - 2017)
17. Ty Segall - Warm Hands (Freedom Returned) (Ty Segall - Drag City Records - 2017)
18. LCD Soundsystem - Emotional Haircut (American Dream - DFA Records/Columbia - 2017)
19. Chad VanGaalen - Old Heads (Light Information - Sub Pop - 2017
20. Mount Eerie - Ravens (A Crow Looked At Me - P.W. Elverum & Sun - 2017)
21. The Sadies - There Are No Words (Northern Passages - Yep Roc Records/Dine Alone Records - 2017)
22. The Sadies - It's Easy (Like Walking)(Northern Passages - Yep Roc Records/Dine Alone Records - 2017)

Download this episode here!

Show 691 (Best of 2017 Part One):

1. The National - Turtleneck (Sleep Well Beast - 4AD - 2017)
2. Tim Darcy - Tall Glass of Water (Saturday Night - Jagjaguwar - 2017)
3. Aron D'Alesio - Where You Going To (Aron D'Alesio - Paper Bag Records - 2017)
4. Paul The Tailor - Two Brains (Paul The Tailor - 2017)
5. Lucille Furs - Please, Give Her The Letter (Lucille Furs - 2017)
6. (Sandy) Alex G. - Judge (Rocket - Domino Recording Co. - 2017)
7. Courtney Barnett & Kurt Vile - Fear Is Like A Forest (Lotta Sea Lice - Matador Records - 2017)
8. Daniel Romano - Roya (Modern Pressure - New West Records - 2017)
9. Deer Tick - Jumpstarting (Vol. 1/Vol. 2 - Partisan Records - 2017)
10. Sam Coffey & The Iron Lungs - Judy (Sam Coffey & The Iron Lungs - Burger Records/Dine Alone Records - 2017)
11. Guided By Voices - Keep Me Down (August By Cake - Guided By Voices Inc. - 2017)
12. Dusty Mush - I Ate your Dog (Cheap Entertainment - Stolen Body Records - 2017)
13. Wolf Parade - Valley Boy (Cry Cry Cry - Sub Pop - 2017)
14. Father John Misty - Total Entertainment Forever (Pure Comedy - Sub Pop - 2017)
15. Teenanger - Fun Forgot (Teenager - Telephone Explosion - 2017)
16. Protomartyr - Here Is The Thing (Relatives In Descent - Domino Records - 2017)
17. Black Lips - Crystal Night (Satan's Graffiti Or God's Art? - Vice Records - 2017)
18. Black Lips - Wayne (Satan's Graffiti Or God's Art? - Vice Records - 2017)
19. The Courtneys - Silver Velvet (II - Flying Nun Records - 2017)
20. The Courtneys - Country Song (II - Flying Nun Records - 2017)
21. The Courtneys - Minnesota (II - Flying Nun Records - 2017)
22. Perfume Genius - Slip Away (No Shape - Matador Records - 2017)
23. Protomartyr - A Private Understanding (Relatives In Descent - Domino Records - 2017)
24. Priests - Appropriate (Nothing Feels Natural - Sister Polygon Records - 2017)
25. OCS - The Chopping Block (Memory Of A Cut Off Head - Castle Face Records - 2017)
26. Oh Sees - Jettisoned (Orc - Castle Face Records - 2017)

Download this episode here!

Friday, December 22, 2017

Joe Strummer Day 2017: The Latino Rockabilly War & Chris Crossraods (Shows # 688, 689)


Following his time with The Clash, Joe Strummer worked on a variety of soundtracks, most notably for the Alex Cox films, Sid & Nancy and Walker. The Latino Rockabilly War was the backing band Strummer put together for music on the film Permanent Record, which starred Keanu Reeves. The band consisted of Zander Schloss (guitar), Lonnie Marshall (bass), Jack Irons (drums) as well as Willie McNeil on drums for select tracks. Five songs recorded during this time were featured on the Permanent Record soundtrack, “Trash City”, “Baby the Trans”, “Nothin’ Bout Nothin‘”, “Nefertiti Rock”, and the instrumental track “Theme From Permanent Record”. Three of these tracks were also released as Trash City, a three-track single that featured the title track, “Nefertiti Rock” and “Theme From Permanent Record”. The song “Trash City” is a hidden song within Joe Strummer’s post-Clash years. Often referred to as his Wilderness Years, this song is a rock song with world music rhythms, lyrically the song taps into a party type vibe, drawing on elements of American junk culture and the status quo.

This line-up was also featured on the Earthquake Weather, Joe Strummer’s first official solo album. Released in 1989, the album was initially not received well critically, but that has come to change with time, garnering more of a cult following. Earthquake Weather experiments with the influences of rockabilly, folk, funk, reggae, world music, and pop music. The album opens with Joe Strummer shouting, “Let’s rock again” before launching into the track called “Gangsterville”. The opening seconds of this song set the tone for this album, the first official solo album released by Joe Strummer. Musically the song brought into focus a reggae/rock style with added Caribbean music influences, while lyrically the song seems to reflect the frustrations Strummer was experiencing after his time with The Clash, and fans expectations of him. Lyrics such as “The revolution came and the revolution went/The chemical rain left a message on the tent” and other lines such as, “Wanted: one man to lead a crusade/Payment: a bullet on a parade” exemplify some of this, as a picture is painted of a time that was and a future that is beginning.

“King of the Bayou” is another strong rock song found early on this album, along with “Slant Six”, a song that recalls a Rolling Stones influence. “Shouting Street”, another rock song found on this release seems to pull in a rockabilly influence at times, but has its origins in the last days of The Clash. Apparently the song was late 1985/early 1986 and was intended to be worked up with Clash bassist, but never was. “Island Hopping” is a more exotic tropical folk song of sorts, drawing in a mellow Caribbean/world music sound as lyrically it shows a changing world that is controlled by the people in power. “Dizzy’s Goatee” drifts into dub territory, while “Boogie With Your Children” brings funk music influences to Earthquake Weather. The song’s sound has drawn comparisons to Red Hot Chili Peppers musically. “Leopard Skin & Limousines” is a sparse arrangement, with flamenco styled guitar on top of piano and acoustic guitar. Lyrics such as “People only wanna Xerox you baby/They got a quota to fill” and “Suppose I should drag my stuff on out/But I don't like the memories/Found a pint of brandy on top of the fridge/And it's working like an antifreeze”, this song is one that is heartfelt, yet one that also seems to be dealing with a juxtaposition of past glories to a new, changed world.

“Jewellers & Bums”, a song cut in two takes, features drummer Jack Irons. He joined in the midst of the recording sessions for Earthquake Weather, but this track is the first one he recorded for this album. “Jewellers & Bums” portrays a searching lyrically, as musically it is an upbeat, yet melancholic track. “Ride Your Donkey” is a cover of 1966 reggae track of the same name originally by The Tennors. “Passport Detroit” drives along as the album’s 13th track before we end up at the song “Sleepwalk”. The last track on Earthquake Weather, “Sleepwalk” ends the album in a slower pace. It brings forth a theme of moving, in different directions, sometimes that occurs lyrically and musically through elements of transportation. This is a theme that runs throughout this album. Apparently written for Frank Sinatra, with its haunting melodies, tells the story of a lost love and the distance that is left between it.

The Latino Rockabilly War toured with Strummer as his backing band for his Rock Against the Rich tour in 1988/1989. After this the band played no more. When Earthquake Weather was released it apparently sold about 7,000 copies and was highly criticized (as mentioned earlier). It would be approximately ten years before Strummer would emerge with The Mescaleros, but this album is deep with hidden meanings, lyrical and musical discoveries, that might not be apparent upon a first listen. Only ever issued on vinyl and cassette, Earthquake Weather has still yet to be released on CD or reissued officially. But, like much of the content found here, it’s not easily explained. It is at times complex, at times not. Sometimes you don’t know what’s there until you take a look and find that bottle of brandy on top of the fridge.

Joe Strummer & The Latino Rockabilly War (Show # 688):

1. Theme From Permanent Record (Permanent Record Music From The Original Motion Picture Soundtrack - 1988)
2. Nefertiti Rock (Permanent Record Music From The Original Motion Picture Soundtrack - 1988)
3. King of the Bayou (Earthquake Weather - 1989)
4. Jewellers & Bums (Earthquake Weather - 1989)
5. Slant Six (Earthquake Weather - 1989)
6. Louisiana Turnpike (Permanent Record Outtakes - 1988)
7. Search Party (Permanent Record Outtakes - 1988)
8. Plymouth Roadrunner (Permanent Record Outtakes - 1988)
9. Punk Rock Blues (Gangsterville - 1989)
10. Viva La 15th Brigade (Island Hopping Single - 1989)
11. Don’t Tango With Django (Gangsterville Extended Mix - 1989)
12. Island Hopping (Earthquake Weather - 1989)
13. Sightsee MC (Live At Coasters Edinburgh, Scotland - 08.11.1988)
14. V.Thirteen (Live Green Wedge Benefit, The Tabernacle - Notting Hill, London 1988)
15. Straight To Hell (Live Green Wedge Benefit, The Tabernacle - Notting Hill, London 1988)
16. Dizzy’s Goatee (Earthquake Weather - 1989)
17. Boogie With Your Children (Earthquake Weather - 1989)
18. Ride Your Donkey (Earthquake Weather - 1989)
19. Cholo Vest (Permanent Record Outtakes - 1988)
20. Nameless (Permanent Record Outtakes - 1988)
21. Japanese Cars (Permanent Record Outtakes - 1988)
22. Trash City (Permanent Record Music From The Original Motion Picture Soundtrack - 1988)
23. Baby The Trans (Permanent Record Music From The Original Motion Picture Soundtrack - 1988)
24. Nothin’ Bout Nothin’ (Permanent Record Music From The Original Motion Picture Soundtrack - 1988)
25. Passport To Detroit (Earthquake Weather - 1989)
26. Shouting Street (Earthquake Weather - 1989)
27. Highway One Zero Street (Earthquake Weather - 1989)
28. Sleepwalk (Earthquake Weather - 1989)
29. Gangsterville (Earthquake Weather - 1989)

Download this episode here!

An Interview With Chris Crossroads:


Chris Crossroads busks and performs as a solo artist. He has released music under that name, some of which are on his Bandcamp page. These recordings take on a DIY, lo-fi aesthetic. The music is usually folk and country based, but with elements of punk and other genres. Described as gothabilly, glitch rock, punkgrass, Crossroads originates from Winnipeg. For several years he also lived in Windsor, Ontario. Currently, Chris is back in Winnipeg where he is part of a new group called The Dirty Dead. Crossroads has created several art/videos on YouTube that has earned him wide acclaim.

This 30-minute program features an interview with musician Chris Crossroads, who has performed music all over Canada and has busked everywhere from Windsor to Winnipeg. We discuss the issues of poverty and poverty prevention from the point of view of a busker. The songs featured on this program were all songs performed live on CJAM FM at different points over the last several years on Revolution Rock. One of which, is a cover of Johnny Cash's version of "One Piece At A Time".

Chris Crossroads:  Joe Strummer Day 2017 Playlist (Show 689):

1. Chris Crossroads - Lost In The 13th Dimension (CJAM Session)
2. Chris Crossroads - Monsters In The Cradle (CJAM Session)

CHRIS CROSSROADS INTERVIEW

3. Chris Crossroads - All In The Family (CJAM Session)
4. Chris Crossroads - One Piece At A Time (CJAM Session)

Download this episode here!

Saturday, December 16, 2017

Cellos The Great Leap Backward & Shows # 687 & 690


In the summer of 2017, Cellos released The Great Leap Backward. Cellos are a noise rock band from Windsor, Ontario that have been creating heavy, riff oriented songs since 2011’s Bomb Shelter. The band consists of Kyle Marchand (guitar/vocals), Dave Allan (drums) and Vince Mazerolle (bass), who joined the band earlier in 2017 replacing bassist Joe Rabie, who played bass on The Great Leap Backward. The album was recorded at Sound Foundry Studios in Kingsville, Ontario by Brett Humber in the summer of 2016. The nine tracks found here were recorded consecutively and as a result, The Great Leap Backward has a unique cohesiveness to its overall sound.

“White Lines” opens The Great Leap Backward with its sludgy, heavy stop and start riffs. The song features distorted vocals throughout the verses, as melodic vocals occur at about the halfway point in this track, before heading into an apocalyptic breakdown featuring a hail of drums and distorted guitars. Lyrically, the song seems to question the unpredictability of what someone may think is right or wrong and the blurry lines of what’s in between. “Demagogue” comes in as the second track on this album. With its slithery guitar riffs, hard-hitting drums and creeping intense basslines, this song was inspired by the events of the most recent US election. With lines such as “I heard the Visigoths are coming/So you better build a wall”, “Demagogue at the throne” and “I hope you’re feeling comfortable/You get what you paid for”, Cellos paint an uneasy picture of a world of un-rational thought and its consequences.

“Delirium Tremens” starts off with drums and a heavy bassline before vocals and lead guitar lines, filter in and out, “Ghosts In The Sky” attacks with heavy riffs and drums that seem to float amongst the instrumentation and vocals. The breakdown of this song builds to a sludgy intensity before it drifts out into feedback. “Snake Charmer” lures you in with its heavy Melvins-meets-Kittens dynamic, “Out of Phase” broods with a balance of slow and heavy dynamics, pulling in elements of post-rock musically. Clocking in at just a little over six minutes, this song sucks you into its atmospheric, haunting void. This is also illustrated lyrically with words such as “Bodies floating in the Salton Sea/Dipped my head in, but I forgot to breathe” and “You were a ghost to me and if I chose to stay/Would I still be breathing?”. The short approximately two minute track “Bury Me On Highway 3”, showcases a Minutemen influence and was inspired by the long drive from Windsor to the band’s jam space in Kingsville, while “Shooting Star” picks up the pace further as it drags the listener down with its visceral guitar riffs.

“Stranger At The Door” ends the album, portraying a feeling of suspension musically and uncertainty, lyrically. At about five and a half minutes, this track encompasses elements of Cellos earlier sounds with a step out into something new. Lyrically, throughout The Great Leap Backward, Cellos employ an introspective method on several of the tracks. Musically, in terms of influence bands such as The Jesus Lizard, Melvins, and Kittens come to mind when listening to this LP. Cellos approach to this album maintains their heavy, aggressive sound, while at the same time incorporating more melody into some of the tracks, adding layers to their sound. The album may be titled, The Great Leap Backward, but on this album Cellos does the exact opposite.


Show 687 Playlist (Originally Aired On December 16th, 2017):


1. Lucille Furs - Thoughts & Words
2. King Gizzard & The Lizard Wizard - Poolygondwanaland
3. OCS - Memory of a Cut Off Head
4. Oh Sees - Drowned Beast
5. Julie & The Wrong Guys - Condescending You
6. Casper Skulls - You Can Call Me Allocator
7. Cellos - Snake Charmer (CJAM Session)
8. Fiftywatthead - Rock and Roll Killer
9. Motorhead - Dance
10. Flat Worms - Goodbye Texas
11. METZ - Dig A Hole
12. Gianna Lauren - Inn Keeper
13. Courtney Barnett & Kurt Vile - Continental Breakfast
14. Jeff Rosenstock - Beers Again Alone
15. The She's - Ashes
16. Des Demonas - Does It Matter To You
17. The Diodes - Tired of Waking Up Tired (Demo)
18. Microdot - Atom Pentagon
19. Wolf Parade - Artificial Life
20. Laura Sauvage - Monkeys In Space
21. Klazo - This And That
22. Alex Chilton - Shakin' The World
23. Jonathan Richman - The Heart of a Saturday Night
24. The Brood - Chicken, Cheese & Beer
25. Mauno - Com
26. Little Girls - Concepts

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for December 16.

Show 690 (Originally Aired On December 23 is a repeat of my 2017 Joe Strummer Day Latino Rockabilly War Special.  Download that here and view the post here.)

Saturday, December 09, 2017

The Replacements Live At Maxwell's 1986 & Shows # 684, 685, 686


On February 4th, 1986, The Replacements played a live show at Maxwell’s in Hoboken, New Jersey. It wasn’t a new venue for the band to play, in fact, they had played there several years before in 1983, during their first East Coast tour. This live show was recorded by Randy Ezratty on a multi-track mobile studio. The mobile studio that was used for this recording was the same New York-based Effanel recording unit that was used for U2’s Under A Blood Red Sky and The Unforgettable Fire album. This show captured the band in what many are saying is one of their last great live performances featuring original guitarist, Bob Stinson. Prior to this, the recording of this show had only been available in bootleg form.

In 1985, the band had signed to Sire Records and released their critically acclaimed album, Tim. This live show was recorded to capture and document The Replacements in their live element, it was intended to be used for some sort of promotional purpose. Head of Sire Records, Seymour Stein suggested a live recording of the band, he had seen them perform live in December 1984 at New York’s Irving Plaza, which led to them getting signed to Sire Records. This recording was set up by Michael Hill, the band’s A&R man at the time. It took place shortly after The Replacements infamous Saturday Night Live appearance in 1985, which earned them a lifetime ban from NBC.

For Sale: Live At Maxwell’s 1986, features 29 tracks made up of a collection of B-sides, covers and a mix of songs from all of the band’s albums up to that point in time. “Hayday” opens the album. Originally featured on 1983’s Hootenanny. This blistering take on this track shows the band starting off with high energy and in top form. Throughout this song and during various points of this concert, Westerberg can be heard shouting “Murder!” instead of the actual lyrics. This was done as part of an inside joke amongst the band, but also that warranted the title “Rock Like Murder” in an interview from Rolling Stone in 2012. It is followed up with a loose version of “Color Me Impressed”, “Dose Of Thunder” is a deeper cut from 1986’s Tim, while “Fox On The Run” is the first of several cover songs featured on this recording. Originally by The Sweet, this half-serious take of this song is cut short after about a minute.

The Replacements ability to balance their drunken reckless abandon with a seriousness and maturity in their music is exemplified perfectly throughout this album. They had a reputation live where they would sometimes play rowdy live shows in a drunken state, performing sets made up entirely of cover songs randomly, while on other occasions they would perform magnificently combining both originals and covers. “Hold My Life”, “I Will Dare”, “Unsatisfied”, “Tommy Gets His Tonsils Out”, and “Can’t Hardly Wait”, performed here before it was released as a studio recording, are some of the tracks on this release that exemplify this. This song had been part of the band’s live set since 1984, but wouldn’t turn up on a record until 1987’s Pleased To Meet Me. “Bastards Of The Young” and “Kiss Me On The Bus” featured here differ from the studio recordings found on 1986’s Tim. Lead guitarist Bob Stinson, as described in the liner notes by Bob Mehr, “Seesaws between pinpoint precision and reckless abandon” on this release. During the recording of Tim he began to withdraw from the band. The live performances of these songs originally found on Tim, arguably exceed the studio versions.

Songs such as “Takin’ A Ride”, “I’m In Trouble”, and “God Damn Job” rival the early recordings and for all intents and purposes may be superior to those versions. In addition to this, there are the other moments such as “Left Of The Dial” which is an excellent performance of the song until it falls off of the rails at the end and “Answering Machine” which begins in dissonance before the band launches into this track. “If Only You Were Lonely” captures an unpredictable spontaneity. This song Westerberg’s country lament was originally released as the B-side to “I’m In Trouble” and starts off as a solo Westerberg track as the band joins in.

The covers of The Beatles “Nowhere Man”, T.Rex’s “Baby Strange”, Kiss’s “Black Diamond” and Vanity Fair’s “Hitching A Ride” are injected with the band’s own brand of raucousness. The album ends with two tracks from The Replacements 1982 Stink EP. An EP that ventured into hardcore punk territory at times, “Go” provides a moody moment prior to the concert ending middle finger send off track “Fuck School”.

The only live recording that was released by the band prior to this was, the 1985 cassette only release, The Shit Hits The Fans. This recording features reckless versions of primarily cover songs. The Maxwell’s recordings sat in the Warner Bros. vaults for decades, until they were finally mixed in 2007 as part of a reissue campaign for the band. These tracks were mixed by Brain Kehw and Bill Inglot, but still it would be another decade until they saw the light of day.

Shortly after this concert and some tours in the US and Europe, Bob Stinson departed from the group. Paul Westerberg, Tommy Stinson and Chris Mars decided to regroup as a three-piece band and return to the studio. The result would be 1987’s Pleased To Meet Me, produced by Jim Dickinson. Seeing as how the band’s lineup had now changed, this live album was not released. The concert, a moment captured, was thought to be lost. Following the release of his New York Times best seller Trouble Boys: The True Story of The Replacements, this album was produced for release by author Bob Mehr. For Sale: Live At Maxwell’s 1986 may have taken 31 years to be released, but it captures The Replacements in a moment. Whether you were there or not when it happened, this moment that many thought had been lost forever, now lives again.

Show 686 (Originally Aired On December 9th, 2017):

1. The Iguanas - Wild Weekend
2. The Novas - Take 7
3. Mach Kung-Fu - Bamboosville
4. Jackie Shane - In My Tenement
5. Sharon Jones & The Dap-Kings - Sail On!
6. Grassy Knoll & The Magic Bullit - Around Under Your Feet
7. Grassy Knoll & The Magic Bullit - Bonberry Blues
8. The Holy Gasp - Stomp Out The Man
9. Chad VanGaalen - Static Shape
10. King Krule - Slush Puppy
11. Angel Olsen - Fly On Your Wall
12. Husker Du - Diane
13. Husker Du - Do You Remember?
14. Husker Du - Chinese Rocks
15. The Replacements - Anywhere's Better Than Here
16. The Replacements - I Won't
17. The Replacements - Portland
18. The Minutemen - Self-Referenced
19. The Minutemen - Cut
20. Wilco - Monday
21. TUNS - Throw It All Away
22. Chang-A-Lang - Throwaway Litres
23. Paul Jacobs - Stay At Home
24. The Fuzzy Undertones - Empath Blues
25. Torres - Helen In the Woods
26. The Runaways - School Days
27. The Revelons - The Way You (Touch My Hand)
28. Richard Lloyd - (I Thought) You Wanted To Know
29. The Replacements - Kiss Me On The Bus (Live At Maxwell's 1986)
30. The Replacements - Baby Strange (Live At Maxwell's 1986)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for December 9.

Show 685 (Originally Aired On December 2nd, 2017):

1. Link Wray - American Sunset
2. Link Wray - The Swag
3. The Velvetones - Doheny Run
4. The Scarlet Ribbon - Four in The Morning
5. Lucille Furs - The Fawn Of Teal Dear
6. (Those) Rogues - Wish I Could See You Again
7. Sultans 5 - You Know You Know
8. Link Wray - Son of Rumble
9. Courtney Barnett & Kurt Vile - Outta The Woodwork
10. Craig Brown Band - Shoulda Been Fishin'
11. James O-L & The Villains - The Road In Between
12. Jerry Jerry & The Son of Rhythm Orchestra - Dumb Love
13. King Khan - It's A Lie
14. The Dirtbombs - Your Love Belongs Under A Rock
15. Flat Worms - Motorbike
16. The O Voids - Next Week
17. Pale Lips - Hiding From The Moon
18. Actual Water - Having Fun in 2001
19. The Diodes - Mercenary Flight
20. The Replacements - Fox On The Run (Live At Maxwell's 1986)
21. The Replacements - Takin' A Ride (Live At Maxwell's 1986)
22. The Replacements - Bastards of Young (Live At Maxwell's 1986)
23. Television - I'm Gonna Find You (1974 Ork Loft Rehearsal)
24. Television - Double Exposure (1974 Eno Demo)
25. The Neon Boys - That's All I Know (Right Now)
26. Ariel Pink - Another Weekend
27. The Chills - The Oncoming Day
28. Ancient Shapes - Public Hymns
29. Ancient Shapes - Ancient Shapes
30. Jack O & The Tennessee Tearjerkers - Make Your Mind Up
31. The Damned - I Just Can't Be Happy Today
32. The Lost Patrol - Blue's Theme
33. The D4 - John Rock And Roll Sinclair

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for December 2.

Show 684 (Originally Aired On November 25th, 2017):


1. The Traditional Fools - Davey Crockett
2. Dusty Mush - Ugly Buddies
3. Priors - Got in Me
4. Cold Warps - Sleepist
5. Century Palm - Echo Divide (CJSW Session)
6. Fake Palms - I'm Not There (CJSW Session)
7. Trout - Long Hair
8. The Sliders - The Lamb Shake
9. The Flamethrowers - The Knight's Caper
10. Bloodshot Bill - Outta The Rain
11. Carl Perkins - Boppin' The Blues
12. Doctor Ross - The Boogie Disease
13. Bloodshot Bill - Shick Shack
14. Tom Waits - Gin Soaked Boy
15. Jonathan Richman - You're Crazy For Taking the Bus
16. Diane Motel - Okemah
17. Chad VanGaalen - Host Body
18. Ty Segall - Cherry Red
19. Expedition To Earth - Expedition To Earth
20. The Fall-Outs - Alone
21. Wolf Parade - Valley Boy
22. Shadowy Men On A Shadowy Planet - What I Like About Grease
23. The Blazers - Beaver Patrol
24. Elevator Through - The Only See To Thought
25. The Makers - It's Hard To Be Human
26. The Adverts - I Will Walk You Home
27. Radio Birdman - I-94
28. Television Personalities - Look Back In Anger
29. Richard Hell & The Voidoids - Down At the Rock and Roll Club
30. Richard Hell & The Voidoids - Who Says?
31. Richard Hell & The Voidoids - Blank Generation

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for November 25.

Saturday, November 18, 2017

The Famines Interview & Show # 683


The Famines formed in 2008 in Edmonton, Alberta as a two-piece band featuring singer/guitarist Raymond Biesinger and drummer Garrett Kruger. The band employs a minimalist approach to their music which draws on fuzzy garage sounds and 70s protopunk, and have described themselves as being “an art cult noise garage duo”. Now based out of Montreal and featuring drummer Drew Demers, who joined the band in 2014, The Famines released several seven inch singles via the Mammoth Cave Recording Co. and a variety of other labels from 2008-2011.  The singles were eventually collected on a full-length LP as The Complete Collected Singles: 2008-2011. A cassette was released in 2008 titled 14 July 2008, which captured the band in their first live performance. The cassette was released with a companion booklet that was 268 pages. All of the band’s artwork has been designed by Raymond Biesinger, who in addition to being in The Famines is an accomplished illustrator.

In 2014, The Famines recorded a full-length album that was to be released on Mammoth Cave Recording Co., but that label which started in 2009, announced they would cease operations as a label in February of 2015. Instead of leaving their album’s pending release in limbo, The Famines came up with the concept of a “paper LP”. They tested out this concept with a “paper single”, 2015’s “Stay Home Club/Who Wants Disarmament”. The idea was relatively simple, the release would be a digital download coupled with a large 20X30 newsprint poster. They applied this concept to what would become the full-length album Too Cool & Other Songs, which was released July 2015. It was also released on their own label Pentagon Black.

Too Cool & Other Songs marked the band’s full-length album return after four years, it was also the first release that featured artwork that was in colour and not in black and white, as all previous Famines related releases had been. The artwork also features images on the cover that correspond with lyrics that are found on this nine-track album. Recorded at Drones Club in Montreal by Christian Simmons, Too Cool & Other songs captures the band in a new re-energized state. The album starts off with driving drumbeats and moments of feedback before launching into a fuzzy riff driven tale inspired by the fashion industry. With lyrics such as “Put on your dark glasses so you can’t see shit”, “You got a capsule collection of tanks, tubes and tops/supernatural selection via pricey shops” and a chorus of “Too cool/Too cool/Under fashion rule/The way the world’s going/Too cool to live”, this song contrasts warlike imagery describing the battle of being involved with this industry, while at the same time contrasting it with the contradictions and problems found within it. This viewpoint could also be applied to other mediums such as the music industry, or to someone who views themselves as being really cool or hip by mainstream standards. “Hail To The Taxman” picks up the pace and intensity, as “Attack Machine Blues”, described as a dismal hop in the album’s liner notes, lyrically rallies for finding your own voice amongst values that are forced upon citizens in our everyday environment that come from political forces. “Five Ways” is even more frenetic while “Who’s Next?” brings the pace down a bit and drifts into Kraut-rock territory.

“Fast Times” fades in with a guitar riff sounding like a radio distress signal that gets louder as the drums shuffle towards the first verse of the song. This track takes a critical look of our modern culture dominated by the immediacy of the Internet. With lyrics such as “Dear the internet/Look what you’re doing to us/Making things so fast we cannot keep up” and “That feeling of inadequacy is spread around so well it can kill I can tell” and lines such as “Not check my email 700 times a day”, this song illustrates the quickness of technology and how we lose something in the process. “Zero Sum” is a hard hitting track with lyrics such as “If you want one thing/You cannot have another” that contrasts the theory of the zero sum game to life choices such as loans and being a home owner, while “I’ll Save My Sympathy” attacks in a barrage of drum fills and deep cutting guitar riffs in which Biesinger proposes saving his sympathies for someone worthwhile as opposed to someone who isn’t. With words such as “I’ve got plenty of tears/But I have none to lose” and “I’ve got plenty of tears/But where they go I choose”, this song bites and cuts deep into the listener’s subconscious with an undeniable conviction. The album ends with the six minute and twelve second epic, fiery song “The Rumour Mill (Has A Name and Face)”, which has been The Famines live set ender for many years.

In the liner notes found on the artwork it states: “Listen, enjoy, reflect and seldom stop.” This could take on many meanings not just in the context of The Famines, but in general. With Too Cool & Other Songs, The Famines question what surrounds them as the lyrics are expressed in vivid and engaging ways, finding space amongst the musical chaos that surrounds them.

Since the release of Too Cool & Other Songs, The Famines label, Pentagon Black has released three paper LP compilations. Pentagon Black No. 1 & 2, which compiles previously unreleased studio recordings by bands across Canada, were released in 2016 and 2017. Compilation No. 3 followed in June 2017, which was a compilation of rough sounding live recordings made by smart phones of bands from Canada. It was released on a postcard. An album was also released by the Montreal band Priors, featuring Famines drummer Drew Demers in March 2017.

For more info on Pentagon Black and The Famines, visit www.thefamines.ca

Check out my interview with Raymond and Drew of The Famines here:



Saturday Night Playlist:

1. !Action Pact! - Times Must Change
2. Chain & The Gang - What Is A Dollar?
3. LCD Soundsystem - Change Yr Mind
4. Laura Sauvage - You're Ugly When You Cry
5. The Courtneys - Mars Attacks
6. The Bad Signs - Love Lock
7. Thee Rum Coves - Tell Me Something I Don't Know
8. Les Wild Ones - Mon Amour
9. Simply Saucer - Bullet Proof Nothing (CJSW Session)
10. No Aloha - Sway (CJSW Session)
11. Psychic Void - Morning Anxiety (2017 Demo)
12. Cellos - Bury Me On Highway 3
13. The Famines - Attack Machine Blues
14. The Famines - Free Love Is A Sales Technique

THE FAMINES INTERVIEW

15. The Famines - The State of Music
16. Lee Ranaldo - New Thing
17. Gord Downie - Wolf's Home
18. Bonny Doon - Relieved
19. Elvis Costello & The Attractions - Fish N Chips Paper
20. Elvis Costello & The Attractions - Why Don't You Live Me (Like You Used To Do)
21. Nick Lowe - Cracking Up
22. Leonard Cohen - My Oh My
23. Howlin' Wolf - Moanin' At Midnight
24. Lou Reed - The Last Shot

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for November 18.

Saturday, November 11, 2017

Fred Cole, George Young, Fats Domino & Shows # 680, 681, 682

We lost the following three musicians recently. All are different in their own way and left their imprint on rock music in different forms. Each of the three episodes of Revolution Rock included in this post features music from these artists in some way. They can be downloaded in the link after the playlists at the end of this post.

Fred Cole (Lollipop Shoppe, Dead Moon, Pierced Arrows):


Fred Cole was born in Tacoma, Washington, but lived in Las Vegas, Nevada while growing up. He began his career in music at a very young age playing with a band in Vegas called The Lords. They released a single in 1964, before Deep Soul Cole, his next band, released a single in 1965. The Weeds, formed in 1966. The band attempted to drive to the Canadian border in order to avoid the draft, but didn’t make it that far. Rumoured to run out of funds and or gas, the band found themselves in Portland, Oregon. It was here where the band gained a following and after signing to Uni Records, changed their name to The Lollipop Shoppe. The band recorded one album, Just Color and released their now well-known 1968 single, “You Must Be A Witch”. It was also here, where Cole met his future wife and band mate, Kathleen “Toody” Connor. After the Lollipop Shoppe disbanded in 1969, and The Weeds released one more single in 1971, Cole and his wife headed for Alaska to raise their children.

Cole re-emerged to form the hard rock band Zipper, who released an album on his and Toody’s label Whizeagle in 1975. Cole then formed and released music by a variety of other bands such as King Bee, The Rats, the country band Western Front, The Range Rats and Dead Moon. It was with the band Dead Moon, in which Toody played bass and Andrew Loomis played drums that Cole’s music would gain a devout cult following. Known as a garage punk band, Dead moon blended elements of garage, punk and country into their stripped down sound. They released ten full-length albums, not counting singles, live albums and compilations and lasted from 1987-2006. Many of the band’s early recordings were engineered and released on Fred and Toody’s own label, Tombstone Records. Their early recordings were mastered by Cole himself on a mono lathe that was originally used to cut The Kingsmen’s “Louie, Louie” in 1963.

Cole and Toody then formed The Pierced Arrows with Kelly Haliburton on drums and released two albums in 2008 and 2010. Recently, Cole and Toody had been performing acoustically. Fred Cole passed away at the age of 69 in November 2017 due to cancer. The music that he created spanned decades, and while it wasn’t a mainstream success, it is beloved amongst underground music communities in the US and Europe. When Dead Moon split up in 2006, Cole provided this quote which emphasizes the effect his music had on underground, DIY music communities and in general: "It's been a journey we will always treasure and feel that a worldwide family has emerged in its place".

George Young (Australian Easybeat, producer and songwriter):


At the end of October of this year, George Young passed away. An important figure in the Australian music history, George’s journey into the music world began in 1963 when he met future band mate and collaborator Harry Vanda at the VIllawood Migrant Hostel in Sydney, Australia. Young’s family, just relocated from Glasgow, Scotland at the time. George Young and Harry Vanda would be part of the Australian garage rock band, The Easybeats, who were Australia’s answer to The Beatles. Along with Stevie Wright (vocals), Dick Diamonde (bass) and Snowy Fleet (drums), the band had singles like “She’s So Fine”, “Sorry” and “Friday On My Mind” were charting hits in Australia, while “Friday On My Mind” was a hit in the US as well. Along with the Bee Gees, The Easybeats were among the first Australian artists to have international success. They split in 1969, Young and Vanda would then enter the production world writing songs for other musicians and taking on more of a producing role in music.

George Young and Harry Vanda relocated to London, England shortly after this and in addition to producing and writing songs for others and bands including themselves, they also produced music for George Alexander. His real name was Alexander Young, George Young's eldest brother, and when the Young family relocated to Australia in 1963, Alex stayed in London to pursue music. Signed to The Beatles, Apple Music Publishing Inc. label, Alexander was in the psychedelic rock band Grapefruit. They released two albums and some singles. After Grapefruit had broken up, Alexander joined Vanda/Young and collaborated on a series of releases under different band names and on one final Grapefruit single in 1971 titled “Universal Party/Sha Sha”. George and Harry returned to Australia in 1973 and formed Flash And The Pan in 1976, a synthpop band who had their share of hits from the mid 70s to the 90s.

In addition to their own musical efforts and in the production role, Young also had a big role in a band that featured his two younger brothers, Angus and Malcolm Young. The two would be a part of the band AC/DC and their first five albums were produced by George Young and Harry Vanda. It was George Young’s suggestion to have Bon Scott join the group as their singer, after Dave Evans exited the group. Scott’s previous band The Valentines had released some singles in the 60s that were written by Vanda/Young. In addition to this, George played bass on some of their early recordings and even filled in on bass for live gigs for the band in their early days. George Young retired from the music industry in the 90s, but would produced AC/DC’s 2000 album, Stiff Upper Lip on his own. George Young often refused interviews later in his life, but the imprint he left on music is vast. He helped shape and change Australian music and let the music do the talking.

Fats Domino (New Orleans Rock and Roll Music Pioneer and Icon):


Fats Domino was born Antoine Dominique Domino Jr in 1928 in New Orleans, Louisiana. He was one of the pioneering musicians in rock and roll music and has sold over 65 million records. By the age of 14, Domino was performing in bars in New Orleans. In 1947, he was invited to a backyard barbecue by New Orleans bandleader Billy Diamond. Domino was then asked to join his band, The Solid Senders where he was said to have earned $3 a week to play piano with them. He also earned the nickname “Fats” by Diamond because Domino reminded him of pianists Fats Waller and Fats Pichon. He was signed to Imperial Records in 1949 where instead of being paid a for each song he recorded, he would be paid in royalties based on sales for the songs he recorded. Joining up with producer and co-songwriter Dave Bartholomew, they wrote the song “Fat Man” which was based on a version of the song “Junker Blues”. The song featured Domino’s unique, rolling piano style, combined with his vocals over a strong backbeat. The result was what is widely considered the first successful rock and roll single. It sold a million copies.

What followed next was a string of successful singles, often both the A-side and B-side would chart. In 1955, “Ain’t That A Shame” became his first crossover pop hit, it charted on the Billboard pop singles charts. His biggest hit proved to be “Blueberry Hill”, a song written in the 1940s by Vincent Rose, Larry Stock and Al Lewis. It reached number two on top 40 Billboard charts where it stayed for two weeks and number one on the R&B singles charts where it stayed for eight weeks. Some of his other well-known songs include “I’m Walkin’”, “Blue Monday” and “Walking To New Orleans”. Fats hit streak came to an end in 1964 as the British Invasion took over. Domino continued to record until the 1970s. He left his record label in 1963 for ABC-Paramount Records. Imperial Records was sold in 1963 to Liberty Records. Fats famously said in a 1979 interview that “I stuck with them until they sold out”. 40 of the songs that he recorded for Imperial charted in the top 10 of the R&B charts of the day and 11 of them cracked the top ten in the pop charts. Fats continued to tour until 1995. He would intermittently make appearances in the time after this, but rarely ventured out to perform in public. His last public appearance was on May 19th, 2007 in New Orleans. The concert was filmed and played on TV as Fats Domino: Walkin’ Back To New Orleans. A documentary entitled Fats Domino and the Birth of Rock ‘n’ Roll premiered on PBS in 2016.

Fats Domino was an icon and pioneer in rock and roll music alongside others, such as Chuck Berry and Little Richard. He sold more records than any other 50s era rock musician, with the exception of Elvis Presley and his music contained an undeniable rhythm and groove. Dr. John had this to say of Fats Domino back in 2010 for Rolling Stone Magazine: “Anytime anybody plays a slow blues, the piano player will eventually get to something like Fats. I can't tell you the number of times I played sessions and was asked specifically to do Fats. That innocence is there in his music. He's a good man, and people respond to that goodness. I don't think it was about anything other than the tradition of working the house and what felt good to Fats."


Show 682 Playlist (Originally Aired On November 11th, 2017):

1. Lollipop Shoppe - It's Only A Reflection
2. Lollipop Shoppe - You Must Be A Witch
3. Dead Moon - I Hate The Blues
4. Pierced Arrows - Caroline
5. The Easybeats - She's So Fine
6. The Easybeats - No One Knows (Outtake)
7. Flash And The Pan - Welcome To The Universe
8. Thee Rum Coves - Behind Your Smile
9. Deja Voodoo - Lonesome Train (Live at The Backstage Club)
10. Tough Age - Me In Glue
11. Beef Boys - Drink=
12. Lost Durangos - Evil Town
13. Modernettes - I Can Only Give You Everything
14. Safe Word - You & Me
15. The Replacements - Red Red Wine
16. The Replacements - Alex Chilton (Alternate Version)
17. The Replacements - Can't Hardly Wait (Alternate Version)
18. Fergus & Geronimo - No Parties
19. Parquet Courts - Tears O'Plenty
20. Daniele Luppi & Parquet Courts - Soul and Cigarette
21. A.Savage - Phantom Limbo
22. Tea Leaves - Selfish
23. Rusty - Warm House (Demo)
24. Flip City - Exiles Road (1974 Demo)
25. Aron D'Alesio - Answer To A Question
26. The Stoves - Can't Slow Down
27. Chad VanGaalen - Pine And Clover

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for November 11.



Show 681 Playlist (Originally Aired On November 4th, 2017):

1. Deer Tick - Card House
2. Deer Tick - Look How Clean I Am
3. The Radiation Flowers - Sunrise
4. Rolling Blackouts C.F. - Wither With You
5. Andreas - November Gales
6. The Replacements - I'll Buy
7. The Replacements - Left of The Dial
8. The Replacements - Kiss Me On The Bus (Demo)
9. JD McPherson - Undivided Heart & Soul
10. Motorhead - Jumpin' Jack Flash
11. The Outcasts - Love You Never
12. Menace - Screwed Up
13. Alternative TV - Life
14. The Famines - Fast Times
15. Coufleur Dessin - The Bad Thing
16. Destroyer - Tinseltown Swimming In Blood
17. Wolf Parade - You're Dreaming
18. Prime Junk - Dreams
19. Snake River - Dear Franklin Gabriel McCrebee
20. Neil Young - Human Highway
21. Paul the Tailor - She Said
22. The 5.6.7.8.'s - Highschool Witch
23. The Black Lips - Time of the Scab
24. The Scientists - Nitro
25. Violent Femmes - Gimme the Car
26. The Replacements - Waitress in the Sky

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for November 4.



Show 680 Playlist (Originally Aired On October 28th, 2017):

1. The Tragically Hip - Blow At High Dough
2. Gord Downie & The Sadies - Budget Shoes
3. Joe Strummer & The Mescaleros - Silver & Gold
4. Richard Hell & The Voidoids - I Live My Life
5. Fats Domino - Ain't That A Shame
6. Fats Domino - Don't Blame It On Me
7. Fats Domino - Before I Grow Too Old
8. Screamin' Jay Hawkins - You Made Me Love You (I Didn't Want To)
9. Kid Congo Powers & The Pink Monkey Birds - Spider Baby
10. Dead Moon - Fire In The Western World
11. Mark Sultan - Let Me Out
12. Flat Duo Jets - I'm Sorry
13. The D4 - Evil Heart
14. Ornament & Crime - Academy of Birds
15. Ray Dafrico/Cait O'Riordan - Rejected
16. Sam Coffey & The Iron Lungs - Pressure
17. Cub - The Day I Said Goodbye
18. The Potatomen - The Beautiful & The Damned
19. The Courtneys - Virgo
20. The Courtneys - 25
21. Depruse - Caught Off Guard
22. Kim Gray - 90's Baby
23. Tough Age - Ghost
24. By Divine Right - Soul Shakedown Party
25. U-Men - Trouble Under Water
26. Ty Segall - Big Man
27. Revo - Too Much Paranoias (Live At The Press Club)
28. The Ride Theory - The Piper
29. Ricked Wicky - I'll Let You In

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for October 28.

Saturday, October 21, 2017

CJAM FM 2017 Pledge Drive & Show # 679

Every year CJAM FM holds an annual pledge drive that runs for one week. Being a non-profit based campus/community radio station, CJAM relies on donations and support from the community to help make up 30% of their annual budget. It has been on the FM dial since 1983, and this website that you are currently visiting is for a radio program entitled Revolution Rock, that has been airing on the station since June of 2004. This year the station’s goal is to raise $30,000 to help update their website and general things in the studios we have there. In addition to upgrading the website and the online stream, there are plans to integrate the website site with a new app to make it easier for people to listen to the station on their mobile devices. CJAM has a large online listenership, in addition to the people that listen throughout the Windsor/Detroit areas at 99.1 FM on the FM dial. You can stream the station live anytime online and download program archives from any program that airs on the station, but as we move further into the digital age, there is a need for upgrades and improvements.

CJAM celebrates the alternative to the mainstream. In terms of music and spoken word content, there are things that are heard on stations like CJAM FM that you just won’t hear anywhere else. Revolution Rock in particular digs deep into the musical past often pulling up some very obscure gems that you may not know have existed, but it also blends that element of musicality with new music as well. This program provides a weekly mix of music from the garage rock, 70s punk/new wave, surf, alternative and indie genres. Whether you listen online via downloads/streams or on 99.1 FM in Windsor/Detroit, CJAM FM is a great station to listen to and to support.

If you would like to show your support for CJAM FM you can donate, here are the ways. We also offer incentives as a thank you for your support.

Any amount – CJAM sticker
$10-20 – music prize pack (CDs/vinyl)
$20 – vintage CJAM Pledge Drive t-shirt
$50 – CJAM 2017 Pledge Drive t-shirt
$100 – CJAM prize pack (including 2017 t-shirt and gift certificates)

Individuals looking to donate can call in during Pledge Drive week at 519-971-3630 (Windsor) // 1-855-344-2526 (toll free from Detroit and around the world). Donations are also accepted via a secure online at grouprev.com/cjampledge or through my individual page for the pledge drive at grouprev.com/revrock2017.

2017 Pledge Drive Playlist:

1. Protomartyr - A Private Understanding
2. Cawama - Belladonna
3. Beliefs - Swamp Core
4. Chad VanGaalen - Mind Hijackers Curse
5. Chad VanGaalen - Freedom For A Policeman
6. Julie & the Wrong Guys - I Wanted What You Wanted
7. Wolf Parade - Who Are Ya
8. Ariel Pink - Dedicated To Bobby Jameson
9. The Cramps - Five Years Ahead of My Time (Demo)
10. Tanz Der Youth - Mistaken (1978 Peel Session)
11. Dee Dee Ramone & The Chines Dragons - Ace of Spades (Feat. Lemmy)(1992 Demo)
12. Mudhoney - Sonic Infusion
13. Mick Futures - Cold Emotions
14. Danny & The Darleans - Don't Get into The Car
15. Reigning Sound - Is It True?
16. Oblivians - Come A Little Closer

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for October 21.