Saturday, July 28, 2018

La Luz Floating Features & Shows # 731 & 732


Since 2015’s Weirdo Shrine, La Luz has relocated to Los Angeles. The changing of their backdrop from Seattle to Los Angeles is embedded into their third full-length and latest album’s very core. Floating Features still levitates with the same surf noir dynamics that were first cast on 2013’s It’s Alive. Produced by Dan Auerbach of The Black Keys, Floating Features adds a new shine to La Luz’s already established sound without being too obvious. The mood on Floating Features simmers as this all female quartet draws on the theme of dreams and its many variations.

“Floating Features” starts off the album of the same name with an instrumental track. This track begins with spiraling guitar lines, and drum, organ and bass stabs before launching the listener into an exotic, 60s reverb driven landscape. “Cicada” follows next with its rhythmic organ parts and garage/surf structures as vocalist and guitarist Shana Cleveland sings lyrics such as “In air so hot and sweet/We heard it in the breeze/Metallic shimmering/Of invisible things”. These words combined with La Luz’s layered breezy harmonies, creates an atmosphere, one that is filled with mystery and a desire for meaning. “Loose Teeth” attacks next with heavy waves of reverb as the band sails through the verses, while the lyrics describe a complex dream that is coupled with confusion and ambivalence. “Mean Dream” brings in 60s psychedelia influences as acoustic guitar mixes with the band’s laid back sounds that move back and forth in a dreamlike state. “California Finally” builds with tension as drummer Marian Li Pino digs deep into the songs soggy groove while bassist Lena Simon floats somewhere between the disorienting delightful keyboard parts by Alice Sandahl and the unflinching guitar/vocals from Shana Cleveland. Lyrically the song is weighed down by words inspired by La Luz’s journey out to California. This song sets the perfect songscape and is one of the strongest moments found on Floating Features.

“The Creature” slows the pace down a bit with nightmarish lyrics like “A creature stepped out of the wall and then/In the blackness it amassed above my head” and “Couldn't move enough to reach and find a light/Tell my heart that it was only in my mind”. This song reflects an uncertainty that can follow you around, not unlike a creature in the darkness. Musically, it is mellow and tense with an unnerving energy that is also strangely comforting. “My Golden One” digs deeper into a mellow groove with a bassline that will put you into a trance-like state with sparse instrumentation and lush surrounding harmonies. “Greed Machine” is the longest track on Floating Features clocking in at four minutes and twenty seconds. The sounds that make up this song could be what was described as a “Leone-on-LSD vibe” on La Luz’s website. Lyrically, this song questions several things such as the dilemma of being in a band and the conflicts and contradictions that can surround it. “Walking Into The Sun” was inspired by a dream that Cleveland had, one that was very vivid. This describes this song perfectly, with its smoggy 60s psychedelic/surf influenced textures that also have a 50s ballad/doo-wop inspired mood and lyrics that carry a weight with a touch of heartbreak.

“Don’t Leave Me On The Earth” is layered in metaphors and surf fuelled drums, guitar, bass and organ that swelter with fervor. With a title that sounds like something from a sci-fi film from decades long ago and words such as “Wild World/I Was high/I was all dead inside” and a chorus of “Juniper/Juniper/Don’t leave me on the earth” and “Take me with you when you go”, this song and the juniper plant reference could be representing the desire for a cleansing of old landscapes as a new dream breaks free from the confines of an old one. With Floating Features, La Luz creates a mood that is a bit hazy at times and sometimes abstract. Lyrically building on the theme of dreams and the different ways that they can be perceived, La Luz confronts whatever comes their way to readjust their sonic features and to create and strengthen their own musical landscape.

Show 732 Play List (Originally Aired On July 28th, 2018)(La Luz Floating Features, Ty Segall & White Fence, Rolling Blackouts C.F.):

1. The Epsilons - I Hate (Your Face)
2. The Routes - Peeling Face
3. King Creep - Creep Enough
4. Meat Puppets - Hot Pink
5. Baby Cages - Flowers
6. Rolling Blackouts C.F. - The Hammer
7. Running From Daylight - Elvis Ain't Dead Yet
8. Bo Diddley - Doing The Crawdaddy
9. Frankie & Jimmie - Spread The News Around
10. Wicked Weather - Bad Bad Heart
11. Cowboy Junkies - Missing Children
12. The Who - Please, Please, Please
13. La Luz - Greed Machine
14. La Luz - Walking Into The Sun
15. What Seas What Shores - Texas
16. Miles Davis - Frelon Brun
17. The Lounge Lizards - Fatty Walks
18. The Birthday Party - Cry
19. Ty Segall & White Fence - Good Boy
20. Shotgun Jimmie - Triple Letter Score
21. Gang of Four - It's Her Factory
22. Little Girls - Delaware
23. Not Of - Fix Don't Fix
24. Queens of the Stone Age - Monsters in the Parasol
25. Metz - Mule
26. Nirvana - Hairspray Queen
27. Talking Heads - Artists Only

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

Show 731 Play List (Originally Aired On July 21st, 2018)(Mudhoney, Deja Voodoo, Lonely Parade):

1. Mudhoney - Paranoid Core
2. The Fall-Outs - The Jealous Kind
3. The Cheetahs - Circle Two
4. Dunes - Freezer Burn
5. Lesbo Vrouven - MMMMM
6. Dumb - Ripesnakes
7. Bob Dylan - Leopard-Skin Pill-Box Hat
8. Chad VanGaalen - See-Thru-Skin
9. John Coltrane - Nature Boy
10. Bonny Doon - Try To Be Me
11. Father John Misty - Mr. Tillman
12. Courtney Barnett - City Looks Pretty
13. The Gruesomes - What's Your Problem
14. Zamboni Drivers - Skatin' Ghost
15. Deja Voodoo - Big Pile Of Mud
16. Deja Voodoo - Call Link Wray
17. Ray Condo & The Hard Rock Goners - High Voltage
18. Andy Pratt - Get Close To Me
19. The Fall - Couldn't Get Ahead
20. Lonely Parade - Chicken Wing
21. Lonely Parade - Johnny Utah
22. Prime Junk - Glacial
23. Stacey Green Jumps - In Other Words
24. Sonic Youth - I Dreamed I Dream
25. U.S. Girls - Sed Knife
26. Slim Twig - The Golden Rule
27. Kim Gray - Throwing Rocks
28. The Only Ones - Out There In The Night
29. The Saints - Lost and Found


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

Saturday, July 14, 2018

The Strokes Is This It & Shows # 728, 729, 730


The Strokes debut album Is This It was originally released in 2001. It had different release dates in the UK and the US, July 30th in the UK and October 9th in the US. The album itself has received critical praise and also its share of criticism. Upon its release in the UK, John Robinson from NME stated that “Is This It was one of the best debut LPs by a guitar band during the past 20 years”, but the interest in The Strokes started prior to this album’s release. The Strokes recorded three-song demo with producer Gordon Raphael in 2000. The three songs that they recorded were never intended to be released, but were originally intended to help the band get better live gigs. The three-song demo caught the attention of someone in the UK and in January 2001, the three songs were released as The Modern Age EP on Rough Trade. At the time the general consensus was that guitar oriented rock bands were over, but that proved to be incorrect. It became NME’s single of the week. Still unsigned in the US, this created a rare situation that resulted in a bidding war from different record companies to sign the band. Something like this hadn’t happened since the 60s. The EP created a buzz around the band and an anticipation for the release of their debut album, Is This It.

The Strokes - Is This It (UK Album Cover)
Is This It starts off with the title track of the same name. A sound of what appears to be a tape winding down are the first thing that the listener hears before launching into what The Strokes called their attempt at a ballad. “Is This It” subtly brings The Strokes intertwining guitar interplay into focus as the bassline comes in dancing on different notes. All the while the vocals provided by Julian Casablancas display a distorted, lo-fi approach amongst Fab Moretti’s drumbeat that coasts slowly throughout the songs many parts. Lyrically, “Is This It” like many of the songs on this album, are an observational character study on happenings in New York City and relationships formed there. The songs can take on different meanings to different people, depending on how they are interpreted. With lyrics such as “Can’t you see I’m trying/I don’t even like it” and “I can’t think cause I’m just way too tired”, the song itself seems to display the complexities of an empty relationship. “The Modern Age” is next with its upbeat staccato guitar and almost marching drumbeat. This version of the song is different the version that appeared in rougher form on The Modern Age EP. Lyrically the song reads as a disillusioned tale of modern life. “Soma” takes its name from Aldous Huxley’s Brave New World novel. In the novel, soma is a drug used in a dystopian future to control people from speaking and thinking freely. Casablancas takes this theme from Huxley’s novel and applies it to the song in a modern context. With lyrics such as “Soma is what they would take when hard times opened their eyes” and a chorus of “I am stop and go/In your eyes/And I am stop/Oh darling let me go” the song seems to tell a complex tale of drug use being used to fit in with the cool crowd. Musically the song hits hard with a tense energy. With spiraling guitar hooks and a simple, yet effective bassline, “Soma” strikes the listener like a epiphanic punch to the gut.

“Barely Legal” features a steady guitar and bass pattern with intertwining guitar lines from guitarists Nick Valensi and Albert Hammond Jr. that sound inspired by Britpop. Lyrically the song concerns itself with the story of a girl who arrives in New York when she is the age of consent and the entanglements that she and another find themselves in. “Someday” attacks with more interlocking guitars and cutting bass from bassist Nikolai Fraiture. With lyrics such as “In many ways I miss the good old days”, “Alone we stand, together we fall apart”, and “I’m working so I don’t have to try so hard/Tables they turn sometimes”, this song acts as a coming of age tale of sorts. It shows a longing for the past, but having to adjust to the change of the present.

“Last Nite” was the album’s second single. The opening guitar part was loosely based on Tom Petty & The Heartbreakers “American Girl” and the guitar solo was apparently inspired by blues guitarist Freddie King. Throughout the song the guitar attacks in an almost reggae-like rhythm at times, as Motown-inspired bass adds a gritty soul flavour, the drums are laidback, but on point and distorted vocals are sung in a Lou Reed styled talk-sing fashion. The song itself lyrically seems to deal with angst, alienation and a certain feeling of unrest. The song calls for understanding, even if it isn’t that clear. “Hard To Explain” was the first single released from Is This It. The song features distorted drum kits sounds, new wave inspired bass sounds and tense fuzzy guitars as Casablancas sings in his passionate, yet at times slacker approach.

Feedback brings in the next track on Is This It, “New York City Cops”. The song tells the tale of a problematic relationship amongst seedy New York life and was a popular live favourite. It was removed from the US version of Is This It following the 9/11 attacks on New York and replaced with the song “When It Started”. It did, however remain on the vinyl versions of the release. Due to the changing of the track listing on the US release, the album cover also differs on the US release of Is This It. Instead of the controversial image some viewed as explicit that appeared on the UK version of the album, the US version of the album features an abstract picture of subatomic particles in a bubble chamber. “Take It Or Leave It” ends Is This It. This aggressive track with its sleazy guitar solo break transmits multiple meanings. It however takes on even more context, considering the amplified amount of hype that surrounded The Strokes during this time.

Recorded in the spring of 2001 with producer Gordon Raphael at Transporterraum Studios located in a basement in New York, Is This It was recorded in six weeks. The songs employed a method of using as few takes as possible to achieve what Julian Casablanacas called “A raw efficiency”. The Strokes helped to usher in a garage rock revival in the early 2000’s that also included bands such as The White Stripes and The Hives, but due to the amount of hype and press the band received at the time it created groups of people that either really loved the band and their music or people that didn’t. The music was influenced by bands from New York and past music scenes. Bands from CBGB’s punk/new wave scene such as The Ramones, Talking Heads and Television are often referenced, as well as The Velvet Underground as influences. Guided By Voices are another band that they draw an influence from. Julian Casablancas said he wanted Is This It to sound like "a band from the past that took a time trip into the future to make their record". However, The Strokes sound is a lot of things at once.

Is This It was recorded and released at a time that causes it to be frozen in time. It sounds like something familiar, yet it doesn’t. The lyrics take on context like a novel, without sounding too articulate. The song “Is This It” and the album as a whole can apply to my earlier description, but it is also an example of the duality that can be expressed here. When looking at the band and this time period, the album's title can also be seen as a self-deprecating jab at the hype the band was receiving around this time in the press. Additionally, it can be seen as a comment on life in general. The songs speak for themselves. You either love it or hate it. Is This It is an album that has no tricks or gimmicks, but it packs one hell of a punch.

Show 730 Play List (Originally Aired On July 14th, 2018)(The Strokes Modern Age EP, The Feelies, Public Image Limited):

1. Farewell Mourners - Partial Prints
2. Cowboy Junkies - When We Arrive
3. Townes Van Zandt - Two Girls (Live At The Old Quarter, Houston, Texas)
4. Peter & the Wolves - Sundae Monday Blues
5. Bloodshot Bill - Rattle My Brain
6. The 427's - Bikini Thief
7. Carlo - Carlo's Crush
8. Carlo - Pale Moon Drifter
10. The Elite - My Confusion
11. The Ju Jus - Do You Understand Me
12. The Alarm Clocks - Yeah
13. The Rolling Stones - Down The Road Apiece
14. The Strokes - The Modern Age (EP Version)
15. The Strokes - Last Nite (EP Version)
15. The Strokes - Barely Legal (EP Version)
16. Saint Pe - Street Lights
17. The Feelies - The High Road
18. Rolling Blackouts C.F. - Bellarine
19. T. Hardy Morris - Homemade Blues
20. Zoom - Hollywood Babylon
21. Platinum Blonde - No Regrets
22. Alternative TV - You Bastard
23. The Flys - Love & A Molotov Cocktail
24. Papermaps - Iron Stove
25. Protomartyr - Wheel Of Fortune
26. The Psychedelic Furs - Soap Commercial
27. Public Image Limited - Memories
28. Public Image Limited - Mr. Suit

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for July 14.

Show 729 Play List (Originally Aired On July 7th, 2018)(Luau Or Die, La Luz, TOPS & Dion Lunadon):

1. Gold - No Parking
2. The Jimi Hendrix Experience - Third Stone From The Sun
3. The Stooges - Lost In The Future (Take 1)
4. Ty Segall - The Drag
5. Baby Giant - High Tide
6. Spaceslave - Brightside
7. Talking Violet - Beach Place
8. Luau Or Die - El Pauete Misterio
9. La Luz - California Finally
10. The Pixies - No. 13 Baby
11. Chad Vangaalen - Burning Photographs
12. The Buttertones - Midnight In A Moonless Dream
13. Jerry Jerry & The Sons of Rhythm Orchestra - Baby's On Fire
14. Nap Eyes - Don't Cry No Tears (Neil Young Cover - Laginappe Session 2018)
15. The Highest Order - Slip Away
16. TOPS - Dayglo Bimbo
17. Joy Division - Twenty Four Hours
18. The Smiths - Heaven Knows I'm Miserable Now
19. The Low Joy Ceiling - Minor Threat and Morrissey Walk Into A Bar
20. The Primitves - Carry Me Home
21. The Visitors - Patterns
22. The Garry's - Manitouna
23. Mission of Burma - Fame & Fortune
24. Crocodiles - Soft Skull (In My Room)
25. Dion Lunadon - Move

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for July 7.

Show 728 Play List (Originally Aired On June 30th, 2018)(The Strokes Is This It):

1. Bob Dylan & George Harrison - When's My Swamp Gonna Catch Fire?
2. The White Stripes - The Union Forever
3. David Lynch - Pinky's Dream Crazy
4. Enoch Smoky - It's Cruel
5. Dusty Mush - Happy Armpit (Demo)
6. Brian Eno - Third Uncle
7. The Strokes - Barely Legal
8. The Strokes - Trying Your Luck
9. Hot Hot Heat - No, Not Now
10. The Stolen Minks - Peppy Twist
11. Cub - Go Fish (Brave New Waves Session)
12. The Hives - Supply And Demand
13. Snow Geese - I'm Not For Sale, I'm Sold
14. Paul Jacobs - Story About Anything
15. Blessed - Endure
16. U.S. Girls - Pearly Gates
17. Priests - Suck
18. The Chills - The Oncoming Day
19. The Diodes - Mercenary Flight (1978 Alt Version)
20. The Strokes - Soma
21. The Strokes - Hard To Explain
22. The Libertines - Vertigo
23. The Strokes - Take It Or Leave
24. The Strokes - New York City Cops

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for June 30.

Saturday, June 23, 2018

D.J. Fontana, Nick Knox & Shows # 725, 726, 727

In June of this year we lost two drummers that both were known for their no-nonsense drumming style. These drummers were from different time periods, but they provided an important back beat for rock music.

D.J. Fontana (1931-2018):



Drummer D.J. Fontana started out as a drummer for the Louisiana Hayride radio program. He was the Saturday staff drummer for artists that appeared on the program, which featured musicians such as Hank Williams, Sonny James, Hank Snow, Johnny Cash and Elvis Presley. At the time when Fontana was playing drums, drummers were often looked down upon in country music and seen as sacrilegious to the genre. He would often play behind a curtain when he did play drums with these artists and on October 16th, 1954 he played drums for the first time with Elvis Presley and The Blue Moon Boys. The Blue Moon Boys featured Bill Black on bass, Scotty Moore on lead guitar and Elvis Presley on rhythm guitar and vocals. Although he did play behind a curtain the first time he played with Elvis, it would not last long. He joined Elvis Presley in 1955 and did not have to play behind a curtain following this time.

Playing on over 460 recordings with Elvis Presley, Fontana brought a unique approach to drumming that would lay the foundation for what was to become rock and roll music. He played with an uncomplicated sense of rhythm, one that was based on feel and one that was informed by big band music. Fontana had this to say of his drumming style: “I learned the value of simplicity at the Hayride. I heard Scotty and Bill and Elvis one night and knew that I couldn’t mess up that sound. That’s why I always play what I feel. If that won’t work, I just won’t do it again. I think the simple approach comes from my hearing so much big band music. I mixed it with rockabilly.”

Fontana would play with Elvis for fourteen years, despite the fact that Elvis’ backing band broke up officially in 1958. He would record and perform with Presley and Moore on several occasions. Following 1968’s Come Back Special, Fontana became a session musician in Nashville playing on many recordings with a wide array of country and rock musicians. You can hear his simple, effective, slightly restrained, yet explosive drumming style on songs such as “Hound Dog”, “Jailhouse Rock”, “All Shook Up” and “Don’t Be Cruel” to name a few. It was this backbeat that would be revealed from behind the curtain of country music and sketch out the blueprint for what became known as rock and roll music.

Nick Knox (1953-2018):



Born in Cleveland, Ohio in 1953, Nick Knox is perhaps best known as the drummer for The Cramps. Following a brief stint with the Cleveland, Ohio band Electric Eels, he joined The Cramps following the departure of their original drummer Miriam Linna in 1977. Knox, real name Nicholas Stephanoff, played drums with The Cramps until he left the group in 1991. His drumming style brought a cohesion to the band’s sound and helped to define it. Mixing in elements, of rockabilly, garage and surf, his drumming can be heard on The Cramps first four albums (Songs The Lord Taught Us (1980), Psychedelic Jungle (1981), A Date With Elvis (1986), Stay Sick (1990)), their debut EP Gravest Hits (1979) and several live albums.

The Cramps sound is often described as psychobilly, but it is a lot of things at once. From songs on their first EP such as his driving beat which holds down the creeping guitar rhythms and Lux Interior's slithery, buzzing vocals, the sleazy grooves of “Garbageman”, “Aloha From Hell”, and “People Ain’t No Good” to name a few, Knox’s backbeat is one that brought a primitive, relentless energy to The Cramps music. On early Cramps recordings, there was no bass featured. It was just guitars, drums and vocals. This created a unique dynamic within the group. Usually dominated by a mixture of fuzz guitar and noise, the drums filled the void of the bass. The Cramps first album to feature bass was 1986’s A Date With Elvis. All of the bass on this album was played by guitarist Poison Ivy Rorschach.

Following his time with The Cramps, Knox liked to stay out of the public eye and spent time with friends and family. Most recently Knox served as a mentor for the Cleveland band Archie & The Bunkers. He was often referred to as “Grandpa Nick”. While there may be interviews with Knox somewhere, they are hard to locate online. He was a private person, but he let his drumming do the talking. If you listen to any of the recordings that he’s been on, there’s a certain feeling there. One that taps into the rebellious rock and roll spirit that goes back rock’s early, wild beginnings. His drumming style was never complicated, it was tight, to the point, no non-sense and helped The Cramps deliver their musical message in those early years of the band.

Show 727 Play List (Originally Aired On June 23rd, 2018)(The 427's, Rolling Blackouts CF, The Mummies):

1. Courtney Barnett - Walking On Eggshells
2. Father John Misty - Disappointing Diamonds are the Rarest of Them All
3. Rolling Blackouts CF - Talking Straight
4. Rolling Blackouts CF - Mainland
5. The Mummies - That's Mighty Childish
6. The Mummies - A Girl Like You
7. Shitkid - Sugar Town
8. The Electric Prunes - Long Day's Flight (Till Tomorrow)(Live Stockholm 1967)
9. Young Rival - Dead End Scene (Demo)
10. The 427's - Liberty Belle
11. The 427's - Diablo
12. The Sadies - One Million Songs
13. The Bicycles - B-B-Bicycles
14. Iceage - Pain Killer
15. James Williamson and the Pink Hearts - Judith Christ
16. Jerry Nolan - Take A Chance With Me
17. Grounders - Scum for You
18. Cardboard Brains - Out Out Out
19. Beat Happening - I Spy
20. Baby Cages - Polly
21. Neko Case - Last Lion of Albion
22. Dumb - Romeo
23. Dumb - Party Whip
24. Fugazi - Bulldog Front
25. Shame - Friction
26. The Bureaucrats - Today & Everyday
27. The Radiators - Not Too Late
28. The Flaming Lips - Everything's Explodin'
29. Guided By Voices - Gray Spat Matters
30. The Electric Eels - Cyclotron
31. Ceramic Dog - Rawhide

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for June 23.

Show 726 Play List (Originally Aired On June 16th, 2018)(D.J. Fontana & Nick Knox):


1. Elvis Presley - Shake, Rattle & Roll (Take 12)
2. Elvis Presley - All Shook Up
3. Elvis Presley - Lawdy Miss Clawdy
4. The Cramps - Heartbreak Hotel (Live in New Zealand 1986)
5. The Cramps - Blue Moon Baby
6. The Cramps - Where Is My Mind?
7. The Cramps - Human Fly
8. Paul The Tailor - Shakin' All Over
9. Black Rebel Motorcycle Club - Steal A Ride
10. Blacktop - From Beyond
11. Gene Gray and The Stingrays - Surfer's Mood
12. The Chevells - Riptide
13. Goldtones - Strike
14. Atomic 7 - Meet Me Tonight In The Shadow of Love
15. The 427's - Yellowbelly
16. Pow Wows - Do The Splash
17. The Ketamines - Midnight Dawn
18. The Haunted - Eight O'Clock This Morning
19. Paul Jacobs - Sharp Dress
20. The Fuzzy Undertones - Sharks
21. King Gizzard & The Lizard Wizard - All Is Known
22. Jerry Jerry & The Sons Of Rhythm Orchestra - Downhearted
23. South River Slim - Mountain Soliloquy/Cracker Girl
24. Sandy Denny & The Strawbs - Everyone But Sam Was A Hypocrite
25. Leonard Cohen - Tonight Will Be Fine
26. Umbra & The Volcan Siege - If Not For You
27. The Soft Pack - Down On Loving
28. The Plugz - A Gain, A Loss
29. The Ripcordz - Break It Out
30. Shotgun & Jaybird - What Is This … Vegas?
31. The I Don't Cares - Whole Lotta Nothin'
32. Teenanger - Alone on Acid
33. Teenanger - Big Spirit Payback
34. X - We're Desperate

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

Show 725 Play List (Originally Aired On June 9th, 2018)(The Cheetahs, Cherry Glazer, Peach Kelli Pop, Oblivians):

1. The Cheetahs - Undercover Girl
2. The Cheetahs - Doctor
3. The Breeders - Nervous Mary
4. Cherry Glazer - Haxell Princess
5. Cherry Glazer - White's Not My Color This Evening
6. Peach Kelli Pop - Cherry (That's Not Her Real Name)
7. Peach Kelli Pop - Crooked
8. Cold Warps - Dip Tripper
9. The Courtneys - Tour
10. Captain Beefheart - Ant Man Bee
11. Fire Engines - Lubricate Your Living Room Part II
12. The Pixies - Dancing The Manta Ray
13. Arctic Monkeys - Science Fiction
14. La Luz - Cicada
15. Os Tartaros - Tartaria Portugues
16. Wave of Terror - Instrument Of Love
17. Hot Garbage - Kimono Dragon
18. A. Savage - Eyeballs
19. Eamon McGrath - Power
20. Mac DeMarco - Treat Her Better
21. Nap Eyes - Sage
22. Colter Wall - Me and Big Dave
23. Lonesome Lefty & The Cryin' Shames - Texas Blues
24. The Tracys - People Scare Me
25. Psychic Void - Terminal Vacation
26. Chromatics - Washed Up On A Beach of Infants
27. Oblivians - Big Black Hole
28. Oblivians - I'm Not A Sicko There's A Plate In My Head
29. Oblivians - Never Change Soul Food
30. Prehistoric Cave Strokers - Let's Id!
31. Ceramic Dog - Agnes
32. The Cramps - Don't Eat Stuff Off The Sidewalk


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

Saturday, June 02, 2018

Guitar Boy: An Interview with Bloodshot Bill & Shows # 724 & 723


Bloodshot Bill emerged out of Montreal around 1998. Starting out as a drummer, Bloodshot Bill began performing with just a guitar and stomp board. Bloodshot Bill often tours and performs as a one man band featuring, guitar, a bass drum, hi-hat and reverb soaked vocals. Live as a one-man band he provides the audience with his own brand of rockabilly music that is unlike any other, while at the same time drawing on the past. He once said that his influences range from early country and rock and roll records to what he refers to as his “holy trinity” of influences "Hasil Adkins, Charlie Feathers, and Link Wray.”

On 2017’s Guitar Boy, there are songs such as “The Wobble” a thrashy instrumental song with grumbling bass, surging drumbeats and surf undercurrents, “Love Me Twice”, is a rockabilly rumble, a greasy combination of rock and roll energy that shouts for more. “Be My Own” is a darker ballad with country flavours, “Hypnotize” is an up-tempo fuzzy guitar number with Bloodshot Bill yelps and wails, “Pretty Little Girl From Mars” drifts into rockabilly and surf paranoia, while “Last Call” gallops with reverb and countrified guitar licks. These are just some of the things you’ll find on the Norton Records released album Guitar Boy. It is the fourth full-length album released via Norton Records, although there has been other singles, EPs and things recorded in collaboration with other artists. 

Since starting out, Bloodshot Bill has released numerous records on different labels, recorded and collaborated with artists such as King Khan (as The Tandoori Knights and The Bollywood Argyles), Mark Sultan (The Ding Dongs), Deke Dickerson, Shannon Shaw, Jon Spencer, The 5.6.7.8’s and many others. He has also performed all over the US, Canada and parts of Europe. In addition to all this, Bloodshot Bill also performs with a full band sometimes, usually when in the Montreal area. He has released several recordings with a backing band known as The Hubcaps, but has a new full-length album coming out with a band that he has been playing with lately called The Hick-Ups. There will also an EP coming out that Bloodshot Bill did with legendary rockabilly/roots rock musician Deke Dickerson.

Although he has had many releases out (over 40), there is a bit of mystery to Bloodshot Bill. His songs deal mainly with relationships, but have also branched out to include things such as B-horror movie subjects like monsters, aliens and the like. His sound was once described by director John Waters as “Like Roy Orbison with a head wound”, but whatever you call the music created by Bloodshot Bill, it leaves the listener with a sense of wonder, nostalgia and that primitive rock and roll feeling.

Check out my interview with Bloodshot Bill here:



Show 724 Play List (Originally Aired On June 2nd, 2018)(An Interview with Bloodshot Bill):

1. The Forgotten Rebels - Hello, Hello (I'm Back Again)
2. Iggy Pop - New Values
3. Acid Tongue - Something In The Water
4. Paul The Tailor - Baked Potato
5. Masked Boy - Gritt Used Acid !! (Demo)
6. Black Sabbath - N.I.B (Alternate Version)
7. The Ding Dongs - Weekend
8. Tandoori Knights - Big Belly Giants
9. Bloodshot Bill - I'm Telling You

BLOODSHOT BILL INTERVIEW

10. Bloodshot Bill - Love me Twice
11. Deja Voodoo - Skeleton At My party
12. Sonny Burgess - Red Headed Woman
13. Warren Smith - Rock And Roll Ruby
13. Otis Redding - Shake
14. Them - Bring'em On In
15. Parquet Courts - Tenderness
16. Happy Mondays - Kinky Afro
17. The Stranglers - Something Better Change
18. Gang of Four - Glass
19. Roxy Music - She Sells
20. The Lounge Lizards - Incident On South Street
21. Chain & The Gang - Don't Scare The Ghosts Away
22. Carbonas - Phone Booth
23. The Mods - Step Out Tonight
24. Priors - Got in Me
25. Daniel - Hopital
26. Danny & The Darleans - May-Ree Mack

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

Show 723 Play List (Originally Aired On May 26th, 2018)(Johnny Cash At Folsom Prison 50th Anniversary):

1. Carl Perkins - Blue Suede Shoes (Live At Folsom Prison)
2. The Statler Brothers - This Ole House (Live At Folsom Prison)
3. Johnny Cash - Folsom Prison Blues (Live At Folsom Prison)
4. Johnny Cash - Cocaine Blues (Live At Folsom Prison)
5. Buddy Selfish - Rip It Up
6. Frankie & Jimmy - Minglewood Blues
7. Mark Malibu & The Wasagas - Hey Chiwawa
8. The Barracudas - Barracuda Waver
9. Vamos - Outsiders
10. The Shiverettes - Obsessed
11. Young Rival - Got What You Need
12. A Place To Bury Strangers - There's Only One of Us
13. Papermaps - Iron Stove
14. Tough Age - Snakes & Ladders
15. Paul Jacobs - How Did You Find Out?
16. South River Slim - 40 Day Crawl
17. Chris Altman - Deadly Night Shade
18. Bloodshot Bill - Don't Bug Me Baby
19. Danny Kroha - You Got To Move
20. Nap Eyes - It's Only Life (Feelies Cover)(Laginappe Session)
21. Kevin Morby - Tonight I'll Be Staying Here With You (Bob Dylan Cover)(Laginappe Session)
22. Bob Dylan - Sitting On Barb Wire Fence (Take 6)
23. Bob Dylan - Visions of Johanna (Take 5)
24. The King Khan & BBQ Show - Shake Real Low
25. The Wayouts - Red Rover
26. Black Flag - Fix Me
27. Captain Beefheart - Zig Zag Wanderer
28. Johnny Cash - Folsom Prison Blues (Second Show - Live At Folsom Prison)
29. Johnny Cash - Jackson (With June Carter)(Live At Folsom Prison)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for May 26.

Saturday, May 19, 2018

Blues On The Brain: An Interview With Frankie & Jimmy & Shows # 722, 721, 720


Frankie & Jimmy are fronted by vocalist/harmonica player Jim Fitzgerald Jr. and guitarist Frankie Flowers who also plays porch-board bass/tambourine and are a blues duo out of Hamilton, Ontario. They call their brand of blues, Sliding Demento Delta Blues. The band blends elements of garage and punk (having been in bands of those categories in the past) and apply that energy and aesthetic to the blues songs that they play. All of the songs are covers, but they are played in such a way that you might not even recognize the song as a cover.

Frankie & Jimmy’s first album, Scream The Blues, was released in 2014 and featured 13 tracks that dug into the Delta blues and early rock genres. This album stripped down the songs and cut them to their bare essentials. The songs were then executed with a lo-fi, garage/punk groove. Often billed as “The Poor Man’s Blues Bros”, Frankie & Jimmy’s second full-length album Blues On The Brain will be released in late June 2018 on Transistor 66 Records. “Shakemondown” starts off Blues On The Brain. This song jumps right into a high-octane energy with fast sliding guitars, slicing harmonica and howling vocals. It gives a punk twist to this 1937 Delta blues classic “Shake’ Em On Down” that was originally recorded by Bukka White, but the version found here is based on a version that was done by Fred McDowell. Frankie & Jimmy’s version maintains a soulful shuffle rhythm, but is performed at an unhinged, reckless speed.

“Spread The News Around” shakes off the dust of the Brownie McGhee & Sonny Terry song from the 60s. This song features a locomotive like rhythm, with smoky harmonica parts, chugging guitar and lyrics such as “Whole lotta people in trouble/Whole lotta people in grief/But out in this great big world/I know there’s a place for me” and “I’m gonna get on my feet after awhile/Then I Won’t Be Down/Spread the news around”. The song calls for an understanding, one of finding your place and not being so down, despite your surroundings, regardless of how good or bad they are. This is a message that is just as relevant today as performed by Frankie & Jimmy in all their revved up, lo-fi garage/punk blues glory as when it was originally done by Brownie McGhee & Sonny Terry. “Hellhound On My Trail” brings down the pace a bit with a creeping intensity and paranoia, “Stand Your Test In Judgment” claws at your subconscious with its dirty tambourine and rustic blues guitar, amongst Fitzgerald’s soulful vocals and harmonica parts. Frankie & Jimmy take a greasy blues approach to the blues/gospel track “Keep Your Lamp Trimmed and Burning” which is a song about not giving up and staying sharp even when there’s nothing left in you.

“Pony Blues” follows next, based on a song Son House adapted from Charley Patton. It comes to life on this album in a new way. The song runs and roams in its own direction set forth by Frankie & Jimmy, combining a soulful growl vocally, aggressive slide guitar and haunting harmonica rhythms. Lyrically the song draws on elements that have been drawn on in many different forms for generations. With lyrics such as “Why don’t you catch my pony/Saddle up my black mare/I’m gonna find my baby in this world somewhere” and “He’s a travelin’ horse and he don’t deny his name/He’s a travelin’ pony/The way he can travel is a low-down, old, dirty shame”, “Pony Blues” tells a tale of love, doubt and the underdog, as it wanders around searching for meaning and answers. “Vastapol” (a song originally by Elizabeth Cotton) provides a country, blues and folk musical interlude, “Babe It Ain’t No Lie” (also originally by Elizabeth Cotton) drifts into the same places with guitar fingerpicking, porch-board bass, whistling and lyrics sung by Jimmy with a sincere conviction about a lie that just isn’t true.

Dirt and grit are kicked up into the sonic atmosphere as the album gets to “Lil Red Riding Hood”, the final track on Blues On The Brain. Cloaked in a tale of lies and deception, this song is told from the perspective of the wolf from the fairytale of the same name. Throughout Blues On The Brain, Frankie & Jimmie tread in the murky water of the early blues genre. Like old blues and folk songs, the music found here are stories adapted from tales of the sonic book of folk/blues. The difference with this album as opposed to other recent blues albums is that Frankie & Jimmy don’t replicate the past, they create their own gospel from the sounds of the past with their own added grime, grit and soul.

Keep reading for an interview that I did with Frankie & Jimmy:

RR: How and when did Frankie & Jimmy start playing as a band?


Photo:  Dylan Weller
Frankie: We formed on June 18, 2011, from the ruins of Hamilton’s underground pop rock sensation Dirty Sack of Steel. A mutual friend of ours named Matt D'Alvise (from Black Collar Union) asked if me and my band The DJ Killers (Pat Sirrs and Marc Baldassi) would form the rhythm section for Matt and Jim’s band, Dirty Sack of Steel. After a few shows, Matt quit, Jim asked if I liked blues music, and I asked Jim if he wanted another beer. The rest is history.

Jimmy: We originally started jamming together as a 5 piece called Dirty Sack of Steel. Frankie was on keyboards. He had a bunch of pedals including this dynamite phaser that he'd string along his keyboard like some kind of tall Polski alien piloting his flying saucer. The guitarist / other singer Matt D'Alvise (Black Collar Union) and I had written a bunch of goofy tunes together. D'Alvise and I met because we stayed in the same student housing when we went to OCAD. As we got to know each other it turned out we knew a lot of the same people. D'Alvise was the first person to really encourage my playing and the first person to jam with me regularly.

The rhythm section for DSOS was Marc Baldassi on bass and Pat Sirrs on Drums. Dirty Sack's line up was very similar to our 6 piece band for our Hamilton record release (June 21st at This Ain't Hollywood) except minus D'Alvise (he gave in to the dark side aka metal) and plus Matt Mangano on Sax and Brandon Dean on Keys. When DSOS proved to be short lived, Franc and I were still hanging out a lot. Right before DSOS dissolved Franc had transcribed all his keyboard parts to slide guitar. I was really excited about that. When that other band clearly wasn't happening we still wanted to jam together and figured the best way to improve our playing was to learn old blues songs. Turns out it was a lot of fun so we started adding to the sound with amplifiers and a rhythm section (Franc's feet). One day we were kind of just like “Ya we're a band now” and decided to name ourselves in an homage to the greatest blues duo of all time: Sonny Terry and Brownie McGhee aka SONNY & BROWNIE. After that we started playing shows. We just kept doing it because we loved it and also the blues pays better than punk.

RR: Frankie & Jimmy have a unique take on the blues genre. How would you describe your music to someone if they hadn’t heard it before?

Jimmy: We play sped up, fuzzed out blues traditionals with a punk attitude. We play the proper notes and techniques but in our own frantic way. Our live shows are a bit of a clowning comedy routine. We draw a lot of performance inspiration from acts like the Blues Brothers and Blowfly.

Frankie: I usually tell people, “We play folk country blues tunes, punked up a bit with a garage rock edge, whatever the heck that means. Just slide guitar, harmonica, yelling, stomping and head banging.”

RR: How do you decide on which blues songs that you will play? Is there a specific process or method to selecting the songs that you play?


Jimmy: It usually happens organically. One of us will be listening to something and a song will stand out. Blues FM on Jazz FM 91.1 introduced me to a lot of great stuff. Sometimes it will be a YouTube playlist, particularly from our favourite channel RagtimeDorianHenry and sometimes I'll be deliriously drunk and giddy at 4am listening to my friends old blues records and texting Franc that we need to play this song I just listened to. Sometimes we'll play a song someone recommends but that doesn't happen very often so don't get your hopes up.

Frankie: Jim picks them. The only stipulation is that the song must have originally been done by a deceased person, because Jim believes in ghosts. Most our song choices, fall under 3 categories, Dirty, Spooky and Pretty. We try to keep a 5:2:1 respective ratio to optimize the emotional roller coaster of our set designs.

RR: When did you first start working on Blues On The Brain and who did you work with (Ie: Producers, etc.)?

Frankie: I think we started recording in the spring of 2015, with Nick Johannes, he’s awesome and really easy to work with. Originally, we planned to release a trifecta of 7inchers, The Dirty7, The Spooky7 and The Pretty7. After recording The Dirty7, we got talked into scrapping the trifecta idea, and just release a full length album. I believe Jesse from It's Trash Records convinced us to not bother releasing any 7inch records because not too many people buy them. We recorded the rest of the album in the fall of 2016 with Nick and Mike Trebilcock mastered it for us.

Jimmy: We toured a lot of the songs we were planning to put on this record for our west coast tour in 2016. It was recorded by Nick Johannes (The Kettle Black, Get Off The Cop) and mastered by Mike Trebilcock (The Killjoys, Simply Saucer). Basically four people worked on this album (excluding the people that originally wrote the tunes).

RR: Do you think the recording process of this album was different or similar to when you were making 2014’s Scream The Blues, and if so why?

Frankie: The main difference is our new album was recorded over a longer period of time consisting of 2 weekend recording sessions a year and a half apart. We also recorded at one location with Nick and had him mix everything too. Scream the Blues was recorded at 2 locations with different sound engineers, Pat Sirrs and Mike Cividino. Pat mixed all of that album. We did do the similar process of capturing our live sound with no overdubs except 1 vocal overdub that Jim did, but we won’t talk about it.

Jimmy: We knew what we were doing a lot more this time around but the live off the floor, play it 30 times approach is the same for both records. We've calmed down on the partying so we wasted a lot less of everyone's time this round.

RR: Some of the songs that you play are several decades old, yet the songs are still relatable today. Why do you think that is and what is it about the early delta blues genre that draws you to it?

Jimmy: People change and our world changes but despair and joy will always feel the same. Some of the songs we play are hundreds of years old. So old that no one really knows exactly where they came from. I like the raw, haunting sound of early direct-to-disc records. There is no filter, no producer tweaking the knobs. What you hear is what they played and we try to do the same thing with our sound. Most early blues players were self taught. Elizabeth Cotten played the guitar upside-down because she was left handed.

Frankie: I find them still relatable today mainly due to the raw emotion of the sound. It is easier for me to resonate with soulful music rather than triangle and square waves making laser beam Nintendo point collecting synth noises. Also, the lyrical themes and stories are pretty timeless and most people can connect to them at some point or another throughout their life. I’m personally drawn to the sound of the slide guitar. There’s something about the many ways to approach and shape different pitches with a slide. I find that a slide helps enable me to translate emotions and musical ideas to a fret board with a better continuous flow of pitches. Rather than fretting notes individually or playing a piano that leaves a discrete space in between the pitch intervals. A slide gives the guitar a vocal like quality, which is a perfect accompaniment to singing the blues.

RR: The new album is being released through Transistor 66 records. How did you get connected with the label?

Frankie: I think Jim met Art Transistor either on the Internet or in Winnipeg when we played at the Windsor hotel. All I remember is Art giving us a few handfuls of CDs from his label, and buying us the tastiest Indian food in Winnipeg. I was sold right then and there on those things alone, but after realizing Art is a solid, honest, cool dude with a passion for helping musicians, it made it comfortable to work with him.

Jimmy: I can't remember what came first. What Wave Dave from CHRW Radio Western in London recommended working with Art Transistor's label a number of times. It caught my attention. Art Transistor has great taste and I'm not just saying that because he is releasing Blues On The Brain with us. Transistor 66 is based out of Winnipeg, which in my opinion has the best garage bands in the country. The Winnipeg sound is different than anywhere else. I was floored when I first saw The Crooked Bros who work with T66. There's a lot of great acts like Mmmeats, Eve Hell, Bloodshot Bill and Ol' Ba Johnston that have worked with Art. I've never heard a band on T66 I didn't like. When we first rolled through Winnipeg all dusty, covered in fly bites and holding our piss for too long, Art invited us to dinner at The East India Company, which is this transcendental buffet. He gave us a bunch of CDs from the label and we talked some turkey. Feeding a touring band a gourmet meal and giving them a bunch of new music for the van is a surefire way to make friends. It's been great working with Art Transistor. He really has your back and picked up the slack for me when I had some problems to take care of. Art doesn't tell you how to make your record or what it should look like. He lets artists do their thing. Seriously listen to this band they rule https://mmmeats.bandcamp.com/

RR: Frankie & Jimmy have played shows coast to coast. You’ve played in all kinds of places (according to your bio), what are some of the un-traditional places that you’ve played live shows at and what do you remember of some of these shows?


Frankie: We played a wedding cocktail hour at the Art Gallery of Hamilton where Jim was the bride’s maid of honor and the groom requested that we play the King of The Hill theme song upon their entry. That gig seemed un-traditional to me hahaha.

Jimmy: Playing the Palmer Church in the badlands of Saskatchewan was a real highlight. I can't wait to go back there. I was laughing to myself while drinking beer in the confession booth, which is a pretty fun thing to do until you realize there are children still up and dancing and then you feel like a total reprobate. We played a farm on Quadra Island where I called all the dogs to the dance floor and 8 of them rushed the stage dancing in their own doggy vortex way. The train station in Brantford used to have shows and that was a great spot. It was cool to play Freight Train (Elizabeth Cotten) while one was pulling into the station. House Show Pleine Air in Quebec is going to be great this year too. It's like this sweet hippy/carnival party. Last year we blew a fuse while playing Minglewood Blues. The Keene Summer BBQ is always a hoot too. The best BBQ in Canada is at Muddy's Pit BBQ in Keene. The last time we played was during a storm and it's kind of stressful to be protected by some tarps in the middle of a baseball diamond when you know your body is closing a circuit. Can't wait to do it again this year. The BBQ is really THAT good.

RR: You sell your own homemade hot sauce at your live shows. What led to you selling your own hot sauce and how would you rank the spicy/hotness of the sauce if you had to?

Frankie: Our buddy and music video producer, Ian Steinberg, suggested the idea to make hot sauce and beer cozies as band merch, while we were up at Jim’s cottage. We never made any beer cozies, but the hot sauce was a genius idea. I made a few small test batches before ramping up production. I made some small changes to the recipe after a few more batches, but now the consistency is better dialed in. The initial flavor is kind of sweet and not that hot, but then the heat creeps in and if you eat more the heat will bite down and linger. My guess is that it ranks between 45,000 – 90,000 Scoville Heat Units.

Jimmy: We were up at my family's cottage and our videographer Ian was rhyming off cool merch that we should make and when we mentioned hot sauce our eyes lit up and we looked at each other. 6 test batches later and we had our flavour.

RR: What’s next for Frankie & Jimmy?

Frankie: We are releasing a music video soon with our new album and plan to tour throughout southern Ontario this summer and also play a weekend in Quebec, and go out east for a few weeks at the end of summer. In the fall we are planning to play a stint of northern Ontario shows. Besides touring with the new album, there are rumours of an underground tag team wrestling circuit amongst 2 piece bands emerging. Jim hired a personal trainer and has been hitting the training hard along the Hamilton escarpment. There is a good chance that we can win the belt this year and start selling mini Frankie and Jimmy wrestling action dolls.

Jimmy: We're touring the circuit this summer and have an east coast tour booked for the end of September. Looking to do northern Ontario in October and a west coast next spring. Then hopefully we can get our passports sorted and go to Europe. We'll be releasing a new music video made by Ian Steinberg that uses marionettes, practical effects, animation and some live action. Franc's mom is a puppeteer with Studio Babette so it was a family affair this time. It was a lot of fun to make and Franc's dear parents let us take over their master bedroom to use as our studio. This video is going to be our magnum opus.

Show 722 Play List (Originally Aired On May 19th, 2018)(Frankie & Jimmy, Courtney Barnett, Blacktop):

1. Iceage - Hurrah
2. Minutemen - Maybe Partying Will Help
3. King Tuff - Psycho Star
4. Liza Anne - Paranoia
5. La Luz - Loose Teeth
6. Glen Branca - Lesson No. 2
7. Parquet Courts - Almost Had To Start A Fight/In and Out of Patience
8. Pretty Matty - Oh Well
9. Psych Void - Gutter Butter
10. Snuggle Bunnies - Looking For Planet X
11. Peach Kelli Pop - Pitch Black
12. Peach Kelli Pop - Black Cat 13
13. Secret V's - Modern Boy
14. Frankie & Jimmy - Spread The News Around
15. Frankie & Jimmy - Lil Red Riding Hood
16. Nudie - It Ain't Gonna Happen Today
17. Courtney Barnett - Charity
18. The Low Joy Ceiling - Boneshaker
19. Thee Mighty Caesars - The Double Axe
20. Wild Billy Childish & the CTMF - In A Parallel World
21. The Beguiled - Black Gloves
22. The Gories - To Find Out
23. Blacktop - I Think Its Going To Rain
24. Blacktop - Here I Am, Here I Always Am
25. Mink Deville - Gunslinger
26. The Lone Bellow & Friends - Me and My Uncle
27. Jonathan Richman - She Don't Laugh at My Jokes
28. Elvis Costello & The Attractions - Love For Tender
29. Ty Segall - I'm Free
30. MC5 - Call Me Animal

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for May 19.

Show 721 (Originally Aired On May 12th, 2018)(Repeat of Show # 670: Chris Cornell Tribute):

1. Kestrels - Thorn
2. Hooded Fang – Queen of Agusan
3. Dusty Mush - Hot Tomato
4. Girl Pool – Corner Store
5. New Pornographers – High Ticket Attractions
6. Robyn Hitchcock – Virginia Wolfe
7. Soundgarden - Kickstand
8. Soundgarden - Blow Up The Outside
9. Chris Cornell – Spoon Man (Demo)
10. Chris Cornell – Seasons
11. Soundgarden - Face Pollution
12. (Sandy) Alex G – Witch
13. Mount Eerie – Death is Real
14. Mountain Goats – Rain in Soho
15. Craig Finn – Jester & June
16. Canailles – Backflips
17. Neil Young - Looking For A Love
18. Dead Ghosts - All In A Row
19. Los Straitjackets - Heart of the City
20. The Velveteins - Midnight Surf
21. Nap Eyes - Roll It
22. Gang War - These Boots Were Made For Walking (Live)
23. Nick Cave & The Bad Seeds - Jangling Jack
24. Nick Cave & The Bad Seeds - Jesus Alone

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for May 12.

Show 720 (Originally Aired On May 5th, 2018)(Minutemen acoustic, Richard Hell, Television, Sex Pistols):


1. The Minutemen - I Felt Like A Gringo (Acoustic Blowout 1985)
2. The Minutemen - The Meter Man/Corona (Acoustic Blowout 1985)
3. Ry Cooder - Shrinking Man
4. Tymon Dogg - Cochon
5. Stompin' Tom Connors - Long Gone To The Yukon
6. The Highest Order - Stare Down The Barrel of Today
7. Kristian North - Waiting
8. Shark Toys - Let's Follow (City Lights)
9. Hot Snakes - Plenty For All
10. The Scenics - Wild Trout
11. The Castiles - Baby I
12. Nap Eyes - Roses
13. Bonny Doon - Try To Be
14. Sloan - Year Zero
15. The Replacements - I'm In Trouble
16. Richard Hell & The Voidoids - Liars Beware (Live CBGB April 14th, 1977)
17. Television - Judy (Live Max's Kansas City 1974)
18. R.E.M. - Bandwagon
20. Tongues - Gelatinous
21. Miles Davis & John Coltrane - 'Round Midnight (March 21st 1960 - The Olympia Paris, France)
22. Tampa - Bad Hangover
23. Chris Sleightholm - She Left To Another Place
24. Bloodshot Bill - Lemme Rock
25. The Beat Happening - Foggy Eyes
26. Hooded Fang - Ode To Subterrania
27. The Dirtbombs - Infa-Red
28. Sex Pistols - Stepping Stone (Live In Chelmsford Prison 1976)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for May 5.

Saturday, April 28, 2018

The State of Music: An Interview About Pentagon Black No. 4 & Shows # 716, 717, 718, 719


In the recent age of the Internet with the advent of streaming music, the compilation is something that seems to have fallen by the wayside. But, now even more so compilation albums are just as relevant as they were in the 80s or 90s. There are multiple uses for compiling music and instead of just randomly making an endless playlist that you can stream, a compilation album can serve many different purposes. In the case of the recent Pentagon Black No. 4 compilation album, it connects different bands across different parts and scenes in Canada. For the listener it makes them aware of some bands that they would have otherwise never even heard of. This compilation, as does Pentagon Black No. 3, has the effect of a bootleg live recording at times. When listening to the songs found here, there is a certain immediacy and intimacy that flourishes.

The opening track on Pentagon Black No. 4 is by Guelph musician Steph Yates. “The Bitter Part of the Fruit” is an acoustic, Bossa Nova tinged track laced with heartfelt melancholy. This is an example of the different types of music that you will find on this compilation. Not everything is melancholic, not everything is acoustic, and not everything is rough sounding despite the fact that all of the songs on this compilation were recorded with cellphones. But, all of the 19 tracks found on Pentagon Black No. 4 are bursting with the seeds of creativity and cohesion. Don’t Bother (from Toronto) attack with the politically charged “The Rebel”, Usse (from Saint John, New Brunswick) dig into noisy experimentalism on their track “Negative Bolt, No Action”, while Vancouver’s Orange Kyte tackle the shoe gaze and psychedelic genres with their track “Downfall”. Fashionism (also from Vancouver) brings high energy with their power pop dynamics in “Checking Out the Checkout Girl”, Montreal’s Property// bring moody synth rock with their track “TragicSimLoss”, Smokey & The Feelings “Blow” sprouts with gusts of indie folk from Edmonton, Alberta, and Halifax’s Outtacontroller contribute their fuzzy garage sounds with “Too Much Tonight”. These are just some of the examples of the types of songs of differing genres from different parts in Canada found on this release.

With Pentagon Black No. 4, the label takes the theory of a compilation album, keeping it focused and at the same time a little more experimental than the previous compilations that they have released. In addition to this, they cut out the physical element, but not completely. Musically this release, like all of their “Paper LP” releases, features a digital download code that is included with an art element. The artwork for this release comes in the form of a postcard illustrated by Lisa Czech. Also, the compilation is only two dollars to purchase in its entirety. In the process of all of this, Pentagon Black stays true to their minimalism ideology. All of the recordings have a lo-fi element since they were all recorded on cellphones, but this doesn’t affect the quality of the music. They are using technology, but aren’t overcomplicating things. Pentagon Black puts a twist on an old favourite finding an in-between of the past and present way of releasing a compilation album and from this essence an art form blooms.

Get Pentagon Black No. 4 here.

Keep reading for an interview that I did with Raymond Biesinger & Drew Demers of Montreal’s The Famines and also of the Pentagon Black label:


RR: The compilation album is an art in itself. Putting it together, deciding what’s included, what goes where and the artwork. What led you to wanting to put out compilation albums with your label Pentagon Black and what is the general process that you go through when compiling them?

RAYMOND: Yeah, as we played around with the poster-and-download format, it kind of “told” us what to do. When we realized it held limitless minutes of music, we realized we could present a lot of music. When we realized it was cheap to print and people saw it as a valuable thing, we realized we could print a lot of them and not get burned, financially. When we realized it was inexpensive to mail large quantities around, we realized we could decentralize distribution of the records among dozens of musicians and see what happened next.

DREW: In general, we approach bands that we love that are community builders in their own scenes and take it from there. Once all the tracks are in, Raymond (or Lisa recently) works on the art side to properly represent each of the tracks and I get to work on trying to discover a flow between the songs that makes sense.

RR: Why do you think compilation albums are still important today? Do you feel they are more beneficial to independent artists?

DREW: Compilations are more important now because it’s become difficult for a band to cut through the impenetrable wall of the Internet, to get heard by more than just their peer group. I think they are equal parts beneficial to the artist and the consumer: for artists, they get to tap into the fan base of a few dozen different bands, getting exposure in unknown places. For the listener, it's a chance to become exposed to groups they may not have heard before.

RAYMOND: The world is a dangerously libertarian and individualistic place where all kinds of established powers work for themselves and against your average human being. Maybe there’s another way?

RR: Pentagon Black No. 3 & 4 are made up of live recordings from cell/smart phones. This gives the compilations a certain bootleg-like immediate/raw quality. How did you come up with this “phone comp” format for these particular compilations and would you say it is similar to live bootleg recordings that have been released in the past?

DREW: Pentagon Black No. 3 came very close on the heels of the second one, which was a very polished collection. All the artists put their best foot forward. We knew we needed to do something different with that release, both in format and delivery. It was sort of obvious. Any time we write a new song, we use Voice Memo to capture a reference of it. Listening back, they’re at least “listenable” if not “good” sounding, and so easy. We figured it wouldn't be asking too much of bands to supply us with a track that way. You could consider it in the same family as a live record, except that due to the fidelity of the phone recordings, it sounds like every band recorded in the same room.

RAYMOND: I think we were hanging out near Brasserie Beaubien when we decided it was an idea worth trying. The risk was incredibly low—no recording costs, no mastering, we already had the (very easy) technology down, we knew a bunch of bands that trusted us because of the first two compilations, and printing 500 postcards is dirt cheap. That same “low risk” environment bled into the adventurousness of the recordings. Garbageface recorded his track while walking around Peterborough singing into his phone, Special Costello’s while driving in western Nova Scotia. An early version of Steph Yates’ track had her cat in it, Usse described their recording as “their free-est yet” and Fashionism spontaneously cusses at us in their intro. So much of this is unfiltered or untried. I honestly haven’t thought of these as akin to “bootlegs” until you just mentioned it now.

RR: How does Pentagon Black No. 4 differ from No. 3 and what are some of your favourite bootleg/live recordings that you’ve heard?

DREW: They’re different in that artists were taking bigger sonic risks this time around. There is more experimentation and diversity among the tracks. And a bunch of saxophone. Personally, the live version of “The Human Factor" by Oneida is one of my favorites. I have it on vinyl but my partner doesn’t allow me to play it at home because she hates it. It's 15 minutes of improvised drums and screaming.

RAYMOND: Agreed. It was easier to coax tracks out of bands, too, which is why it’s a few songs longer. And there isn’t any Famines on it. And the Rolling Stones’ “Got Live if You Want It” live LP is a sonic mess. I love it so much—it sounds like the Stones gone punk. We named one of our songs “Got Lies if You Want Them” as a bit of an echo of it.

RR: Lisa Czech did the artwork for Pentagon Black No. 3 & 4. When did you first discover her art and how did she become involved with the album art for these recent compilation albums?


DREW: I’d seen her work on posters around Montreal for years but didn't know who she was. We wanted something that stood out as wholly different from the style of the first two, which are easy to spot as Raymond's work.

RAYMOND: I’d bought a few prints of hers over the years, and her B&W-dominated obsessively-detailed art was a clear fit. She’s the only person besides me we’ve ever trusted with a Famines release or comp. I think we may even have been considering her for a Famines record cover before this?

RR: You were involved in the 2018 Flourish Festival recently. The Famines played and in addition to releasing this compilation there was an art exhibition of sorts. Can you tell us a bit about what this entailed?

DREW: We played with Whoop-Szo, Klarka Weinwurm, Lonely Parade and Motherhood, and all of these bands have appeared on at least one of our compilations. In a way it was the unofficial Pentagon Black showcase. We also hung up each of the compilations, the Pentagon Black Famines singles, our Complete Collected Singles paper re-issue, a PRIORS record, and a picture of my leg tattoo (also known as the 7th Pentagon Black release). All the exhibit labels showed a download code, too, and anybody who wanted could download the releases for free. That's at least 106 songs.

RAYMOND: Yeah, it was all ten Pentagon Black releases, left to right, chronologically. Oh, and we added the “Stay Home Club” paper single—our very first paper release. That was on another label (Psychic Handshake, RIP). They basically said “we’re going out of business so do whatever you want as long as it’s cheap, you crazy boys.”

RR: Your label is called Pentagon Black. What inspired the name Pentagon Black?

DREW: We discussed a handful of combinations before arriving at Pentagon Black. I can't remember the exact flow, but black is a touchstone of our vibe and the pentagon is a visually striking shape to rally around.

RAYMOND: The minimalism and starkness of it is expressive of the Famines. And it sounds nice, too.

RR: Do you think that Pentagon Black will ever release anything in a physical format or do you plan on sticking to digital releases?

DREW: We haven’t discussed it officially, but I can confidently say we will always release on paper with digital. Vinyl and cassette are too expensive and wasteful. CDs are equally wasteful, perceived as uncool, and move slower because of it.

RAYMOND: No comment.

RR: The first two Pentagon Black compilations were more studio recorded affairs, while these last two were live. Do you plan on doing more compilation albums and if so, what do you plan on doing next?


DREW: We've put a lot of work into pushing compilations and scene building, but have put zero work into recording and pushing our own music lately. So the next release is going to be by and for the Famines. We haven't closed the book on compilations, but it hasn't been a week yet since No. 4 was released. We're taking a vacation from making any grand plans.

RAYMOND: Good call. As much as we talk about how “easy” our formats are on musicians, this stuff is exhausting. I just want to be a guitarist and singer for at least half a year, tour around, record a bit, talk to the musicians we’ve worked with, and maybe they’ll tell us what comes next.

Show 719 Play List (Originally Aired On April 28th, 2018)(Pentagon Black No.4 Part 2):

1. Billy Lee Riley - Flyin' Saucer Rock & Roll
2. Big Mama Thornton - Wrapped Tight
3. Bo Diddley - Down Home Special
4. The Gories - Be Nice
5. The Space Plan - High Noon In Death Valley
6. Shadowy Men On A Shadowy Planet - Who's Afraid Of Alison Hymer/Wow Flutter Hiss
7. Shadowy Men On A Shadowy Planet - Babakganoosh
8. Young Fresh Fellows - Taco Wagon
9. Secrets - Take Another Look
10. Marbles - Fire and Smoke
11. The Revelons - 97 Tears
12. Elvis Costello & The Attractions - Oliver's Army
13. The Clash - White Riot (UK Version)
14. The Ronald Reagan Story - Ronnie (I Voted For You)
15. Nocturnal Projections - Nerve Ends In Power Lines
16. Nocturnal Projections - Moving Forward
17. Visitors - The Orcadian
18. Preoccupations - Espionage
19. A Place To Bury Strangers - Execution
20. Heart Attack Kids - Platonic Love Bomb
21. Cellos - Exodus
22. The Famines - Stay Home Club
23. Fashionism - Checking Out the Checkout Girl
24. Outtacontroller - Too Much Tonight
25. Steph Yates - Bitter Part of the Fruit
26. Paul The Tailor - Why Won't You
27. The Ketamines - Spaced Out
28. The Replacements - Hitchin' A Ride
29. Tough Age - 50 Girls 50
30. Guided By Voices - Space Gun
31. Frankie Cosmos - Apathy
32. Subway Sect - Don't Split It
33. The Rolling Stones - Under My Thumb (Live)
34. The Rolling Stones - Get Off My Cloud (Live)

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

Show 718 Play List (Originally Aired On April 21st, 2018)(Pentagon Black No.4 Part 1):

1. Iggy Pop - Rock And Roll Party
2. Sex Pistols - God Save The Queen
3. Ivy Green - I'm Sure We're Gonna Make It
4. Epsilons - Drunk On Love
5. Epsilons - Evil Robots
6. The Unintended - Stay Calm
7. Jon Langford & His Sadies - Up To My Neck In This
8. Mayhemingways - 14th of January
9. Born Ruffians - Ring That Bell
10. Baby Giant - Such & Such
11. Human Switchboard - Fly-In
12. The Waterfront - Normandy (On The Beach)
13. Damaged Bug - The Mirror
14. The Government - None of the Above
15. Kim Gray - Reflection of You
16. The Exploding Hearts - Shattered (You Left Me)
17. Kevin Morby - Baltimore (County Line)
18. OCS - Wait All Nite
19. OCS - Tower & The Wall
20. Indian Wars - Walk Around The Park
21. Curtiss A - Bad News From Phoenix
22. The Suicide Commandos - Weekend Warrior
23. The Minneapolis Uranium Club Band - Vanishing Point
24. Don't Bother - The Rebel
25. The Orange Kyte - Downfall
26. The Cavemen - Thug
27. Nap Eyes - You Like To Joke Around With Me
28. Nap Eyes - Everytime The Feeling
29. Gary U.S. Bonds - Quarter To Three
30. The Ugly Ducklings - Nothin'

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


Show 717 Play List (Originally Aired On April 14th, 2017)(Hot Snakes, The Spits and The Wipers):


1. Messer Chups - House of Exorcism
2. The Phantoms - Peter Gunn
3. The Garry's - Relics
4. La Luz - Cicada
5. Bonny Doon - A Lotta Things
6. Lucile Furs - Another Land
7. Papermaps - The Missed Connections
8. The Voidz - Leave It In My Dreams
9. A Place To Bury Strangers - Frustrated Operator
10. Yellow Magic Orchestra - Solid State Survivor
11. Safe Word - You & Me
12. Lychi - Not Sorry
13. Middle Sister - The Diplomat
14. Eamon McGrath - Cartographers
15. Dusted - Backwoods Ritual
16. Hot Snakes - I Need A Doctor
17. Hot Snakes - I Hate The Kids
18. Ten Million Lights - Revolt
19. Shark Toys - Three Dogs
20. The Spits - 2018
21. The Spits - Remote Kontrol
22. LTD - New Stains
23. Guitar Army - I Wanna Be Like You
24. Garbage Face - Rock Music (Kawithitnow)
25. Garbage Face - That Guy Is Cool (Sick!)
26. Paul Jacobs - The Basement
27. The Wipers - When It's Over
28. Destroy All Monsters - Nobody Knows
29. The Gruesomes - You Gotta Believe Me

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for April 14.

Show 716 Play List (Originally Aired On April 7th, 2018)(Archie & The Bunkers, Husker Du, Nap Eyes & Ty Segall):

1. Creation's Disciple - Psychedelic Reaction
2. Phil and The Frantics - I Must Run
3. Archie and The Bunkers - The Traveler
4. Archie and The Bunkers - She's A Rockin' Machine
5. Naked Giants - Everybody Thinks They Know (But No One Really Knows)
6. Frankie Cosmos - The Ballad of R & J Vessel
7. The Damned - Idiot Box
8. Iggy & The Stooges - Shake Appeal
9. Psychic Void - Day Dreamer
10. Husker Du - From The Gut
11. Husker Du - Sunshine Superman
12. Hellaluya - Iggy Pop
13. Cartoons - Bugeyed
14. Young Canadians - No Escape
15. Spizzenergi - Mega City 3
16. Devo - Wiggly World (Live at The Walker 1978)
17. Ought - Disgraced In America
18. The Magnificent 7's - Dirty Road
19. James O-L & The Villains - Foolsome Tourist
20. Bloodshot Bill - Pretty Little Girl From Mars
21. Baby Giant - Sky Writer
22. Leonard Cohen - Stories of the Street
23. Nap Eyes - Roses
24. Nap Eyes - Follow Me Down
25. Chain & The Gang - I Hate Winners
26. Ty Segall & White Fence - Easy Ryder
27. Ty Segall - You Say All The Nice Things
28. Danny & The Darleans - I'm Right Here
29. Preoccupations - Manipulation

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for April 7.

Saturday, March 31, 2018

Arc Records & Shows # 712, 713, 714, 715


Arc Records was a Canadian independent record label that had its beginnings in Toronto in 1958. Founded and owned by Philip G. Anderson, Arc Records was a subsidiary of a distribution company called the Arc Sound Company Ltd. that distributed records for many American record companies. Arc Records began pressing their own records in 1959. In 1961, Arc set up Precision Manufacturing Ltd. in order to press their own records and 45 RPM singles. The label released many covers or tributes of pop hit songs of the day performed by Canadian artists and specialized in regional artists. Arc would also find success in the US music market, as well as regionally.

Arc Records released music by many top recordings artists in Canada in the 1960s such as Anne Murray, Terry Black, Abbey Tavern Singers, Dublin Corporation, Catherine McKinnon, Richie Knight & The Mid-Knights, and Ronnie Hawkins to name a few. Two other artists of note to have music released on Arc Records were Newfoundlanders Dick Nolan and Omar Blondahl. Nolan was born in Corner Brook, Newfoundland and the music that he made combined elements of country music, traditional Newfoundland, Maritime and Irish folk music. In 1959, he moved to Toronto where shortly after he and his band, The Blue Valley Boys, performed at The Horseshoe Tavern as the venue’s backing band. They often backed up US country musicians such as Waylon Jennings, Willie Nelson, Bobby Bare and Charley Pride when they came to town. Nolan would sign to Arc Records and record 14 albums for the label between 1959-1969, two of which (I Walk The Line (1962), Folsom Prison Blues and Other Johnny Cash Songs (1968)) were Johnny Cash tribute albums. Some of his notable songs were the Newfoundland folk songs “I’s the B’y” and “Aunt Martha’s Sheep”, in addition to country material that he recorded. Omar Blondahl was born in Wynyard, Saskatchewan, but it wasn’t until getting a job at a radio station in Newfoundland that he discovered the folk songs of Newfoundland. He became fascinated by the then largely unrecorded folk songs of Newfoundland and helped to popularize them. Several albums (Songs of Sea and Shore (1959), Favorite Folk Songs From Here … And There … And Everywhere (1960), Folk Songs From Around The World (1961)) of his were released on Arc Records.

Terry Black was a Vancouver born musician who scored a high charting single with the song “Unless You Care” at the age of 15. The song written by P.F. Sloan and Steve Barri led to an album in 1965 produced for Terry Black called 16. It was released on Arc Records, along with several singles and an album of outtakes and alternate versions of songs in 1966 called, The Black Plague. Richie & The Mid-Knights, an R&B band from Toronto, while they had many songs released through Arc, are perhaps best known for their high charting hit single “Charlena”. The song was originally by the Los Angeles based band The Sevilles and was a song that the band heard at a Toronto dance hall. They learned their own version of this song, mostly from memory. It became a favourite at live shows and caught the attention of Arc Records vice president Bill Gilliland. The song became a number one single on CHUM radio’s chart in Toronto for two weeks straight in the spring of 1963, being the first single by a Toronto band to do so at the time.

A subsidiary of Arc Records was the Yorkville label. This label released more garage rock and psychedelic rock oriented material by artists such as Toronto’s The Ugly Ducklings, Stych In Tyme, The Secrets and many others. Ugly Ducklings had a series of national hits with songs such as “Nothin’”, “10:30 Train” and “She Ain’t No Use To Me”, while Stych In Tyme was a band from Nova Scotia that only ever released a few singles for Arc/Yorkville, but one of their songs, a version of The Beatles “Got To Get You Into My Life”, became a national hit as well. The Secrets are known for recording their 1966 single “Cryin’ Over Her”. Backed with the slower, psychedelic based song “He Treats You Bad”, this single would be the last recorded by the band as The Secrets. The band themselves were another band in the Toronto music scene at the time. Although they formed in 1959, they got their start in recording by recording a novelty song in 1966. “Clear the Track Here Comes Shack” was a song about Toronto Maple Leaf hockey player Eddie Shack and was credited to Douglas Rankine & The Secrets. In addition to their “Cryin’ Over Her” single, The Secrets recorded an album of Monkees covers that was anonymously released through Arc entitled A Little Bit Me (Plus 9 Other Tail-Hanger Favorites) in 1967, an album of Christmas songs entitled The Story of Snoopy’s Christmas and Other Favourite Children’s Songs in 1968 on Arc Records, but by this time the band was going by The Quiet Jungle. Changing their name to avoid association with their early novelty single, as The Quiet Jungle, the band released their first single “Ship of Dreams/Everything” in 1967. The psychedelic tinged track had a modest success, but after their second single, “Too Much in Love”, The Quiet Jungle was essentially over.

These are just some examples of music released by Arc Records. You may not like everything that was released on the label, but there are all sorts of records by different types of bands that have been released with the Arc imprint. The label and its subsidiaries released a wide selection of top 40 covers, novelty songs and music from differing genres such as country, R&B, pop, folk, garage, by Toronto artists at the time, other Canadian artists and artists from the US. A lot of Arc’s material was recorded by Canadian record producer and guitarist Brian Adhern. He left the label in the 70s when he relocated to Nashville and would record material with Johnny Cash, Neil Young and Emmy Lou Harris. Ben Weatherby was also a producer and musician associated with the label. He was the original house producer for Arc and has been credited on numerous releases. In the 70s Arc Sound Ltd. and all of its related subsidiaries were combined into one company called AHED Music Corporation Ltd. and expanded to sell guitars and amplifiers. Arc and AHED ceased operations in 1986. While nowadays you will most likely find Arc Records related releases at thrift shops in used record stores in Canada, they are still around in some way. You just have to know where to look.

For more information on Arc Records, please visit the following websites:
Arc Sound Company
The Canadian Encyclopedia
Garage Hangover (Arc Records)
Garage Hangover (Yorkville)

Show 715 Play List (Arc Records, The Black Angels & The Black Lips)(Originally Aired On March 31st, 2018):

1. The Electric Vomit - Treasure Hunt
2. U.I.C - Lite It N' Fly It
3. Ramones - I Don't Care
4. The Cure - Grinding Halt
5. Papermaps - Terminal
6. Sloan - All of the Voices
7. The Phantoms - Ghost Riders In The Sky
8. Richie Knight & The Mid-Knights - Homework
9. Ronnie & The Hi-Lites - The Fact of the Matter
10. The Cheshyres - Shake Your Money Maker
11. The Cryptones - Lolita
12. Juliana Hatfield - A Little More Love
13. Lou Reed - Wait
14. Baby Giant - Minnesota
15. Baby Giant - She Don't Want To Fall In Love
16. Dick Nolan - Truck Driving Man
17. Dick Nolan - All Over Again
18. Diane Motel - Get Through To You
19. X - I Must Not Think Bad Thoughts
20. Sonic Youth - The Empty Page
21. Syd Barrett - Octopus
22. The Garry's - Burger Buoy
23. The Black Angels - Currency
24. The Black Angels - Phosphene Dream
25. The Black Lips - Drugs
26. The Black Lips - Again & Again
27. The Black Angels - Winter '68
28. The Black Lips - O Katrina!

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for March 31.

Show 714 (Preoccupations, Captain Beefheart & Bob Dylan)(Originally Aired On March 24th, 2018):

1. The Velvetones - Static
2. The Charades Band - Christina
3. Mark Malibu & The Wasagas - Twelve Year Surf Itch
4. Mike Mikus - Figured As Much
5. The Men - The World
6. Superchunk - Dead Photographers
7. The Polymorphines - Saucer Eyes
8. Preoccupations - Solace
9. Preoccupations - Disarray
10. Preoccupations - Newspaper Spoons
11. Melody Fields - Rain Man
12. Ten Million Lights - Red Tornado
13. Razorhouse - Mortality Vs. The Accountant
14. Jeff Rosenstock - All This Useless Energy
15. Lychi - Serf In U.S.A
16. Ricky Hell & The Voidboys - Apartment 9
17. Captain Beefheart - Her Eyes Are A Blue Million Miles
18. The Oblivians - Oblivion
19. The Gories - Smashed
20. Deja Voodoo - Private Eye
21. The Gruesomes - 3 Men 1 Coffin
22. Le Kidd & Les Marinellis - Camille
23. The Cheetahs - Girl of Doom
24. Bob Dylan - Highway 51 Blues
25. Bob Dylan - Talkin' New York
26. Car Seat Headrest - Sober to Death
27. Ponctuation - Unhemlich
28. Simply Saucer - Dance The Mutation

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for March 24.

Show 713 (St. Patrick's Day, Hot Snakes, Ty Segall & The Ventures)(Originally Aired On March 17th, 2018):

1. Undertones - Wednesday Week
2. U2 - Stories For Boys (Live)
3. The Outcasts - Self-Conscious Over You
4. Protex - (Just Want) Your Attention
5. The Pogues - Streams of Whiskey
6. Guided By Voices - I Love Kangaroos
7. Nap Eyes - Dull Me Line
8. James O-L & The Villains - Wild Goose Jack
9. Titus Andronicus - Above The Bodega (Local Business)
10. Shame - Concrete
11. Ought - Disaffection
12. Hot Snakes - Death of a Sportsman
13. Stiff Little Fingers - Roots, Radicals, Rockers
14. Freak Heat Waves - Moved You Right
15. U.S. Girls - Time
16. Sliver Apples - Oscillations
17. Suuns - Baseline
18. Kim Gray - No Moonlight
19. Rec Centre - Dealer To The Stars
20. La Fete - Marine Malice
21. Microdot - Endless Doubts
22. Mount Eerie - Earth
23. Ty Segall - Alta
24. Deerhunter - Cryptograms
25. The Ventures - Dick Tracy
26. The Ventures - Journey To The Stars

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for March 17.

Show 712 (International Women's Day 2018)(Originally Aired On March 10th, 2018):

1. La Luz - Sunstroke (It’s Alive - 2013)
2. Cub - Tell Me Now (Betti Cola - 1993)
3. She Trinity - Have I Sinned (Have I Sinned/Wildflower - 1966)
4. The Detroit Cobras - (I Wanna Know) What’s Going On? (Tied & True - 2007)
5. Patsy Cline - Gotta Lot of Rhythm in My Soul (Gotta Lot of Rhythm In My Soul/I'm Blue Again - 1959)
6. Wanda Jackson - Honey Bop (Honey Bop/Just A Queen For A Day - 1958)
7. Courtney Barnett & Kurt Vile - Let It Go (Lotta Sea Lice - 2017)
8. U.S. Girls - Incidental Boogie (In A Poem Unlimited - 2018)
9. Actors - L’appel Du Vide (It Will Come To You - 2018)
10. The Brat - Swift Moves (Attitudes EP - 1980)
11. Suburban Lawns - Gidget Goes To Hell (Gidget Goes To Hell/My Boyfriend - 1979)
12. The Slits - Shoplifting (Peel Session 1977)(The Peel Sessions - 1998)
13. The Adverts - One Chord Wonder (1977 Peel Session)(The Wonder's Don't Care: The Complete Radio Sessions - 1997)
14. Bags - Babylonian Gorgon (Survive/Babylonian Gorgon - 1978)
15. Alice Bag - 77 (Blueprint - 2018)
16. Mary Margaret O’Hara - Body's In Trouble (Miss America - 1988)
17. Mary Margaret O’Hara - Dear Darling (Miss America - 1988)
18. Neko Case - John Saw That Number (Fox Confessor Brings The Flood - 2006)
19. The White Stripes - In The Cold, Cold, Night (Elephant - 2003)
20. The Beverleys - Bad Company (Brutal - 2015)
21. Eric’s Trip - Eyes Shut (Purple Blue - 1996)
22. B-Girls - Who Says Girls Can't Rock (Who Says Girls Can't Rock - 1997)
23. Teenanger - N.O.B.L.O. (Teenager - 2017)
24. The Mo-Dettes - White Mice (The Story So Far - 1981)
25. Erasers - It Was So Funny (That Song That They Sung)(Ork Records: New York, New York - 2015)
26. Danny and The Darleans - Les Fleurs Du Mal (Danny And The Darleans - 2013)
27. The Cramps - Get Off The Road (A Date With Elvis - 1986)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for March 10.