Saturday, December 08, 2018

The Beatles White Album & The Kinks Are The Village Green Preservation Society (50th Anniversary) & Shows # 749, 750, 751


Originally released on November 22nd, 1968, The Beatles White Album was the highly anticipated follow up to 1967’s Sgt. Pepper’s and the Lonely Hearts Club Band. While Sgt. Pepper’s showed the band taking a more psychedelic, experimental approach to songs and the recording of the album, The White Album was the opposite. The recording sessions had their origins in Rishikesh, India. From February to April 1968, The Beatles were there to take part in a Transcendental Meditation course with Maharishi Mahesh Yogi. During this time they came up with about forty new songs, several of which were demoed at George Harrison’s house in May of 1968 known as the Esher Demos. During the recording of this album, there were many aspects that caused turmoil and tensions within the group. Producer George Martin took a leave of absence during the sessions, engineer Geoff Emerick quit and drummer Ringo Starr left the group for about two weeks during the sessions before returning.

There are thirty songs on The Beatles. It should also be noted that the album is referred to as The White Album, but it is a self-titled album. Several of the songs have a fractured feel, but overall the album for all its styles and immediacy has an undeniable energy. From the opening moments of Paul McCartney’s “Back In the U.S.S.R”, which he wrote as a parody and pastiche at the time of a Beach Boys song, starts off with a heavy rock song that was seen as controversial by some due to the lyrical content. The song sets the tone as being both subversive and mischievous. “Glass Onion” is another hard-hitting rock track, written and sung by John Lennon that clouded up and addressed people who were looking too much into their songs for hidden meanings. “Happiness Is A Warm Gun” is a song that is comprised of three different sections comprising different song styles within the less than three-minute track length. It contains surrealist lyrics and different time signature changes. “Don’t Pass Me By” written by Ringo Starr strangely reflects tensions within the band at the time (Ringo quit the band, but returned during the sessions), allusions to people looking too much into Beatles rumours and has a violin added over top in a manic fashion. It eerily reflects the violin featured on The Clash’s “Lose Your Skin” on their 1980 album Sandinista, written by Tymon Dogg. George Harrison’s “While My Guitar Gently Weeps” features lead guitar by guitarist Eric Clapton, who was brought in when Harrison felt that John and Paul were not giving his composition the needed attention that it deserved. “Long, Long, Long” is a song with spiritually inspired lyrics that are open to interpretation. With its acoustic guitar, organ, and Starr’s dynamic drum fills, it also provides a moment of calmness between the raucous and chaotic “Helter Skelter” and the politically charged “Revolution 1”.

With double albums, there is more content than a regular full-length album. Many people have issues with certain aspects of double albums, saying that they would operate better if they were a single album instead. Producer George Martin argued this point when The Beatles were finishing up with The White Album, but they still decided to go ahead with a double album of thirty tracks. The overall sound of the album can be looked at just by taking a glance at the album cover. There is nothing on the album’s cover, it is a blank cover with just the band name in the corner. This can be juxtaposed to 1967’s Sgt. Pepper’s, which has a brightly coloured, psychedelic cover. The White Album is raw, straight to the point, but also branches out into different musical styles and sometimes experimentation. There are many layers that are only revealed upon repeated listens. The album subverts conventions, musically and socially and challenges listeners.


Also released on November 22nd, 1968 was The Kinks Are The Village Green Preservation Society. It was an album that was recorded between November 1966 and October 1968. Village Green was also a concept album, the first of many that Ray Davies and The Kinks would explore. But, many feel this is one of the strongest and best. The concept of Village Green lies in theme of English life and the innocence of past times. At a time when being psychedelic was the new thing to do, Davies and the Kinks took a look back with a preservative attitude. Also, it was influenced by concepts from Dylan Thomas’s Under The Milkwood, many of the songs featured strong characters throughout. At the time of the album’s creation, The Kinks had been banned from performing in the USA (which occurred in 1965), they were surrounded by record company pressures and legal battles and of course turmoil within the band. Village Green was the last album to feature the original Kinks lineup of Ray Davies, Dave Davies, Peter Quaife and Micky Avory. Bassist Peter Quaife would leave the band in early 1969. If that wasn’t enough, at this time the band was also working on a solo Dave Davies album with The Kinks as his backing band and Ray was also working on material for a British TV show, all of which were recorded with The Kinks.

A version of The Kinks Are The Village Green Preservation Society was released in parts of Europe in October of 1968 (France, Sweden and Norway). This version featured twelve tracks and featured variations in mixes and track listing to the version that would eventually be released in the UK and the US in November 1968. After the original twelve track version of the album was delivered to Pye, Ray Davies asked them to postpone the release of the album so that he could expand and make some changes. Initially interested in making Village Green a double album, Pye denied this request and it was decided that a fifteen-track version would be produced and released. The notable changes to the album were the addition of “Last of the Steam Powered Trains”, “Big Sky”, “Sitting By The Riverside”, and “All of My Friends Were There”. The songs “Days” and “Mr. Songbird” were removed from the track list order. “Days” was later released as a single in June of 1968.

The album starts off with the song “The Village Green Preservation Society” in which Ray states “Preserving the old ways from being abused/Protecting the new ways for me and for you”. Ray and The Kinks flat out state the ethos of this album in the opening moments. This all happens amongst acoustic guitars, electric guitar stabs leads provided by guitarist Dave Davies with organ flooding the background as drummer Mick Avory and bassist Peter Quaife propel the song forward with their driving rhythm section. Musically the album draws on the lyrical prominence that was emphasized on 1967’s Something Else. The album has been said to be very subdued compared to early Kinks songs, but it has layers. The songs are well constructed, featuring plenty of acoustic arrangements combined with electric guitars. In addition to this legendary session musician Nicky Hopkins is featured all over Village Green playing piano and a variety of other instruments, adding to its atmosphere. However, nothing sounds out of place. That’s not to say it’s an album that is not unlike The Kinks, there are moments such as the refreshing blast of blues smoke in “Last of the Steam Powered Trains” and the wicked fuzzed out electric guitar riffs in “Wicked Annabella”. “Do You Remember Walter?” paints the picture of one of the many character sketches that populate this album. Inspired by a run in with an old friend and how they were in very different places and worlds, Davies reflects in a humorous way before “Picture Book” attacks with its scaling guitar and bass riffs in a striking fashion. There are other more eccentric moments too, like the song “Phenomenal Cat” that has a Mellotron flute and there is the stunning orchestral arrangement in the song “Village Green”. The album ends with “People Take Pictures of Each Other” a song that is upbeat and nostalgic.

Referred to as “The most successful flop of all time”, The Kinks Are The Village Green Preservation Society sold approximately 100,000 copies worldwide during its initial release. Compared to The Beatles White Album, which sold 3.3 million copies in the US alone within the first four days of its release, Village Green operated on a different axis at the time. Despite receiving good critical reviews, many felt that the music on Village Green Preservation Society was out of step with the times. It would later be embraced by an underground audience and gain a cult-like status. In 2018, it went gold in the UK. Both The Kinks Are The Village Green Preservation Society and The Beatles White Album are often uttered in the same breath when discussing the time period that they were released. They both shed themselves of the psychedelic image popular during that time period and searched for something new. Whether that was through subversion of musical norms or through preserving a past innocence and looking forward.

Show 751 (Originally Aired On December 1st, 2018)(The White Album Vs. Village Green):

1. The Beatles - Long, Long, Long
2. The Beatles - Sour Milk Sea (Esher Demo)
3. The Beatles - (You're So Square) I Don't Care Studio Jam
4. The Beatles - Helter Skelter (Second Version - Take 17)
5. The Kinks - Last of the Steam Powered Trains
6. The Kinks - Creeping Jean
7. The Kinks - Misty Water (Mono Version)
8. Papa Ghostface - Rook
9. Papa Ghostface - Crawlspace Waltz
10. Elvis Costello & The Imposters - Mr. & Mrs. Hush
11. Charles Bradley - Stay Away
12. Ty Segall & White Fence - Body Behaviour
13. Faux Co. - Prozac Spaceman
14. Jeff Tweedy - Some Birds
15. Volunteers - Mother Nature's Blues
16. Fever Feel - Lose your Mind
17. Urban Surf Kings - Run From The Bear
18. Shoobies - All My Profs Are On Strike
19. King Khan & The Shrines - Land of the Freak
20. Screamin' Deal - One Small Death
21. Daughters - The Flammable Man
22. Jon Spencer - Do the Trash Can
23. Snake River - Then She Wrote A Letter
24. The Sadies (w Jon Spencer) Justine Alright (Live)
25. King Tuff - Lazerbeam
26. Low - Rome (Always In The Dark)
27. Joy Division - Colony (BBC Session)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for December 1.

Show 750 (Originally Aired On November 24th, 2018)(Daughters, The Jesus Lizard & Mudhoney):

1. Pyramids - Pressure
2. Shoobies - Monkey Eat Sandwich
3. The Byrds - Stranger In A Strange Land
4. The Thin Cherries - Follow The Sun
5. Ty Segall - Isolation
6. Undertones - Luxury (Demo)
7. Autogramm - Jessica Don't Like Rock 'n Roll Anymore
8. Women - Heat Distraction
9. Daughters - Ocean Song
10. Josef K - Pictures of Cindy
11. FRIGS - Chest
12. Chandra - Get It Out Of Your System
13. The Jesus Lizard - Seasick
14. The Jesus Lizard - Naked Dancing Ladies
15. Flesh Rag - Ballad of Nova
16. The Soft Pack - Pull Out
17. The Routes - Vendetta
18. Brazilian Money - Jive With The Killer Instinct
19. Gary's House - Punch Party
20. Prefab Sprout - Faron Young
21. Yardlets - UnModern Man
22. The Burnin' Sands - Revenge of the Putrid Slime
23. The Pursuit of Happiness - Food
24. Destroyer - Plaza Trinidad
25. Outrageous Cherrry - Creeps Retreat
26. The Aints - The Church of Simultaneous Existence
27. Mudhoney - Nerve Attack
28. Mudhoney - Oh Yeah

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

Show 749 (Repeat of episode 748. An episode focusing on Bob Dylan's Blood On The Tracks). Download this episode here and view the play list here.

Saturday, November 17, 2018

Bob Dylan More Blood, More Tracks & Shows # 746, 747, 748


In 1974, Bob Dylan began work on what would become known as Blood On The Tracks. Around this time, Dylan returned to Columbia Records after releasing a few albums via Asylum records. People often say that this is Dylan’s “break up” album, since at the time his marriage was on the rocks and it would eventually lead to a divorce. At the same time the album revels in the visceral and draws on many narratives that deal with the intricacies of relationships. It has more of a personal edge than his work that preceded this. In his 2004 memoir Chronicles Volume 1, Dylan stated that the album was not about him, but was inspired by the short stories of Anton Chekov. After going through some painting classes with Norman Raeben in New York, Dylan found a new approach to his lyrics that came from his experiences painting. Prior to this Dylan’s lyrics often took on a surrealistic or political edge. While Dylan has always been an artist in flux, he has stated in an interview with Rolling Stone in 1978 that Blood On The Tracks was different and that “There's a code in the lyrics, and also there's no sense of time.”

In September 1974, Bob Dylan began recording Blood On The Tracks in New York. The sessions took place at A&R Recording Studios, where Dylan recorded all of his early acoustic albums. Coincidentally, the songs also take on more of a folk-music approach. Following a quick recording session, with some tracks featuring members of the band Deliverance, test pressings and artwork were printed and sent out. However, after going home for the holidays, Dylan’s brother David Zimmerman said that the songs were too stark and would not go over well with audiences. Following this, Bob Dylan assembled local musicians from Minneapolis and re-recorded five of the album’s tracks in December of 1974. The final album that was released in January 1975 is a combination of five tracks from the initial sessions in New York from September 1974 and the five tracks recorded in Minneapolis in December 1974. Many of the songs on Blood On The Tracks were also sped up by 2-3% percent to give the album a more pleasant sound.

“Tangled Up In Blue” opens the album. This song adheres to Dylan’s “No sense of time” comment mentioned earlier. The song jumps from different narratives from first person to third person and layers a complex tale that references a star crossed couple, their travels, and break up. The song also emphasizes the feeling of lost love, emotional ties that are hard to break, and hope. “Tangled Up In Blue” was referred to by Dylan in Rolling Stone in 1985 as being, "Like a painting where you can see the different parts, but then you also see the whole of it". In this case the paint is lyrics that illustrate this tale. Musically, the song does have a band arrangement, but also the acoustic guitar is quite prominent (as it is throughout Blood On the Tracks). The version found on 1975’s Blood On The Tracks was recorded in December of 1974 with local musicians from Minneapolis. Initially, the song featured just acoustic guitar and bass, was slower, and went back to a sound very similar to Dylan’s 60s acoustic recordings. As mentioned in reviews of the recently released Bootleg Series Volume 14: More Blood, More Tracks, you can even hear the sound of the buttons of Bob Dylan’s shirt hitting his acoustic guitar. There are also several other variations of this song and several others on the box set.

“Simple Twist of Fate” is the second track found on Blood On The Tracks. With just an acoustic guitar, an unobtrusive bassline and harmonica, musically “Simple Twist of Fate” takes on a more somber tone. Lyrically, the song is a poignant, emotionally charged affair. With words such as “He woke up, the room was bare/He didn't see her anywhere/He told himself he didn't care/Pushed the window open wide/Felt an emptiness inside/To which he just could not relate/Brought on by a simple twist of fate” and “I still believe she was my twin/But I lost the ring/She was born in spring/But I was born too late”, Bob Dylan takes to his lyricism in a poetic way that adds themes, mood, and a haunting atmosphere to what seems like a missed connection between two people. “You’re A Big Girl Now” comes in with Spanish styled acoustic guitar before Dylan’s vocals come into this song filled with a strong sense of melody, frustration and regret.

“Idiot Wind” is a song that clocks in over seven minutes and has a certain attitude that was featured in songs such as “Like A Rolling Stone” and “Positively 4th Street”. In this song Dylan rants “Idiot wind, blowing every time you move your mouth/Blowing down the backroads headin’ south/Idiot wind, blowing every time you move your teeth/You’re an idiot, babe/It’s a wonder that you still know how to breathe”. In the choruses of this long track, listeners often draw comparisons to Dylan’s marriage at the time, but Dylan has often said that this is incorrect. Regardless of the interpretation, “Idiot Wind” is a venomous song with an undeniable anger, frustration and catharsis that radiates an energy with a seemingly personalized tone. Some love it, some hate it, but the song presents itself in an abrasive way that is like many of Dylan’s songs: many things at once. It has no filter.

“You’re Gonna Make Me Lonesome When I Go” comes in with a musical energy that is reminiscent with songs found on 1969’s Nashville Skyline or even 1968’s John Wesley Harding. Lyrically, the song seems to bring forth images of heartbreak with razor sharp observations. With words such as “Dragon clouds so high above/I’ve only known careless love/It’s always hit me from below/This time around it’s more correct/Right on target, so direct” and “Situations have ended sad/Relationships have all been bad/Mine’ve been like Verlaine’s and Rimbaud/But there’s no way I can compare/All those scenes to this affair/Yer gonna make me lonesome when you go”, Dylan takes the listener to a pool of rich reflections of love, it falling apart, the changes, and lasting imprint that it can leave on a person. “Meet Me In The Morning” is more of a blues affair musically, while “Lily, Rosemary and the Jack of Hearts” is a folk-country song with prominent organ and lyrics that focus on a complex tale with a cast of characters. At almost nine minutes, this song tells a story like only Bob Dylan can. The story revolves around the three main characters in the song’s title, in an old western movie type setting. It is also loaded with literary references, symbolism, meaning, and open to multiple interpretations.

“Shelter From The Storm” comes in with a rustic sounding acoustic guitar and calming basslines. With this song, Bob Dylan once again layers a story complete with metaphors and symbolism that pull in different meanings from different people. However, like many of the songs on Blood On The Tracks, it deals with the concept of time, relationships, the way things once were, the present and the future all at once. Once again, it’s hard not to see possible autobiographical similarities in this song that are similar to occurrences in Dylan’s actual life that the time. In this song’s context there are also religious undertones that many people have also picked up on. With words such as “Not a word was spoke between us/There was little risk involved/Everything up to that point had been left unresolved/Try imagining a place where it’s always safe and warm” and “Well, the deputy walks on hard nails and the preacher rides a mount/But nothing really matters much, it’s doom alone that counts/And the one-eyed undertaker/He blows a futile horn” and the repetitive line “Come in,” she said, “I’ll give you shelter from the storm”, the story of a weary traveler is told and his encounters with the harsh outside world. The character finds shelter from these outside occurrences, or storms, in the relationship that he discovers and loses. “Buckets of Rain” ends Blood On The Tracks. Featuring a downbeat acoustic guitar/arpeggio and soothing bassline, it evokes bittersweet emotions with a certain type of melancholy and an undeniable hopefulness.

Blood On The Tracks is an album where the songs take on a literate, complex narrative, but also shows a more personalized Bob Dylan, whether it is autobiographical or not, shedding his emotional turmoil and heartbreak. With the recently released Bootleg Series Volume 14: More Blood, More Tracks, we see glimpses into the creative process and a devotion to these songs that came at a time in Dylan’s career when people thought they had him figured out. The lyrics on this album are delivered in a raw, unapologetic, unnerving fashion. Dylan rearranges the concepts of time within the context of the songs on this album, challenging song conventions and his approach to lyrics that are different from what he had done before. As the listener makes their way through the album’s ten tracks, the pains of break ups, their aftermath and emotional baggage that come along with them, we see that these are tracks we all must cross at some point. But, sometimes certain feelings are not so easy to leave behind.

Show 748 (Originally Aired On November 10th, 2018)(Bob Dylan More Blood On The Tracks):

1. Bob Dylan - Tangled Up In Blue (Take 2 Remake)
2. Bob Dylan - Simple Twist of Fate (Take 2)
3. Bob Dylan - You're A Big Girl Now (Take 1 Remake 2)
4. Bob Dylan - Idiot Wind (Take 6)
5. Bob Dylan - You're Gonna Make Me Lonesome When I Go (Take 4)
6. Volunteers - Dollar Bill
7. Volunteers - Don't Get Me Down
8. Snake River - Let us Be Something Seen
9. A.Savage - Buffalo Calf Road Woman
10. Urban Surf Kings - Groovy Haberdashery
11. Ketamines - 1 YR
12. Flesh Rag - In Another Dimension
13. Deerhunter - Death In Midsummer
14. Gregor - I'll Prove It To You
15. Catholic Girls - The Room
16. Cellos - Toronto
17. Secret V's - Empty
18. Calvin Johnson - Like You Do
19. Bob Dylan - Meet Me In The Morning (Take 1)
20. Bob Dylan - Lily Rosemary and the Jack Of Hearts (Take 2)
21. Bob Dylan - If You See Her Say Hello (Take 1)
22. Bob Dylan - Shelter From The Storm (Take 2)
23. Bob Dylan - Buckets of Rain (Take 2 Remake)

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

Show 747 (Originally Aired On November 3rd, 2018)(Repeat of Show # 740: South River Slim (Acoustic Session):

1. Archie & The Bunkers - Pacemaker
2. The Modern Lovers - Government Center
3. Reigning Sound - Call Me
4. Phono Pony - Monkey Paw
5. Billy Moon - Dingus
6. Broken Social Scene - ibi Dreams of Pavement (A Better Day)
7. The Sadies - Starling Auto
8. The Sadies - Tried Not To
9. South River Slim (w/Dale D'Amore) - Blind Lemon Girl (CJAM Acoustic Live Session)
10. South River Slim (w/Dale D'Amore) - Girl Trouble (CJAM Acoustic Live Session)
11. South River Slim - Bang Bang
12. Angelo Badalamenti - The Pink Room
13. Idles - Never Fight A Man With A Perm
14. Jon Spencer Blues Explosion - dang
15. Jesus Lizard - Mouth Breather
16. Jesus Lizard - My Own Urine
17. Pissed Jeans - Bathroom Laughter
18. OFF! - Legion of Evil
19. Platinum Blonde - No Regrets
20. Nap Eyes - Judgement
21. R.E.M. - Wolves, Lower
22. Josef K - Drone
23. The Soft Pack - Parasites
24. Dead Ghosts - You Don't Belong
25. The 427's - Victory City
26. B-52's - Party Out Of Bounds
27. The Mummies - Just One More Dance
28. Nick Cave & The Bad Seeds - Jubilee Street (Live in Copenhagen)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for November 3.

Show 746 (Originally Aired On October 27th, 2018)(Halloween Themed Episode):

1. The Ventures - The Bat
2. Swanks - Ghost Train
3. Condition - Ghost Train
4. Bauhaus - Stigmata Martyr
5. Sonic Youth - Death Valley 69
6. John Carpenter - The Shape Lurks
7. Goblin - Witch
8. Thom Yorke - Has Ended
9. Unicorns - Tuff Ghost
10. Archie & The Bunkers - 122 Hours of Fear
11. Swamp Rats - Psycho
12. Cord - Ghost Power
13. The Five Blobs - The Blob Theme
14. The Gories - Casting My Spell
15. Mark Sultan - Black Magic
16. Bloodshot Bill - Monsters In The Bayou
17. The Gruesomes - Dementia 13
18. King Khan & The Shrines - Darkness
19. The Courtneys - Lost Boys
20. Siouxsie & The Banshees - Halloween
21. The Misfits - Night of the Living Dead
22. The Cramps - The Creature From the Black Leather Lagoon
23. The Gooeys - Scary Black Cherry Nap
24. Psychic Void - Night Terrors
25. Dee Dee Ramone & I.C.L.C - I'm Making Monsters For My Friends
26. The Black Angels - Evil Things

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for October 27.

Saturday, October 20, 2018

CJAM FM 2018 Pledge Drive & Show # 745


CJAM FM has been broadcasting for 35 years on the FM dial in the Windsor/Detroit area. Being a non-profit radio station that serves the Windsor/Detroit communities, the station relies heavily on support from donations to continue operations. Once a year the station holds an annual pledge drive to raise money to continue broadcasting unique programming that is not mandated by mainstream or corporate interests. This year the station has an overall goal of raising $35,000, which is roughly 30% of their annual budget. Although provided with plenty of new/old music to choose from, programmers at CJAM FM are not told to play and programs/playlists are curated by programmers based on what they like. This creates something original in the programming, whether it is a variety program, Jazz program or something else like many of our ethno-cultural/spoken word programming.

CJAM is an art form when you consider a particular show or program that is being broadcast. Whether you are listening to 99.1 FM in the Windsor/Detroit area or online via cjam.ca. CJAM was one of the first campus/community radio stations to have streaming available to listeners online in 1996 and is looking into developing a new mobile app and upgrading the current website. Support this year will go towards those developments, along with station upgrades to help CJAM stay relevant and important in our current digital age. Even with all there is that you can find online via streaming, CJAM has its own voice for independent music and spoken word voices that wouldn’t be heard otherwise. CJAM provides the listener with something you won’t find anywhere else. A program like Revolution Rock would not exist anywhere else if it were not for a place like CJAM FM. If you listen to CJAM, regardless of how, consider making a donation to help the station continue to grow in the world of the broadcast arts that it provides on a daily basis.

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 – CJAM Enamel Pin
$10-20 – Music Prize Pack (CDs/vinyl/cassettes)
$25 – “Smashing All Preconceived Notions” a documentary on CJAM FM’s 35 year anniversary by Brittany Webster – Provided on an 8 GB flash drive
$50 – CJAM 2018 T-Shirt (Designed by Greg Maxwell)
$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/cjam35 or through my individual page for the pledge drive at grouprev.com/CJAM35-revrock.

2018 Pledge Drive Playlist:

1. Bloodshot Bill - I'm Telling You
2. Bloodshot Bill - That Lonesome Feeling
3. The Sadies - Mother of Earth
4. Volunteers - Dunce Kin
5. X - Adult Books (Demo)
6. Television - Venus
7. Wire - Stalemate (Demo)
8. Walter - House On Fire
9. Flesh Rag - Inside Your Mind
10. Cellos - Fly On The Wall (Alternate Take)(CJAM Session)
11. PJ Harvey - Man Size
12. X-Ray Spex - Let's Submerge
13. The Vaselines - Dying For It
14. Fucked Up - Come Down Wrong
15. Mission of Burma - Max Ernst
16. The Unicorns - Ghost Mountain
17. The Sonics - Don't Be Afraid of the Dark
18. Nap Eyes - Everytime The Feeling
19. Papa Ghostface - Samhain
20. The Gruesomes - Jack The Ripper
21. The Gruesomes - The Witch

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

Saturday, October 13, 2018

Volunteers I Wish I Was As Happy As John Denver Interview & Shows # 743 & 744


In the spring of 2018, Volunteers, a band based in Vancouver released a new album entitled, I Wish I Was As Happy As John Denver. This debut album appeared mysteriously, by a band consisting of Dave McMartin (guitar), John McMartin (drums), Fraser With (guitar) and Brad Felotick on bass/vocals. They have had their song “Who Needs A Girl Like You” featured as the theme song to the CraveTV series, Letterkenny. In addition to providing the title theme to the show, they also have other songs in the various episodes of the show, along with other Vancouver bands. The album was recorded by Andrew Wilkinson, who also plays in the band Dead Ghosts. It was recorded in a barn on the outskirts of Vancouver where the two bands share a rehearsal space. This location is also the same place where Dead Ghosts recorded their 2015 release, Love and Death and All The Rest. As a result, I Wish I Was As Happy As John Denver has a laid back feel, but also never loses its 60s garage/rock spirit.

“Slough Road” starts off the album in a slow fashion. With just tom drums banging and ringing guitar chords, this opening instrumental track opens I Wish I Was As Happy As John Denver in a swampy, nostalgic way as pedal steel guitar joins the mix. “Dollar Bill” follows with a 70s Rolling Stones feel as lyrics in the chorus “It comes creepin’ like a bad disease/Where did the money go/I don’t know” haunt the character in the song. “Pass My Time” is a jangly alt-country track, “Don’t Bring Me Down” brings up the tempo as it rides the grooves of the bass and drums. In the chorus the ramshackle 60s garage riffs blend with organ and the lyrics “Turn on the station/Where’s my television/Don’t bring me down”. This song shows a disillusioned character that is caught between an outside world and another world created by different forms media and what they have to say. The character tries to relate to the outside world while at the same time, not letting either place get them down. “I Don’t Mind” drops into a hazy groove, sounding like a slowed down version of a song by ? & The Mysterians. Surrounded by a circus-like organ and ringing guitars that verge on psychedelic, the vocals, bass and drums hold down the mesmerizing centre of this track. “Dunce Kin” follows in a short, but electrified rickety groove, as “Mother Nature’s Blues” follows with a 70s rock feel. Blending 70s exotic country rock grooves, maracas, and organ, the song questions the environmental factors that surround us all on a daily basis that are often ignored.

“Ten In The Sky” comes in with acoustic guitar, inspired by Neil Young’s 1974 album On The Beach. With its country-folk dynamics, the song paints a landscape with an atmosphere that seems to question the passage of time. “In The Van” drives with a woozy George Jones/Hank Williams feel, “Come On Through” thrashes along with a tight looseness through casual bass grooves, harmonica and cutting guitar riffs, “Jealous Kind” is an alt-country track that sketches out characters that leaves a lasting impression on the listener. Like some of the songs on the album, there are lyrics, but more musical atmosphere. With words such as “You have to admit/You don’t give her much time/That girl you got there/She’s the jealous kind”, the listener is left to wonder about the characters in this song, although mentioned briefly, and the true nature of their intentions. “Open Hearted Strangers” ends the album. Inspired by the story of a person that helped the band out on tour when their van broke down that went by the name Captain Kirk, the song features dusty acoustic guitar, dominant barroom styled piano, amongst country bass, guitar and drums. With lyrics such as “When you’re heading into town and your brakes are burning down/Trust the open hearted strangers on the road” and “At the end of the day/When you don’t know where you’ll stay/Trust the open hearted strangers on the road”, the song not only emphasizes the unexpected kindness of unknown strangers, but also the unpredictability of life in general.

With a title inspired by an ad-lib from a live recording by Neil Young & Crazy Horse, I Wish I Was As Happy As John Denver, blends a country/garage musicianship with lyrics that are strong with rich, folk-like imagery. The album is a bit mysterious, but is also a mature reflection on the past and present, while creating something new. The sound of Volunteers is organic, but pulls its roots from different musical backgrounds. I Wish I Was As Happy As John Denver is homegrown, but never sounds dated. It leaves a lasting imprint on the listener that is hard to shake.

Check out the interview that I did with Dave McMartin of Volunteers here:



Show 744 (Originally Aired On October 13th, 2018)(Volunteers Interview):

1. Run Coyote - Night Rider
2. The Insufferables - FBI
3. Elvis Costello & The Imposters - Unwanted Number
4. Colter Wall - Nothin'
5. Leonard Cohen - Travelling Light
6. New Riders of the Purple Sage - Lonesome LA Cowboy
7. The Rolling Stones - 100 Years Ago
8. Indian Wars - Took A Trip
9. Volunteers - I Don't Mind

VOLUNTEERS INTERVIEW

10. Volunteers - Come On Through
11. Bloodshot Bill - Never Wanna See That Face Again
12. Snake River - High/Low
13. Kurt Vile - Loading Zones
14. Black Belt Eagle Scout - Just Lie
15. School Damage - Isn't Easy
16. School Damage - I'm In Love With A Chump
17. Anybodys - RFK
18. Preoccupations - Espionage
19. Fucked Up - House of Keys
20. Carbolizer - ICE
21. Parquet Courts - Total Football

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for October 15.

On October 6th, 2018 a repeat of an episode featuring an interview with Colin Newman of Wire and the music of Wire. This program (episode 743) can be downloaded here and the playlist can be found here.


Saturday, September 29, 2018

Parquet Courts Wide Awake! & Shows # 740, 741, 742


Brooklyn based post punk band Parquet Courts have been busy. Since 2016’s Human Performance, they released a collaborative album with Daniele Luppi and Karen O (of Yeah Yeah Yeahs) called Milano, they did a remix/single version of their song “Captive of the Sun” with rapper Bun B, singer Andrew Savage released a solo album called Thawing Dawn and 2018 saw a new album recorded with producer Brian Burton, otherwise known as Danger Mouse. Released through Rough Trade Records, Wide Awake! finds guitarist/vocalist Andrew Savage, Austin Brown (guitar/vocals), Sean Yeaton (bass) and drummer Max Savage reconvening for what many have been calling their strongest album to date. “Total Football” opens Wide Awake! Starting with a marching drum beat and ringing guitar and bass, it quickly picks up pace as the basslines run in between the guitar parts, drums and vocals in a graceful, yet energetic way. Lyrically, the song is based on the theory of “total football” that states any player on the field can play any role or position. Parquet Courts take this theory and apply it to a modern context. With lyrics such as “We are troubled by your soft curiosity/But delighted to be anti-everything you were taught” and “Collectivism and autonomy/Are not mutually exclusive” the song deals broadly with the duality of collectivism, individuality and clichéd American masculinity. This first song, as has been said in interviews serves as a sort of manifesto for the album, which tackles the current political climate among other things, with humour, wit and a new sense of anger.

“Violence” combines elements of funk, drawing part Funkadelic, part Gang of Four, with a combination of Andrew Savage’s Beastie Boys-like rant. The song tackles themes of American violence and the power imbalance that comes with it. With lyrics such as “A promise, an effect, a rejoice, a regret/Violence is daily life” and a creepy laughing voice that states, “Violence is so omnipresent/So ingrained in your daily reality/You forget to notice it happens every day”, Parquet Courts leave the listener with many things to chew on and think about (like the majority of the songs on this album) as a Ray Manzarek/Doors organ comes in at the end of the song. “Before The Water Gets Too High” brings down the pace, but simmers with lyrical unrest. Sung by guitarist Austin Brown, the song broadcasts a glum anti-apathy message, drawing on themes of climate change and potential apocalypses. The song is untraditional, even by Parquet Courts standards. It features an electronic instrument known as an Omnichord, as musically it combines psychedelic and dub music elements. “Mardi Gras Beads” is a contemplative, complex love song with hazy elements of psychedelia and punk, “Almost Had To Start A Fight/In And Out Of Patience” is indebted to 70s punk and questions the motives of anger with lyrics such as “What If I get tired of being polite/Why am I searching for reason”.

“Freebird II” is perhaps the strongest in the band’s already established catalogue. It deals with economic uncertainty, addiction, incarceration and mental instability. The song strikes a chord whether you realize these themes or not, and was described by Savage as “coming from dysfunction while not letting dysfunction define you” in an article on NPR’s website. It is an organ-driven, passionate song that also displays the band’s humour and wit, given its title. “Normalization” pulls in a Minutemen influence, “Back To Earth” takes on a cosmic aura. Sung by guitarist Austin Brown, the song combines elements of Townes Van Zandt and The Flaming Lips as lyrically it is about love and death, but appeals for bringing change through love and not violence, commerce or hate. The title track, delves directly into funk. With its funky bass grooves, triangle clangs, off kilter guitar lines and chanting-styled vocals, “Wide Awake!” is the furthest departure from Parquet Courts previous musical exploits. Despite the song’s extreme funkiness, it doesn’t feel out of place here. With lyrics which state “I’m wide awake/Mind so woke cause my brain never pushed the brakes” the song displays an awareness for of social uprisings and positive change. At the same time it provides the listener with catchy danceable rhythms.

“NYC Observation” draws a sketch of witnessing poverty on a daily basis in New York. This can easily be applied to what is happening all over with widespread poverty issues. Musically, this song and the song that follows “Extinction”, bring forth comparisons to the UK post punk band Wire. Both songs are brief (less than two minutes), while “NYC Observation” takes a look at outside observations, “Extinction” looks inward towards self-improvement. “Death Will Bring Change” is another highlight on Wide Awake! This song written by Brown takes on a Rolling Stones “Can’t Get What You Want” like atmosphere as a children’s choir is featured in the song. Brown had this to say of the song to The Independent: "It's not about the death so much as how it affects – how it changes your personality; how it changes your life. Death is tragic and then the people who are left to deal with it, with grief, who are still around, have to deal with the emotional effect”. “Tenderness” ends the album. It is a piano driven ballad of sorts with soulful/funky guitar, bass and drums overlap the piano melodies. The song is conflicted. With lyrics such as “If what they say is true/Then you become what you chew/If it decays spit it out/Affectation is a drought” and “When you hate everything that you do/You wanna live outside the groove/Then fine/But it’s there like a flower blooming in your ears/Open up your mouth/Pollinate your peers”, it questions nihilism and how it is so easy to get caught up in it. The song calls for optimism, despite our nihilistic surroundings.

Produced by Danger Mouse, Wide Awake! shows Parquet Courts amplifying their characteristics, with a punk and funky aesthetic. The album is charged with an intensity and anger that is the opposite of 2016’s Human Performance. While it does address cultural and social contexts, it also comments on our current political climate. These points, however, aren’t forced down the listener’s throats. Like all of the band’s albums, lyrically there are many themes and ideas that can be drawn upon and looked at, not just the obvious. By looking inward and outward, Parquet Courts question everything and nothing at the same time. There is no fat left on this record, it flows seamlessly from track to track, however, Wide Awake! leaves the listener plenty to chew.

Show 742 (Originally Aired On September 29th, 2018)(Marc Ribot, Parquet Courts & Talking Heads):

1. The Holy Gasp - A Division of Assets
2. The Standells - Girl and The Moon
3. Jerry Lee Lewis - Drinkin' Wine Spo-Dee-O-Dee
4. Robbie Fulks & Linda Gail Lewis - Round Too Long
5. The Stray Cats - Race With The Devil
6. Suckerpunch - Cool … Like A Lava Lamp
7. Idles - I'm Scum
8. Le Shok - TV In My Eye
9. Ramones - In The Park
10. Cold Warps - Stupid Tattoos
11. The Inbreds - Attitude
12. TUNS - When You're Ready
13. Tom Verlaine - Say A Prayer
14. Marc Ribot & Tom Waits - Bella Ciao (Goodbye Beautiful)
15. Mitski - A Pearl
16. Museum Pieces - Elvin Tower
17. The Jesus & Mary Chain - Sowing Seeds
18. The Donkeys - Radiation
19. Klaus - Fever
20. Parquet Courts - Wide Awake
21. Parquet Courts - Violence
22. Destroyer - Priests Knees
23. Paul The Tailor - She Said
24. Paul Jacobs - America
25. Hi-Fi's - I Don't Know Why (You Don't Love Me)
26. Talking Heads - 1-2-3 Red Light (Live At The Old Waldorf December 3rd, 1977)
27. Talking Heads - New Feeling

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for September 29.

Show 741 (Originally Aired On September 22nd, 2018)(Algebra Mothers, Parquet Courts, Nirvana's In Utero):

1. RVG - A Quality of Mercy
2. Pere Ubu - Dream The Moon
3. Algebra Mothers - Modern Noise
4. Algebra Mothers - Car Sick
5. The Government - Real Computer
6. Leonard Cohen - I'm Your Man
7. Parquet Courts - Mardi Gras Beads
8. Parquet Courts - Extinction
9. Parquet Courts - Freebird II
10. The Clash - The Right Profile
11. The Undertones - Crisis Of Mine
12. Mark Sultan - Coffin Nails
13. Bloodshot Bill & The Hick-Ups - Slewfoot Sue
14. The Cramps - How Far Can Too Far Go?
15. Marvin Pontiac - It's Always Something. It's Never Nothing.
16. Shadowy Men On A Shadowy Planet - Cheese In The Fridge
17. Bad Vibrations - In My Mind
18. Not Of - Watch Him, They Said
19. Cellos - Delirium Tremens
20. Trout - US Wax
21. Pretty Matty - Show Me
22. Pony - I Don't Know
23. Sloan - Pictures Now
24. Meat Puppets - I Can't Be Counted On
25. Giants In The Trees - Sasquatch
26. Nirvana - Dumb (2013 Mix)
27. Nirvana - Very Ape (2013 Mix)
28. Nirvana - Milk It (2013 Mix)
29. Nirvana - Serve The Servants

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for September 22.

Show 740 (Originally Aired On September 15th, 2018)(South River Slim (Acoustic Session), The Sadies, Jesus Lizard):

1. Archie & The Bunkers - Pacemaker
2. The Modern Lovers - Government Center
3. Reigning Sound - Call Me
4. Phono Pony - Monkey Paw
5. Billy Moon - Dingus
6. Broken Social Scene - ibi Dreams of Pavement (A Better Day)
7. The Sadies - Starling Auto
8. The Sadies - Tried Not To
9. South River Slim (w/Dale D'Amore) - Blind Lemon Girl (CJAM Acoustic Live Session)
10. South River Slim (w/Dale D'Amore) - Girl Trouble (CJAM Acoustic Live Session)
11. South River Slim - Bang Bang
12. Angelo Badalamenti - The Pink Room
13. Idles - Never Fight A Man With A Perm
14. Jon Spencer Blues Explosion - dang
15. Jesus Lizard - Mouth Breather
16. Jesus Lizard - My Own Urine
17. Pissed Jeans - Bathroom Laughter
18. OFF! - Legion of Evil
19. Platinum Blonde - No Regrets
20. Nap Eyes - Judgement
21. R.E.M. - Wolves, Lower
22. Josef K - Drone
23. The Soft Pack - Parasites
24. Dead Ghosts - You Don't Belong
25. The 427's - Victory City
26. B-52's - Party Out Of Bounds
27. The Mummies - Just One More Dance
28. Nick Cave & The Bad Seeds - Jubilee Street (Live in Copenhagen)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for September 15.

Saturday, September 08, 2018

An Interview With Nigel Chapman of Nap Eyes & Shows # 738 & 739


Nap Eyes formed in Halifax, Nova Scotia in 2011. Fronted by vocalist/guitarist Nigel Chapman, Brad Loughead (lead guitar), Josh Salter (bass) and Seamus Dalton (drums), Nap Eyes musical style has drawn comparisons to bands such as The Velvet Underground, The Clean, The Go-Betweens, and Television, among others. Their style sometimes called “slacker rock” is different. It does have similarities to the above-mentioned bands, but at the same time it doesn’t. The music also lends itself to the indie rock world and also to other genres. Lyrically, the words operate on a different level being introspective, deadpan and sarcastic at times. I’m Bad Now, is the third full-length album release by this band. Released via You’ve Changed Records/Paradise of Bachelors, I’m Bad Now finds Chapman questioning relationships and life in general in philosophical, existential and cosmic contexts.

Recorded in June/July 2016 in Montreal at Hotel2Tango with Howard Billerman and Mike Wright, I’m Bad Now was the first Nap Eyes album to be recorded with overdubs. While all previous albums were recorded basically live off the floor, I’m Bad Now still resonates with a similar musical aesthetic to its predecessors, 2014’s Whine of the Mystic and 2016’s Thought Rock Fish Scale. “Every Time The Feeling” opens I’m Bad Now with its jangly rock guitars and rolling basslines. Lyrically, with lines such as “I can’t tell what’s worse the meaninglessness or the negative meaning/I’ve figured out a way to get on with my life and to keep on dreaming”, Chapman digs into a feeling and a sense of existential dread, while at the same time addressing outcast/outsider themes. “I’m Bad” questions the prospect of good versus evil in broad strokes, with elements of country music and alternative rock converging together musically, “Judgement” has lyrics asking “Please don’t ask me to throw my work away”, droning guitars, drifting basslines, subtle, yet aggressive drums as the band builds up to a musical jangle reminiscent of The Clean. The song ends anti-climactically, as the song questions the judgement of others and the prospect of everyday life. “Roses” arrives like a restless and impatient version of a Rolling Stones country song. With a bassline reminiscent of “Miss You” and sliding 70s country guitar licks, the song itself seems to question vanity, desire and unwanted attention.

“Follow Me Down” again makes its way into country, with rim shots on the drums and a powerful bassline, mixed with acoustic guitar and intense, but subtle electric feedback. Lyrically, the words are poetic with their landscape imagery and executed in a deadpan delivery drawing on a Lou Reed/Leonard Cohen influence. The song, like the character in it, seems to zone out as it contemplates internal contradictions. “Dull Me Line” enters a cosmic space lyrically with a chorus of “Dull me line/Running abandoned race tracks in my mind/Dull me heart/Heavy with bored and lazy disappointment art/Dull me head/Stubbornly trying to forget what you said/Dull me soul/Wandering restlessly without a goal”. Musically, it flows with an uneasy breeziness, likely influenced by Chapman’s Nova Scotia surroundings as well as drawing comparisons to early R.E.M. and The Modern Lovers. “Sage” is mellow bringing in elements of Wilco and Television, “Hearing The Bass” brings up the tempo. The song features lyrics by Danika Vandersteen, and an almost dream pop-like atmosphere, as it draws on nautical themes (which appear throughout the album) to paint a picture of its surroundings.

“White Disciple” comes in as the second last track on I’m Bad Now. The song itself was written prior to the band’s first two albums. It is a long track that draws on a story of spiritual awakening. “White Disciple” features primarily bass that sounds like it was carved out of wood and a rhythmic drum pattern amongst guitar stabs and trailing guitar lead lines. “Boats Appear” ends I’m Bad Now. At almost seven minutes, it is the album’s longest track (not available on vinyl editions of the album). The track with lyrics such as “Boats appear on the water/Like the ones in the dream/I have seen the steam trails rising/From the sea/Like a dream”, questions things in a very open ended cosmic/existential way. Musically, the song pulls at the listener’s mind with a folk dynamicism. As a whole, it has been said that I’m Bad Now is loosely connected to their previous two albums to create some kind of trilogy. While there are similar themes that pop up and appear between the three albums, I’m Bad Now stands up by itself. The meanings that can be drawn from the songs here can be abstract, or not. The listener is not presented with everything spelled out for them, which causes repeat listens to reveal little subtleties that may not have been noticed before. With all its cosmic layers, drawing on everything from existential to philosophical themes, I’m Bad Now seems to ask more questions than it answers. However, as we are told in “Boats Appear”, ”It takes time to understand things/And the more you know/The more you don’t know”.

Check out Revolution Rock's interview with Nigel Chapman of Nap Eyes here:



Show 739 (Originally Aired On September 8th, 2018)(Nap Eyes Interview):

1. School Damage - Assimilate
2. School Damage - Meeting Halfway
3. Wild Billy Childish - You'll Be Sorry Now
4. Bob Seger & The Lost Heard - Persecution Smith
5. The Canadian Squires - Leave Me Alone
6. Them - Mystic Eyes
7. The Secrets - He Treats You Bad
8. The Clean - Tally Ho!
9. Nap Eyes - Everytime The Feeling
10. Nap Eyes - Hearing The Bass

NIGEL CHAPMAN (OF NAP EYES) INTERVIEW

11. Nap Eyes - 2 Cool To Be 4-Gotten (Laginappe Session)
12. Monomyth - Transmission
13. Modern Superstitions - Black Moon
14. The Mark Inside - Coming of Age At The End of Days
15. Wild Nothing - Letting Go
16. Grounders - Mickey Won't Move
17. Protomartyr - You Always Win
18. Nervous Exits - Annabel
19. Martin Van Ruin - On The Level
20. PRIORS - Grease
21. The Famines - The State of Music
22. Dragsville - That Girl
23. Volunteers - Don't Get Me Down
24. Neil Young - Mellow My Mind
25. Rolling Blackouts Coastal Fever - An Air Conditioned Man

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for September 8.

Show 738 Play List (Originally Aired On September 1st, 2018)(Aretha Franklin Tribute, Archie & The Bunkers, Ancient Shapes, Daniel Romano):

1. Aretha Franklin - The House That Jack Built
2. Aretha Franklin - Niki Hoeky
3. Aretha Franklin - A Change Is Gonna Come
4. Condition - Caravan
5. F&M - Colmar
6. Mitski - Blue Light
7. Father John Misty - Date Night
8. Archie & The Bunkers - Fire Walk With Me
9. Archie & The Bunkers - Laura
10. David Lynch - Star Dream Girl
11. The Demics - The 400 Blows
12. Ancient Shapes - Giant Comma
13. Ancient Shapes - Teenagers (The Rats)
14. Daniel Romano - Nerveless
15. Daniel Romano - Blue Champagne
16. The Moths - Lightning Coyote
17. The Thirty Eights - The Drop
18. Gogo Loco - The Gogo Loco Twist
19. Adolescents - Amoeba
20. No Age - Drippy
21. Rock n' Roll Monkey & The Robots - Do The Rock n' Roll Monkey
22. Iggy & The Stooges - I Need Somebody (Instrumental)
23. Farewell Mourners - Always Eventually
24. US Girls - Mad As Hell
25. Underworld & Iggy Pop - Bells & Circles
26. Oh Sees - Enrique El Cobrador

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for September 1.

Saturday, August 18, 2018

Radio Brain Drain: An Interview With Colin Newman of Wire & Show # 736


Wire formed in London, England in 1976. And although they were inspired by and emerged from UK punk music scene, they approached music differently and were often difficult to categorize. They were post-punk before that was even a term that people used in a significant way. Their roots grew out of the Watford Art College. Colin Newman and George Gill formed an early incarnation of the band with guitarist Bruce Gilbert. They were initially known as Overload, but once bassist Graham Lewis and drummer Robert Gotobed (Grey) were added to the lineup, they would change their name to Wire. When the band was a five-piece, their sound was quite different. It was more aggressive, had more guitar solos. When George Gill was kicked out of the lineup, new material was written and a new sound began to take shape.

Wire first appeared on a live compilation album Live At The Roxy London WC2. The album was a compilation that compiled bands from the then burgeoning UK punk music scene and featured two early versions of the Wire songs “12XU” and “Lowdown”. The album was produced by Mike Thorne and through his connection to EMI, Wire would eventually get a recording contract with EMI and have music released through their Harvest label. Thorne was also on board to produce them. In fact, he would produce their first three albums. Influenced by music such as the Ramones, and early Pink Floyd, Wire pulled in different moods and tempos to create what would become known as Pink Flag. Mixing it all together, it created a combination of noise with a bit of prog rock influence, psych rock and pop. “Reuters” opens Pink Flag. The song evokes a certain mood, it pulls in elements of prog rock with an undeniable attitude. Yet the sound is difficult to describe as any one thing because it is many different things at once. With its dissonance, catchiness, crescendos and lyrics such as “On the borders, there’s movement/In the hills there’s trouble”, Wire paints a gritty picture for the opening moments of Pink Flag. Throughout the three minutes and four seconds of tension, it reaches a climax before we are taken through the rest of the album, which is a mix of songs cut to their essence sometimes lasting no longer than 28 seconds.

Pink Flag explores a landscape with 21 songs totalling about 36 minutes that deal with lyrics about media and perceptions that surround it, among other topics. “A Field Day For The Sundays” is just 28 seconds long, musically it rumbles with elements of garage rock and pop as the listener is subject to a witty, sarcastic blast of music and words dealing with suburban life. “Three Girl Rhumba”, “Brazil” and “It’s So Obvious” are some examples of Wire’s minimalist approach to the songs on this album. These songs seem like fragments, shards of music that are catchy, yet not over played. They end before they overstay their welcome. “Ex-Lion Tamer” is loaded with jagged guitar stabs and static-sounding guitar distortion. Lyrically with words such as “Next week will solve your problems/But now/Fish fingers all in a line/The milk bottles stand empty/Stay glued to your TV set”, Wire makes a comment of disillusioned people living their lives through what they see on television, instead of finding their own real life excitement. “Mr. Suit” is a barrage of music with satirical lyrics about rebellion, while at the same time celebrating it, “Strange” borrows from the fuzzy sounds of The Velvet Underground, as lyrically the song explores darker themes.

“Fragile” dives into pop with basslines that dance with melody in between scratchy guitars, minimalist drums and lyrics about a broken relationship, “Mannequin” is in a similar vein, as Newman sings lyrics about someone who “Is an energy void/A black hole to avoid”. “12XU” deconstructs rock music and lyrically seems to attack pop culture in an abstract, clever way, “Feeling Called Love” sounds inspired by the catchy roughness of The Troggs, and “Lowdown” is a slow dirge. This song was one of the first songs that Wire wrote together after George Gill left the band. The music was written by Newman based on lyrics given to him that were written by bassist Graham Lewis. The band then completed the final arrangement. This process has been one that has endured throughout Wire’s career, and while they did change up who did what for a particular song, a large majority of the songs within these three albums and in the band’s catalog have been written this way.

If 1977’s Pink Flag explored a musical landscape, 1978’s Chairs Missing ventured out into new, icy waters. Wire has always been a band that would experiment with new things and on this album, guitar pedals influenced many of the songs. Synthesizers are also featured throughout the songs. On Chairs Missing, Colin Newman was also added as another guitarist, in addition to being the lead vocalist. While he did play guitar on some tracks on Pink Flag, he primarily sang. This change was due to the textures and atmosphere that the band created on this album. Recorded once again at Advision Studios with Mike Thorne, “Practice Makes Perfect” starts off the album. The song builds with sonic landscapes as the basslines plunge into deep syrupy melodies amongst duelling guitar textures and lyrics such as “Practice makes perfect, yes I can prove it/Business or pleasure, the more that you do it”. With these words Wire displays an ethos, and an undeniable creative atmosphere in the opening moments of Chairs Missing.

“Another The Letter” is a short track, but one that features a prominent analog Oberheim sequencer that was played by producer Mike Thorne, while “Men 2nd”, “Marooned” and “Sand In My Joints” continue the ongoing nautical lyrical theme that is present throughout Chairs Missing. “Marooned” is a great idea of the atmosphere that Wire is able to create. With lyrics by Newman and guitarist Bruce Gilbert, this song floats with slow pulsating basslines, ringing guitar chords, drums that feature only hi-hats and cymbals and synthesizers/keyboards that dominate this songs landscape. Lyrically, the song tells the tale of a sailor “Adrift from Arctic waters” that captures a sense of madness that the character is experiencing in the song. “Sand In My Joints” is a fast punk song with jagged guitar sounds, grainy basslines and a guitar solo that consists of noises, the song is the first song to be recorded with bassist Graham Lewis on lead vocals. It references a theme of drowning in the physical and mental capacity with lyrics such as “I’m King Canute’s daughter/Like a lamb to the slaughter” and “I’ve got sand in my joints/I’m counting the grains/And they’re so sharp/I’m feeling the pain”, the song could take on many meanings, it is both witty and serious at the same time.

“Heartbeat” replicates an actual heartbeat and is loaded with atmosphere and lyrics that were inspired by being reviewed on stage. Additionally, the song features Flautist Kathryn Lukas to add more layers to the track. “Mercy” adds further dark textures and a sense of unease with its prog rock influences within almost six minutes time, while “Outdoor Miner” drifts into pop territory. Another Newman/Lewis composition, “Outdoor Miner” tells the story of a serpentine miner, an insect that lives in a house made of leaves. Lyrically, it may be as simple as that, but this song features abstract lyrics that can pull in different meanings. The song was extended and made longer for a single release and reached number 51 on the UK singles charts at the time. “I Am The Fly” features guitar effects that seem to replicate the movement of a fly. The song, also released as a single, was inspired by guitar pedal effects and Newman’s anti-blues obsession. It features lyrics such as “I am the fly in the ointment” and “I shake you down to say please as you/Accept the next dose of disease”, that make up this abstract outsider theme said to also have been about how punk was over. “I Feel Mysterious Today” touches on a witty lyricalness and music informed by pyschedelia and progressive rock, “From The Nursery” is a heavy hitting track in the vein of Pink Flag-era Wire, while “Used To” is layered with fuzzy guitar, melodic yet icy basslines and drums that feature only hi-hat by Robert Grey, “Too Late” ends Chairs Missing with its punky dynamics and lyrics that take on multiple meanings. It could be seen as a reference to Wire’s forward looking musical future.

Wire’s 154 was released in 1979. The album was different from its predecessors in a number of ways. The songs were longer, the tempos were slower and the experimentation with synthesizers and electronics were used in a larger way. The atmosphere that was explored on Chairs Missing was executed in more detail here and has a cohesiveness to it. Musically, that album started out similar to 1978’s Chairs Missing. Early versions of these songs can be found on the DVD/CD release of Wire On The Box: 1979, and also in the demo versions of songs found on the 2018 deluxe edition of 154. At the time of creating this album Wire had just completed a stint of live shows in Europe and the material was road tested. Tensions amongst the band were also high. They would split up shortly after this before returning with The Ideal Copy in 1987.

“I Should Have Known Better” opens 154. Sung by bassist Graham Lewis, this song is executed with cloudy sounding synthesizers and weightless sounding bass that mixes in with the guitars and precise drums. With lyrics such as “I’ve redefined the meaning of vendetta”, and “Your bite is worse than my aggression” this song also evokes an epic feeling and an emotional depth. “Two People In A Room” is a more aggressive song, while “The 15th” is more laid back with fuzzy guitars, bass that seems to levitate in between the drums as the synthesizers that come in add a sense of unease and eeriness. “The Other Window” is sung by Wire guitarist Bruce Gilbert. Lyrically the song draws on a theme of travel, which is prevalent on this album, while musically it revels in its dissonant locomotive rhythms. “Blessed State” also sung by Gilbert, deals with another ongoing theme of troubled relationships.

“A Touching Display” clocks in at almost seven minutes. Sung by bassist Graham Lewis, the song seems to concern itself with a lack of communication as it creates a heavy atmospheric complexity. The later half of the song features electric viola from avant-garde musician Tim Souster. “On Returning” follows next. This track is a more upbeat, energetic track sung by Newman as the synthesized sounds of a Yamaha CS80 is played in the background by producer Mike Thorne. The synthesized signals sound distressed as Newman sings on the topic of travel, holidays and sunburns. This song seems to pull from the opposite of the nautical theme that was prevalent on Chairs Missing. “Once Is Enough” creates its own world, mixing elements of layered vocals, the banging of various pots and pans and discordant sounds. “Map Ref. 41°N 93°W” is perhaps one of the strongest moments throughout the sonic journey of 154. When listening to the track you can hear its transcendent quality as the chorus hits with the lyrics “Interrupting my train of thought/ Lines of longitude and latitude/ Define and refine my altitude”, one can’t help but think of the lines that intersect in this song. This pop psychedelia influenced song has been described by Lewis as being a “travelogue” inspired by his travelling from L.A. to New York in 1978 and crossing the Midwest. It’s coordinates lead to Centerville, Iowa. “Indirect Inquiries” attacks with brooding, darker tones as “40 Versions” ends 154. “40 Versions” explores the idea of multiple personalities, but this song with lyrics such as “I never know which version I'm going to be/I get the feeling my mind is deceiving me” and “In between are where only edges can be seen of the spaces”, this song takes on further context when considering the band’s artistic evolution from 1977-1979.

About a year after 154’s release, Wire would go their separate ways, exploring different musical projects and solo careers. They reconvened in 1985 and returned with the album The Ideal Copy in 1987, which explored more electronic sounds. These first three albums, however, show the evolution of a band driven by an undeniable creative ability. They have received critical acclaim for many of their more recent releases such as Object 47 (2008), Red Barked Tree (2010), Change Becomes Us (2013), and Silver/Lead (2017). From the early jagged sounding Pink Flag rhythms to the post punk sounds explored on Chairs Missing and finally to the atmospheric creative exploration of 154, Wire proved themselves to be different than the rest. They have continued to make interesting music that proves their ability to push creative expectations into new directions.

Checkout this interview that Dave and Adam of Revolution Rock did with Colin Newman of Wire:



Wire Play List:

1. Wire - Prove Myself (Demo) (1976 Demo - 2010)
2. Wire - After Midnight (Behind The Curtain - 1995)
3. Wire - It's So Obvious (Live) (1977.04.02 - Live At The Roxy, London - April 1st & 2nd 1977 / Live At CBGB Theatre, New York - July 18th 1978 - 2006)

Colin Newman Interview Part 1

4. Wire - Low Down (Pink Flag - 1977)
5. Wire - Mannequin (Pink Flag - 1977)
6. Wire - Ex Lion Tamer (Demo) (Pink Flag: Special Edition - 2018)
7. Wire - 12XU (Pink Flag - 1977)
8. Wire - Culture Vultures (1978 Peel Session) (The Peel Sessions Album - 1989)
9. Wire - I Feel Mysterious Today (Chairs Missing - 1978)
10. Wire - Two People In A Room (154 - 1979)

Colin Newman Interview Part 2

11. Wire - Ignorance No Plea (I Should Have Known Better) (Demo) (154: The Special Edition - 2018)
12. Wire - Once Is Enough (Demo) (154: The Special Edition - 2018)
13. Wire - Outdoor Miner (Demo) (Chairs Missing: The Special Edition - 2018)
14. Wire - French Film Blurred (Version 1) (Demo) (Chairs Missing: The Special Edition - 2018)
15. Wire - On Returning (154 - 1979)
16. Wire - Another The Letter (Live) (Wire On The Box: 1979 - 2004)
17. Wire - The 15th (Live) (Wire On The Box: 1979 - 2004)
18. Wire - I Am The Fly (Chairs Missing - 1978)

Colin Newman Interview Part 3

19. Wire - Map Ref. 41°N 93°W (154 - 1979)
20. Wire - The Other Window (154 - 1979)
21. Wire - Our Swimmer (Notre Dame) (Live) (Document and Eyewitness - 1981)
22. Wire - Song 1 (154 EP - 1979)
23. Wire - No Romans (Demo) (Chairs Missing: The Special Edition - 2018)
24. Wire - Love Ain't Polite (Demo) (Chairs Missing: The Special Edition - 2018)
25. Wire - Sand In My Joints (Chairs Missing - 1978)
26. Wire - Three Girl Rhumba (Pink Flag - 1977)
27. Wire - Dot Dash (Dot Dash Single - 1978)
28. Colin Newman - Alone (A-Z - 1980)

Colin Newman Interview Part 4

29. Colin Newman - Not Me (A-Z - 1980)
30. Wire - Read and Burn (Send - 2003)
31. Wire - Stealth of a Stork (Change Becomes Us - 2013)
32. Wire - Blogging (Wire - 2015)
33. Wire - Short Elevated Period (Silver/Lead - 2017)

Download this episode here.

On August 25th, 2018 a repeat of an episode featuring an interview with Television's Richard Lloyd aired. That show (episode 737) can be downloaded here and the play list can be found here.

Thursday, August 16, 2018

Richard Lloyd Interview: Radio Brain Drain Edition & Shows # 733, 734 & 735


Richard Lloyd is perhaps best known as being the guitarist in the influential New York band Television, however, his involvement in music goes back further than that up to the present day. Prior to playing guitar, Lloyd studied and played drums. In his teens, Lloyd became friends with Velvert Turner, who was the only person to ever get guitar lessons from Jimi Hendrix. Through Turner, Lloyd learned guitar secondhand from Hendrix’s lessons. At a young age Lloyd also made his first public appearance on stage with blues legend John Lee Hooker. After a stint in LA, Lloyd relocated to New York to check out the music scene at the time, which featured the New York Dolls. By 1973, he had met Terry Ork and through Ork it would lead to an encounter with Tom Verlaine (then known as Tom Miller). Television formed not too long after with their early lineup featuring Richard Hell on bass, Billy Ficca on drums, Lloyd on lead guitar and Verlaine on guitar/vocals. The first thing that Television recorded was “Little Johnny Jewel” which would not only be their first single, but the first single on Terry Ork’s label, Ork Records. By the time this single was recorded Hell had quit the band and was replaced by Blondie bassist Fred Smith. With Smith on bass and the solidness that he brought in terms of bass playing, the band found the right elements to make their sound work in the way that they wanted.

The album Marquee Moon was recorded in New York and released in February of 1977. Recorded with no special effects of the day and with basically just a band playing in a room sound, the album did well in the UK upon its release, but sold poorly in the US at the time. Now, Marquee Moon is viewed as not only a highly influential album, but also as one of the best albums recorded from this time period. The band was embedded within the CBGB’s music scene in this time period alongside bands like Talking Heads, Ramones, Blondie to name a few. They were also one of the last bands to release an album from this early music scene. The music of the band on this release has been described as having elements of 60s garage rock and elements of jazz, especially in the guitar work of Verlaine and Lloyd. Television released their second full-length album in 1978 called Adventure. Despite featuring two songs from their live repertoire, the album was not as well received as Marquee Moon. Adventure was not as straightforward as its predecessor in terms of production and the songs, however, it has since become more appreciated than it was upon its original release. Following some live dates, Television split up later that year. Adventure did do well in the UK once again reaching #7 on the UK album charts, but success in the US eluded Television at the time. The band reunited many years later recording a third album in 1992. They played live occasionally for many years following this, but Lloyd left the band in 2007. The band still performs live, but with a different guitarist, Jimmy Rip.

In 1979, Richard Lloyd released his first full-length album entitled Alchemy. This ten-track album featured many New York musicians such as drummer Vinny DeNunzio (formerly of The Feelies), James Maestro on guitar (of The Bongos), and Fred Smith of Television/Blondie on bass. The album was intended to have more of a personal/sentimental and pop feel, as stated by Lloyd on his website. His second solo album wasn’t released until 1986. It was released in the US in 1987. The album was recorded in Sweden and features primarily Scandinavian musicians. The album is a much heavier record than Alchemy, featuring some blues elements. Fields of Fire was reissued in a deluxe album format in 2007 featuring a second CD of an alternate/revisited version of the album. In addition to solo material Richard Lloyd has been a session musician and has played with Matthew Sweet, John Doe (of X), Rocket From The Tombs and others. In 1987 Lloyd released the live album Real Time, The Cover Don’t Matter (2001), The Radiant Monkey (2007), and The Jamie Neverts Story (2009), an album made up of a collection of Jimi Hendrix covers. In 2016, Richard Lloyd released the album Rosedale. An album in which he played the majority of the instruments, Billy Ficca (of Television) and Chris Frantz (of Talking Heads) are featured on drums on some tracks as well.

In 2017, Richard Lloyd released his autobiography Everything Is Combustible. As stated in the subtitle of the book, it covers being in Television, involved in the CBGB’s music scene, and being in rock and roll for five decades. A forthcoming album is coming out in November 2018 on Plowboy Records called The Countdown.

Check out this interview that Dave and Adam of Revolution Rock did with Richard Lloyd below:



Show 735 (Richard Lloyd Radio Brain Drain Special)(Originally Aired On August 16th, 2018):

1. Television - Venus (Marquee Moon - 1977)
2. Television - Ain't That Nothin' (Adventure - 1978)

Richard Lloyd Interview Part 1

3. Richard Lloyd - Blue and Grey (Alchemy - 1979)
4. Richard Lloyd - Watch Yourself (Field of Fire - 1986)
5. Richard Lloyd - Summer Rain Alchemy (Alchemy - 1979)

Richard Lloyd Interview Part 2

6. Richard Lloyd - Should Have Known Better (Alchemy - 1979)
7. Television - Horizontal Ascension (1974 Ork Rehearsal) (Poor Circulation - 1998)
8. Television - Double Exposure (Demo) (Double Exposure - 1988)
9. Richard Lloyd - (I Thought) You Wanted To Know (New York New York: Ork Records Box Set - 2015)
10. Richard Lloyd - Connection (Get Off My Cloud/Connection - 1981)
11. Television - The Fire (Adventure - 1978)
12. Television - See No Evil (Marquee Moon - 1977)

Richard Lloyd Interview Part 3

12. Matthew Sweet - Sick of Myself (100% Fun - 1995)
13. Richard Lloyd - Fire Engine (Real Time - 1987)
14. Television - Little Johnny Jewel (Little Johnny Jewel - 1975)
15. Richard Lloyd - Wait Till Tomorrow (The Jamie Neverts Story - 2009)
16. Television - Marquee Moon (Marquee Moon - 1977)

Download This episode here.


Show 734 (Originally Aired On August 11th, 2018)(David Byrne, Motor City Muscle Festival, Ox, Mink DeVille):


1. David Byrne - Gasoline and Dirty Shirts
2. Sextile - Paradox
3. Poisoned - It Won't Last
4. Ultravox! - Hiroshima Mon Amour
5. Teenage Fanclub - Metal Baby
6. The Jam - All Mod Cons
7. Supergrass - Caught By The Fuzz
8. Pontuation - Ciao Bye Ciao
9. Go Four 3 - Someone
10. Zoom - They Only Come Out At Night
11. Actual Water - Open Votes
12. Mexican Knives - Wait 4 Ever
13. The Gories - Boogie Chillun
14. The Gories - Chick-In
15. The Gories - There But For The Grace of God
16. Death - You're A Prisoner
17. Iceage - You're Nothing
18. The Locusts Have No King - Shotgun Wedding
19. Bruce Springsteen - State Trooper
20. Condition - Rancho Deluxo
21. Ox - Brand New Key
22. Dead Ghosts - Summer With Phil
23. It's All Meat - You Don't Notice The Time You Waste
24. Steely Dan - With A Gun
25. The Unusuals - Measure For Measure
26. The Sonics - Don't Be Afraid of the Dark
27. X - Soul Kitchen
28. Mink DeVille - She's So Tough
29. The Clash - Red Angel Dragnet

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

Show 733 (Originally Aired On August 4th, 2018)(White Stripes, Pow Wows, The Dirty Pretty Things):

1. The Seeds - Pushin' Too Hard
2. The Creation Factory - You Be The Judge
3. The White Stripes - Let's Shake Hands (Live)
4. The Dirtbombs - Headlights On
5. The Walkmen - The Rat
6. Carlo - Meathead
7. Fitness - Physical Copies
8. Electricity - Cool Thunder
10. TOPS - Dayglo Bimbo
11. Pow Wows - Killing Floor
12. Pow Wows - Killing Me
13. Dusty Mush - The Ostrich Effect
14. White Lung - Vegas
15. Chad VanGaalen - Static Shape
16. John Lennon - Tight A$
17. Stompin' Tom Connors - Love's Not The Only Thing
18. Greg Cartwright - Love Won't Leave You A Song
19. Johnny West - Wicked Town
20. The Spooky But Nice - Everytime
21. Spoon - All The Pretty Girls Go To The City
22. Patti Smith - Kimberly
23. Radio Birdman - Man With Golden Helmet
24. Nerve Breakers - I Can't Help You
25. Wire - Men 2nd (Fifth Demo Session)
26. Jawbox - Cruel Swing
27. The Dirty Pretty Things - Gin & Milk
28. The Dirty Pretty Things - Gentry Cove

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

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.