Saturday, November 09, 2019

CJAM 2019 Fall Fundraiser & Shows # 797, 798, 800


This week marks CJAM FM’s fall fundraiser. Every year CJAM holds a pledge drive in which they raise funds to keep providing the unique programming that they offer every day. CJAM FM is a non-profit campus/community based radio station that provides music and spoken word programming to different parts of the Windsor/Detroit areas through 99.1 FM and online through downloads/streaming and archives at www.cjam.ca.

Earlier this year the Ontario Government announced a new change in university tuition fees giving student the ability to opt-out of any fees deemed non-essential under the Student Choice Initiative, which included campus radio. With no consultation or warning before the announcement, CJAM FM staff and volunteers were left scrambling to raise funds in the few months before the fall semester began to ensure financial stability. At the University of Windsor, CJAM FM has seen a 29% opt-out rate for the 2019 fall semester. This represents a decrease in the student levy fund of about $15,700 for the station. If the opt-out percentage remains the same for upcoming the winter semester, the station will lose roughly $31,400 this school year. “The fall fundraiser is extremely important for us because it represents a significant portion of our annual budget. While effectively combatting the loss in fees makes us optimistic, the fundraiser has always represented approximately 30% of our annual budget and is essential in maintaining our ability to broadcast.”  Station Manager Brady Holek stated in a recent press release.

For over 35 years now CJAM FM has continued to provide quality programming in the Windsor/Detroit areas often highlighting many events and issues while providing a different outlook from the usual mainstream media outlets. We also have a strong online audience that listens through our archives and live stream that is listened to worldwide. As I stated last year “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."

CJAM is currently in the midst of their fall fundraiser and could use your support. If you would like to show your support for CJAM FM you can donate, here are the ways.

We also offer incentives as a thank you for your support.

Any Amount – CJAM sticker
$10 – CJAM Enamel Pin
$10-20 – Music Prize Pack (CDs/vinyl/cassettes)
$50 – CJAM 2019 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 https://grouprev.com/CJAMFM or through my individual page for the pledge drive at https://grouprev.com/CJAMFM-revrock2019.

Below you can find some playlists to recent episodes of Revolution Rock and an example of the type of programming that we offer.

Show # 800 (Originally Aired On November 9th, 2019) (All Canadian 2019 Pledge Drive Playlist):

1. Middle Sister - Dear Weatherman
2. Whoop-Szo - Homemade Candles
3. Jose Contreras - At the Slaughterhouse
4. Shotgun Jimmie - Suddenly Submarine
5. Chocolat - L'Album
6. Dumb - Content Jungle
7. Duotang - Nostalgia's a Vice
8. Wine Lips - Fly Swatter
9. The Electric Cows - Porkpie Hats & You That Yes Feeling Theme
10. LTD - Chief Sleeps in the Park
11. Ancient Shapes - Piss Coloured Glasses
12. Orville Peck - Take You Back
13. The Sadies - Violet and Jeffrey Lee
14. Daniel Romano - What’s To Become of the Meaning of Love
15. Walrus - Bored to Death
16. Pottery - Smooth Operator
17. Paul Jacobs - Coffee
18. Paul Jacobs - Life Lessons II
19. Peach Kelli Pop - Hello Kitty Knife
20. Female Hands - Divided by Three
21. Science is Fiction - Getting Late
22. Terra - Couldn't Save This
23. Tire Swing Co. - I'd Name You Aubrey
24. Cellos - Head to Stone

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

Show 798 (Originally Aired On October 26th, 2019) (Halloween Themed Episode):

1. The 5.6.7.8's - Highschool Witch
2. The Mummies - That Things From Venus
3. The Sadies - The Creepy Butler
4. The Gruesomes - El Diablo
5. Deja Voodoo - Three Men, One Coffin
6. The Ketamines - Evil Intentions
7. The Cinch - Mystery Train
8. Frankie & Jimmy - Hellhound On My Trail
9. Junior Wells - Two headed Woman
10. Bo Diddley - Bo Meets The Monster
11. Billy Riley - Flying Saucer Rock & Roll
12. Enest Carter & The Hymn Trio - Ain't No Grave
13. Ernest Tubb - Saturday Satan, Sunday Saint
14. Zamboni Drivers - Skatin' Ghost
15. Screaming Lord Sutch - Dracula's Daughter
16. Kid Congo & The Pink Monkey Birds - Spider Baby
17. The Cramps - I Was A Teenage Werewolf
18. Johnny Thunders - In Cold Blood (Alternate Version)
19. Thee Oh Sees - Ghost In The Trees
20. Flesh Rag - One Foot In The Grave
21. TV Freaks - Snake
22. The King Khan & BBQ Show - Killing The Wolfman
23. The Ventures - Exploration In Terror
24. C & C Surf Factory - Cobra Basket
25. Atomic 7 - Phantom 101
26. The Scientists - Swampland
27. Sam Coffey & The Iron Lungs - Season Of The Witch
28. The Epsilons - Fever To Kill
29. Thee Tsunamis - Psycho
30. Wand - Floating Head
31. Johnny West - Zombies On Parade
32. XTC - Science Friction

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

Show 797 (Originally Aired October 19th)(Ginger Baker Tribute, The Black Lips, Dead Ghosts):

1. Cream - NSU (Live BBC Light Programme 1967)
2. Cream - Swlabr
3. Graham Bond Organization - Harmonica
4. Mudhoney - Pokin' Around
5. Dr. John - Danse Fambeaux
6. Middle Sister - Garden by the Bay
7. Big Thief - Not
8. Angel Olsen - Spring
9. Foggy Tapes - Dark Haired Queen
10. Donovan - Sunshine Superman
11. Silver Jews - How to Rent a Room
12. The Black Lips - Odelia
13. Kid Congo & The Pink Monkey Birds - Lurch
14. Dead Ghosts - Thunderbird ESQ
15. Dead Ghosts - I Want Your Love
16. The Stolen Minks - Rip It Up
17. Code Pie - The Room
18. Oromocto Diamond - Black Feelings
19. Leather Uppers - On the Mic
20. Terminal Licks - Hot Today
21. Pretty Matty - I'm Fine
22. The Danks - Shifty
23. Rats On Rafts - Meggy
24. Paul Jacobs - Life Lessons II
25. Japandroids - For the Love of Ivy
26. Futureheads - Hounds of Love
27. Les Robots - Ode To Yull Brynner
28. Takeshi Terauchi & The Bunnys - Test Driver

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

For those keeping track, Show # 799 which aired on November 2nd, 2019 was a repeat of a previous episode that aired in August (episode #790). You can download/stream that episode here and find the playlist here.

Saturday, October 12, 2019

Mudhoney Digital Garbage and Mark Arm interview & Show # 796


In September 2018, Mudhoney released their 10th full-length studio album titled Digital Garbage. The album is ripe with a political slant on the current state of the world attacking, questioning and addressing the perils of everything from social media to alt-right politics. Underneath all of this, Digital Garbage simmers with garage, punk and post punk influences that help to sharpen the message being delivered here. Recorded with longtime collaborator Johnny Sangster at Litho studio in Seattle, Digital Garbage follows 2013’s Vanishing Point, a series of singles and 2018’s live album LIE.

“Nerve Attack” opens Digital Garbage. With its stop and start guitar and bass riffs, Mark Arm and Mudhoney open this album placing the listener into a certain state with lyrics such as “All my atoms are vibrating faster/Don’t you touch/Because I will shatter” and “My skin is cracking and so is my brain/Can’t catch my breath/Get outta my way/I think I’m under a nerve attack” that empathize an uneasy, anxiety driven outlook. “Paranoid Core” drives even further with its dark, sarcastic lyrics mixed with punk dynamics. Released as the first single from Digital Garbage, “Paranoid Core” is one of the strongest songs on this record. “Please Mr. Gunman” has lyrics that were inspired by a TV news response to a 2017 church shooting, addressing consumerism, education and religion with an aggressive musical approach, “Kill Yourself Live” is a song that balances a Devo “Gut Feeling” influence with Mudhoney’s garage dynamics, lyrically the song is festering with lyrics that are so tongue-in-cheek about the like-culture that has generated itself in our modern times that the tongue cuts like a razor blade. At the end of the song, the lyrics state “And you’ll live on in digital garbage/Lest we forget” as the music levitates with a 60’s/? and the Mysterians inspired organ with freighting effect. “Night and Fog” comes in slowly with a post punk inspired bassline played by Guy Madison as Dan Peters drifts in with drum rolls and crashes, all of this builds with Steve Turner and Mark Arm’s guitar, feedback and Arm’s vocals. Near the end of the song, a Mark Arm wail brings us into a storm of feedback and heavy guitar, bass and drums ala Black Sabbath.

“21s Century Pharisees” features different time signatures in the verses with woozy, sweeping synthesizer parts played by Guy Madison. “21st Century Pharisees” and the psychedelically acoustic “Messiah’s Lament” take on Christian conservatism. “Hey Neanderfuck” features scuzzy guitar riffs and the lyrics “Thanks for inflicting your misery/On the rest of us” and “All the oxycontin in the world/Won’t make your pain go away” that focus on a society created by certain types of people in power and the mess we have to deal with. The song’s title originates from a skit on a 70’s National Lampoon comedy album. “Prosperity Gospel” pours into a compelling intensity with its staccato guitar parts and punk energy that pinpoints onto the worship of the rich in America, while “Next Mass Extinction” is a slow blues dirge, featuring harmonica (played by Steve Turner), as lyrically the song states that “Nothing will replace us/In the next mass extinction”. The song offers no answers, but throws the listener into the void of the present and the unknown with its bleak criticism. “Oh Yeah” ends Digital Garbage with a short punk blast bringing in a form of optimism. With lyrics such as “I want to carve/I want to glide/I want to get in the ocean and clear my mind”, “Oh Yeah” celebrates with an escapism from all the toxic digital mass that collects in our brains in our daily lives encouraging skateboarding, surfing and riding your bike instead.

For some, hearing that band is doing an album that is politically charged can be dissuading. Mudhoney vents, and questions many themes that are troubling at this point in time, but they aren’t riding their high horse and being preachy on this album. Despite all the bleakness that we face and have to deal with, Mudhoney produce an album that is impassioned with some of their strongest lyrics and music to date. Many reviewers have stated that Mudhoney always sounds the same, but they must not be listening close enough. Yes, Mudhoney sounds like Mudhoney, but they do explore other musical landscapes here. On Digital Garbage, Mudhoney deliver a sound and a fury that rivals their best records.

Listen to Revolution Rock's interview with Mark Arm of Mudhoney here:



Show 796 (Mark Arm Interview):

1. Patti Smith - So You Want to Be (A Rock n' Roll Star)
2. Science is Fiction - Getting Late
3. Fruit Tones - A Bag for Life
4. The Sweater Girls - Pavement
5. Sweet Toothe - Ware
6. Repo Man - May I Interject
7. The Muffs - Red Eyed Troll
8. Mudhoney - Touch Me I'm Sick
9. Mudhoney - Chain That Door

MARK ARM INTERVIEW PT.I


10. The Monkeywrench - Look Back
11. Mudhoney - Nerve Attack
12. Mudhoney - One Bad Actor

MARK ARM INTERVIEW PT.II

13. Mudhoney - Suck You Dry
14. Mudhoney - Poisoned Water
15. Big Thief - Shoulders
16. Saba Lou - Telepathetic
17. The Sylvia Platters - Boseelagerstrasse
18. Shadowy Men on a Shadowy Planet - Rover and Rusty
19. The Vondells - El Duello
20. Shotgun Jimmie - The New Sincerity
21. Paul Jacobs - Easy (Warmer Weather)
22. Paul Jacobs - Picture in the Paper
23. Dream Cars - Without a Name
24. John Coltrane - Village Blues (Take 3)
25. Mudhoney - I Like it Small
26. Mudhoney - Editions of You (BBC Session)

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

Saturday, October 05, 2019

Wolfmanhattan Project and An Interview With Kid Congo Powers & Show # 795


Wolfmanhattan Project is a band made up of Mick Collins (The Gories, The Dirtbombs), Kid Congo Powers (The Cramps, Nick Cave & The Bad Seeds, Gun Club and The Pink Monkey Birds) and drummer Bob Bert (Sonic Youth, Pussy Galore, Lydia Lunch’s Retrovirus) that first had a single out in in 2015. The single which featured the song “Smells Like You” backed with “You Are My Glue”, was described on In The Red Records website as “trashy, swampy, sleazy, damaged music you'd expect from the gentlemen involved. “ In April of 2019, a full-length album was released from this group entitled Blue Gene Stew. This long awaited debut album creates its own musical atmosphere with elements of garage, punk and no wave. Lyrically, the music often ventures into sci-fi obsessions, conspiracy theories and a psychedelic trippiness.

Blue Gene Stew starts off with “Delay Is The Deadliest”. Sung by Bob Bert, the song features off kilter guitar riffs travelling into punk and no wave territory while lyrically Bert rants over top. “Now Now Now” digs into a deeper psychedelic groove. Kid Congo Powers vocals levitate above the dual guitar attack that he and Collins deliver with the words “What you say is what you do now/Cause what you say is what you do now now now” that repeat themselves in a hallucinogenic fashion. “Braid of Smoke” floats into the listener’s subconscious with a gritty, R&B psych style as Collins sings visual, abstract lyrics. The song ends in an explosion of drums and distorted guitar solos. “I Feel You” features sci-fi sounding effects with cowbell and primal drums throughout this rockabilly rave-up with raunchily poetic lyrics supplied by Powers, “Sticky” is a sleazy garage song with lyrics projecting a modern day paranoia, “Jar in a Suitcase” revels in its strangeness. Featuring Lydia Lunch, the song portrays an experimental spooky, sci-fi funky aesthetic as Lunch and Collins trade off vocals, while “Silver Sun” deflects a grimy garage aesthetic.

“Toynbee Tiles” unwinds itself with the tale of the mystery of the Toynbee Tiles. These tiles began appearing mysteriously in US major cities in the 1980’s and 1990’s. Although their origin is still unknown, these tiles were found embedded in the asphalt in the streets of about two dozen US major cities and places in South America. They bore the message “Toynbee idea/In 2001 movie/Resurrect the dead/On planet Jupiter”. This message appears throughout this song in different variations, sung by Bob Bert in a chant-like way between complex samba rhythms, strange Doppler sound effects and pitch altered vocals that move with a beat poetry make up putting the listener into a trance-like state. The song explores a futuristic, yet surrealist sonic soundscape that could easily apply itself to our modern day outlook of the world. “Last Train to Babylon” ends Blue Gene Stew. This song brings forth a sort of distracted blues with psychedelic sounding guitar effects as the drums hold down the centre. Lyrically, Collins sings, “Flying saucers landing now/Deliver us the newborn king”, and “The towers of Babylon are burning/Board the train and seal the deal” stressing the need for something new among the ongoing chaos and destruction.

Recorded over several sessions, Blue Gene Stew features baritone guitars. This type of guitar differs from a standard guitar. It is a deeper sounding guitar with a longer scale length. The album also features standard guitar, along with drums and other instruments that all add to the overall sound of Blue Gene Stew. While their previous musical foundations still permeate the music on this album, Blue Gene Stew is not exactly what you might expect from Mick Collins, Kid Congo Powers and Bob Bert. With Blue Gene Stew, Wolfmanhattan Project explores a different musical landscape. It is one weird, wild trip that you won’t be able to forget you took.

Listen to Revolution Rock's Interview with Kid Congo Powers here:



Show 795 (Kid Congo Powers Interview):

1. Wilco - Everyone Hides
2. Surf Curse - River's Edge
3. Angel Olsen - What It Is
4. Kurt Vile (Featuring The Sadies) - Baby's Arms
5. Nick Cave & the Bad Seeds - Ghosteen Speaks
6. Kid Congo & The Pink Monkey Birds - Rare as the Yeti

KID CONGO POWERS INTERVIEW PT.I

7. Gun Club - Eternity Is Here
8. The Cramps - Rockin' Bones
9. Nick Cave & the Bad Seeds - City of Refuge

KID CONGO POWERS INTERVIEW PT.II

10. Wolfmanhattan Project - Now Now Now
11. Teenanger - Bank Account
12. Psychic Void - Dirty Hands (CJAM Session)
13. The Leather Uppers - 1000 Lashes
14. Orville Peck - Winds Change
15. Bloodshot Bill - Be My Own
16. Light Bulb Alley - Roads Must Part
17. Wax Mannequin - Chance to Dance
18. Women - Locust Valley
19. The Cramps - Thee Most Exalted Potentate of Love (Live)
20. Kid Congo & The Pink Monkey Birds - La Arana

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

Saturday, September 28, 2019

Saba Lou Novum Ovum: An Interview & Show # 794


Novum Ovum is the second full-length album by Saba Lou. Saba Lou is the daughter of garage rock icon King Khan and will release Novum Ovum on the Ernest Jenning Record Co. label in October 2019. This album takes on a different musical approach than its predecessor. While there are some of the same influences, her first album Planet Enigma released in 2017, was more of an acoustic based record mixing elements of folk and 60s rock. What Novum Ovum brings is full band arrangements that mix an early R&B soul influence and elements of jazz and blues.

“Primrose Diner” begins the album with smooth guitar lines, soulful basslines and a laidback groove. Saba Lou sings of a waitress working in a diner and the revolving cast of characters that drift through. The song reveals a character that is willing to do anything to spend some time with the waitress she admires and has fallen for, but is ultimately intimidated by. The chorus takes off with the lines “Please let me take you away/Just for the night if I may” as the song launches into a feeling that casts shadows of romanticism and hope. “Primrose Diner” evokes an Etta James aesthetic mixed in with a bit of garage rock for good measure. The title track is more up tempo with jangly guitar parts and drums and bass that hide behind the beat as Saba Lou sings over top. The song is based on a poem that she wrote after a painful ovulation on stage due to/because of her Endometriosis. Lyrically, the song calls for victory over a personal struggle. “Dirty Blonde” is the third track found on Novum Ovum. With lyrics such as “White blonde/Platinum/Honeycomb you stuck me in/Stay goddamn dirty blonde/We all know where you’re coming from/What you’re running from”, the song portrays a character that seems to be running from themselves by the constant change in their hair colour, while at the same time emphasizing the need to not pretend to be someone that you’re not. “Penny Roll” moves in with its garage/soul dynamics, as “On The Fields” delivers more of a jazz beat, mixed with blues and soul.

“Telepathetic” was the first video released for Novum Ovum. The video features Saba Lou and the band (Osaka Wald guitar, Amit Alcalai-Duvnjak on bass/keyboards and Omri Gondor on drums), in a dimly lit room performing as a spotlight flashes back and forth in a film noir fashion. The song is awash in soulful guitar, bass and keyboards, as Saba Lou croons about two people that fail to read and connect with each other. “Silver Pill” features acoustic guitar, staccato lead guitar lines, descending keyboard patterns and a chorus that hooks the listener in with the lyrics “You got nothing to prove/That you were there on the scene/And I got nothing to say/Drink your silver pill/With more morphine”. “Violet” comes in with a surf influence that floats between the jazz drum beats, with vivid lyrics courtesy of Saba Lou, “Cherie Sherabou” dances with a jazz and blues makeup, featuring finger snaps and lyrics contrasting glamour and sleaze, while “Humpback In Time” ends Novum Ovum. This song was written from the perspective of Gracie, the pregnant whale from Star Trek IV: The Voyage Home. The song travels with an unease and intensity that is portrayed in the building guitar patterns before the other instrumentation swims through in an R&B rave up fashion sounding like a form of futuristic Morse code in the choruses. Despite the lyrical influence of the song, it portrays a destructive world, uncertainty and a need for understanding. All themes of which parallel the ongoing events of our time.

In some reviews of the album comparisons have been made to Nancy Sinatra and Holly Golightly, but there is so much more found in the music. Other influences such as Nina Simone, Etta James, some 60s garage and many others all add to the world that is created within the music and lyrics of Novum Ovum. Throughout Novum Ovum, the listener is sucked into a world that creates a mood and an atmosphere that is filled with visual and at times visceral images that depict multiple meanings. Novum Ovum means “new egg” in Latin. With Novum Ovum, Saba Lou shows a musical and artistic rebirth revealing something new that captivates with each listen.

Continue reading for a Q&A Revolution Rock did with Saba Lou:


RR: You have a new album coming out called Novum Ovum. What is the significance behind the album’s title and when did you first begin working on the songs for this album?

SL: The meaning of the title is connected to a very personal struggle of mine. Novum Ovum means 'a new egg' in Latin and is based on this furious poem I wrote after a very very painful ovulation on stage. Endometriosis - patches of uterean lining that have gone astray between my uterus' muscle tissue - causes extreme cramping during periods and ovulations. I'm much better now, in treatment and under a strict diet, but for a while there it was extremely difficult to cope. This song is one way I worked through it creatively. I don't remember which song was the first or exactly when, but it must have been somewhere around late 2017. I don't really strive towards 'finishing albums' but just see how and when an idea comes to me, then sometimes I explode and write three in one night. That happened twice for Novum Ovum.

RR: The first single made available online was “Primrose Diner”. Your lyrics are very visual, what inspires you lyrically and where did you draw inspiration for this song?

SL: Primrose Diner is one of my more direct 'odes'. I sort of feel like all of my songs are meant to celebrate something and in this I thought about many friends - one lovely lady, Karen Thompson of GYM Tonic, in specific (I don't think I ever told her...) - who work in cafés, bars and restaurants, something many can relate to. It's not based on a real situation where I've sat at the window trying to muster up the courage to ask a dame out, it's a poetic expression of an admiration I have for those who work in that kind of service. Blended with the romanticized image of the fifties diner waitress. Always on their feet, rushing around, all-smiles in the job description, it's really tough.

Usually it's impressions that inspire me, the feeling left behind after an encounter with someone, a place, anything really. Things that peak my interest that way automatically become something I could write about, lyrics, poems or creative writing alike. With this song especially I felt like I could have gone on forever, written a hundred verses.

Maybe someday I will.

RR: How would you compare the music on Novum Ovum to your first album, Planet Enigma and what do you feel the similarities or differences are between them?

SL: Planet Enigma was a very different phase, the first songs I ever wrote. I'm glad it exists as a witness of time, I will never write or sound like that again. Lyrically I feel much more free on Novum Ovum while I was sort of 'trying things out' with the first. A natural development. And then there's the most obvious difference, the band. I enjoy the versatility of the set, the ability to play solo gives it an acoustic, soft charm, the duo with an added interaction between us two and the band unfolds a whole new level, a grandeur only one, couldn't achieve. I intend on recording a stripped down version of Novum Ovum in the style of the first, solo, as well, to keep it all versatile and not make it seem like the band was the 'improvement'. It's an alternative, enhanced in many ways, but I do still value the other approaches equally.

I guess a similarity would be that both albums document the adolescence of the same person thus completing and complimenting each other, two branches of the same tree.

RR: Who currently plays in your live band and do the same people play on Novum Ovum? Are there any special guests as on Planet Enigma?


SL: The three of them, Oska Wald of Chuckamuck on lead guitar and back up vocals, Amit Alcalai-Duvnjak of the Gondors and Chuckamuck on synth-bass and keys and Omri Gondor of the Gondors on drums, they add so very much to all of it. We are all friends with many connections. Everybody's known each other for several years, I met Oska for the first time when he was fourteen and I was five. We got to know each other about ten years later and are very close friends now. The other two, Amit and Omri, go way back, they started off in the Tel-Aviv jazz scene in their teens. As you can see above, everyone plays with everyone else in many combinations, which gives us all a very comfortable, familiar feeling. When you have good relationships with your bandmates any stage will feel like home.

They are the special addition to Novum Ovum, and what an egg we've all hatched.

RR: What is the typical songwriting process like for you and what would you say some of your musical influences are for your music?

SL: It really depends, sometimes I write a poem and leave it be for a while, rediscover it and add music (I have bags and piles of scrap paper all over my apartment). Sometimes I note chord progressions first, but mostly I do both at the same time. I sing the line, find the chord and progress little by little. I feel very inspired by many types of music, usually I go through phases of a few similar songs and listen to them on repeat for weeks. Then the next song I write is usually connected to that style. I don't want to say that my music is in any way similar, but just to name a few of my favourites, just things that I really enjoy listening to: early Nina Simone, early Eartha Kitt, early Marvin Gaye, Astrud Gilberto (not so much her English singing), Dolly Parton, Asha Bhosle, Ennio Morricone.

And to add some modern stuff: I love The Frowning Clouds from Australia, I want to shout out to them whenever I can. I hope they record some more... I'm a big Flight of the Conchords fan. Also my very dear friend Jeff Clark and all of his past, present and future projects melt me (Demon's Claws, Hellshovel, Milk Lines, Strawberry Sun). One song on the new album is (secretly) dedicated to him and another inspired by his hair.

RR: Growing up as the daughter of King Khan must have been a unique experience. What is one of your earliest musical memories and what types of music was present when you were growing up?


SL: You could say that, haha, though I've never been anyone else's child and lack the comparison.

My earliest memory is a yellow Buddy Holly Greatest Hits record, that I ADORED as a baby. It still does and always will touch my heart in the place that still drools and wears diapers. The thing I am most grateful for in terms of the artistic exposure my parents gave me (my mother was just as much an important influence, since their shared love of the same things gave birth to what we now call 'The Vortex', our family apARTment) is the love for the history of music and the discovery of new things. We listened to mostly fifties to seventies stuff when we were small, Chuck Berry, Ike and Tina, Bo Diddley, The Miracles, The Ronettes, The Beatles, Screaming Lord Sutch, Nuggets, Pebbles, 60s Bollywood soundtracks, etc. That taught us to understand how these things influenced my father and his friends. The ability to spot commonalities is ultimately what will teach you how to understand musical history and how to approach creation without fear, because it's all connections, references.

My dad played me GG Allin's 'Drink, Fight and Fuck' for the first time when I was eleven. I hated it and I was mad at how amusing he found my torture. Then, when I started to get into it a few years later I was surprised and glad I could reconstruct that development within myself. So in the long run I was taught to understand change and always stay curious.

I don't listen to stuff like that at all now. I've actually been getting into a lot of traditional Japanese koto music, Nanae Yoshimura and Kimio Eto for example, and also a bunch of Indian classical like Ustad Vilayaat Khan. It gives me a wonderful foundation of peace and meditative calm on which to base my thoughts. Who knows what I might write next...

RR: Your first release was a 7 inch EP released when you were only 6 years old. What do you remember of making these recordings that wound up on the First Day of School EP?


SL: I do not remember anything, but wearing very large headphones, that I had to hold onto constantly. Memories from that time are very vague. I know we were always playing with instruments, the best toy in the world if you ask me, Papa was always showing us stuff and let us play with everything. A little off-topic, but I do remember clearly how my little sister Amabelle and I would construct complicated space crafts on the living room floor using the fourtrack, theremin and all other devices around with buttons and nobs to play space travel. (I might note that I'm the deepest trekkie and these instruments may have paved the way there.)

RR: What’s next for you musically?

SL: At the moment I really want to take it easy, I'm focusing more on visual art and creative writing, I just finished a short story I might be printing soon. I love music, but I don't plan on it being the main focus of my life, I'm very attracted to the sciences.

So for now there are now grand plans aside from this alternate version of Novum Ovum.

I will let whatever comes come. Let me finish with a tiny little dream I've been cultivating in the very back corner of my mind: fifties/sixties sci-fi soundtrack meets Ennio Morricone meets Jackson Five.

Get a copy of Saba Lou's Novum Ovum here.

Show 794 (Originally Aired On September 28th, 2019)(Saba Lou, The Replacements, The Mummies):


1. Mudhoney - Creeps Are Everywhere
2. Vivian Girls - Memory
3. Girl Band - Couch Combover
4. Not Of - Truck
5. Cellos - Head to Stone
6. Psychic Void - Drug Surface
7. Psychic Void - Day Dreamer
8. Trout - Laika (CJAM Session)
9. The Replacements - Achin’ To Be (Matt Wallace Mix)
10. The Replacements - Portland (Alternate Mix)(Bearsville Version)
11. Randy Newman - Mama Told Me Not to Come
12. Eamon Mcgrath - Guts
13. Jom Comyn - Mountain
14. Scott Walker - Amsterdam
15. Belle and Sebastian - Get Me Away from Here I'm Dying
16. Julie Dorian - Lovers of the World
17. Patti Smith - Space Monkey
18. Brittany Howard - 13th Century Metal
19. Mount Eerie & Jule Dorian - Who?
20. Saba Lou - Waiting for the Bus
21. Saba Lou - Primrose Diner
22. The New Pornographers - The Surprise Knock
23. Matana Roberts - Fit to be Tied
24. The Mummies - Land of 1000 Dances
25. The Mummies - Victim of Circumstances
26. The Mummies - Justine
27. TV Freaks - Knife
28. Uncontrollable Urge - Pep Talk
29. Chunder Buffet - Goosebumps
30. Fugazi - Nice New Outfit

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

Saturday, September 21, 2019

Ric Ocasek, Daniel Johnston, David Berman & Shows # 790, 791, 793


Ric Ocasek:

Primarily known as being a songwriter/singer/guitarist in The Cars, Ric Ocasek had a background in music for many years prior to forming The Cars. He met future Cars bassist Ben Orr in 1965 and a few years later they would form a band in Cleveland, Ohio. They performed in different bands together around the Columbus area and around Ann Arbor, Michigan before finally relocating to Boston. In the early 1970s, Ocasek and Orr formed a band called Milkwood that would also feature Greg Hawkes who would go on to play with them in The Cars. Milkwood were not a rock band, but a folk band that played music in the style of Crosby, Stills & Nash. They even recorded and released an album on Paramount Records entitled How’s The Weather that was released in 1972. The album failed to chart and the band was dropped from the label. Ocasek and Orr would team up with Elliot Easton (future Cars guitarist) in his band Cap’n Swing. The band’s demo got airplay on WBCN in Boston, but the band were rejected by several labels. The band was reorganized with a different drummer and bassist to better fit Ocasek’s style of songwriting. Ben Orr took over on bass and David Robinson, best known as being drummer in The Modern Lovers took over on drums. Ocasek played rhythm guitar and sang lead vocals on several tracks, Orr took lead vocals on the others. Elliot Easton played lead guitar while Greg Hawkes joined on Keyboards.

Renaming themselves The Cars, their music, written primarily by Ric Ocasek was extremely catchy. In addition to this, underneath the music there was a 50’s rock influence that ran deep, amongst other influences such as Roxy Music, The Velvet Underground and power pop. This all combined with a punk/new wave aesthetic and after having their 1976 demo played on WCBN repeatedly, the band signed to Elektra Records. The Cars first album featured several hit singles (“Just What I Needed”, “My Best Friends Girl”, “Good Times Roll”), as well as other songs that would receive a lot of attention such as “You’re All I’ve Got Tonight”, and “Moving In Stereo”. The Cars remained on the charts for 139 weeks. It is one of the strongest debut albums from that time period. Along with the music, lyrically, Ocasek and The Cars explored the subject matter differently. While they may seem to be happy pop songs, many of the lyrics are not what they seem at first glance. The Cars early albums were all produced by Queen producer Roy Thomas Baker. He added a slick element to the production of their songs. They went on to play and record albums until 1988. Ocasek released several solo albums starting with Beatitude in 1982. The music often experimented with technology and song structures, this is apparent on some later Cars albums and Ocasek’s solo albums. In addition to all this, Ocasek also took on a producer role following his time with The Cars. He would go on to produce Weezer’s debut album, Guided By Voices Do The Collapse, Bad Brains Rock For Light, Jonathan Richman’s I’m So Confused and many others. Ric Ocasek left a lasting imprint on the music he created and helped to produce.


Daniel Johnston:

Daniel Johnston is known for his lo-fi cassette recordings. During the 80s and 90s he recorded a large majority of his best-known work on cassette tapes on a boom box recorder and would hand them out the friends/fans around Austin, Texas. His music is often folk based and he has been called an outsider folk artist by many. As stated on his website “Daniel Johnston has spent the last 20 or so years exposing his heartrending tales of unrequited love, cosmic mishaps, and existential torment to an ever-growing international cult audience.” Throughout his life Johnston also battled mental health issues that caused him to be in and out of institutions, but in the end he triumphed over his illnesses with his art. He created music prolifically and art. He would often draw characters that would wind up on his album covers. Perhaps his best-known album was, Hi, How Are You, which was his sixth album. Originally released in 1983, the album varied in its content from his earlier albums. Johnston also experimented with tape and noise collages on this album. This album would receive a wider distribution when it was reissued in 1988 on vinyl via the Homestead record label.

In 1985, Johnston was featured on an episode of The Cutting Edge on MTV. His live performances combined with his unique way of recording/delivering his music generated great interest in Daniel Johnston. In 1988, he travelled to New York to record 1990 in a proper studio with producer Mark Kramer. The album was originally intended to be made up of all studio recordings, but due to his mental health conditions during the making of this album, he was not able to complete the planned album studio sessions. As a result, 1990 is a collection of studio recordings, live recordings and home recordings. Johnston signed to Atlantic Records in 1994 following further surges of interest in his music after Kurt Cobain was seen wearing a t-shirt of Johnston’s Hi, How Are You album cover on TV. The resulting album on Atlantic was entitled Fun. It was not a commercial success and Johnston was dropped from the label in 1996. Johnston continued to make music despite this collaborating with artists such as Yo La Tengo, Jad Fair, Okkerevil River and many others. He was the subject of the documentary film The Devil and Daniel Johnston in 2005. In 2010, Johnston released Beam Me Up! In 2012 he released a comic book called Space Ducks and it also featured a corresponding soundtrack featuring music from Johnston and other artists. Jeremiah The Innocent is the name of the frog drawing that graces 1983’s Hi, How Are You. In 1993, Johnston was commissioned to paint this image on the wall outside of the then record store Sound Exchange. The mural remains and is a part of Austin, Texas for anyone to discover, much like Johnston, his music and influence.


David Berman:

David Berman is perhaps best known for the music that he created with indie rock band Silver Jews. Prior to forming Silver Jews, Berman formed a band while at studying at University of Virginia. The band called Ectoslavia, featured Stephen Malkmus (who he would often collaborate with) and Bob Nastanovich (of Pavement). Ectoslavia would often feature a lot of noise and static beneath their melodic pop songs. After graduating the group relocated to Hoboken, New Jersey. They would adopt the name Sliver Jews to make tapes in their apartment. It was around this time that Malkmus formed another band Pavement. As Pavement began to take off, people began to think that Silver Jews was a side project of the band, despite proceeding them and being led by Berman. Their first single was 1992’s “Dime Map of the Reef”, which featured ultra lo-fi aesthetic. It was released on Drag City records. The first Silver Jews album was 1994’s Starlite Walker. They went on to much acclaim releasing The Natural Bridge in 1996, American Water (1998), Bright Flight (2001), Tanglewood Numbers (2005), Lookout Mountain, Lookout Sea (2008). Their 2008 release proved to be their last. In 2005, Silver Jews embarked on their first ever tour. The lineup of the band would feature a rotating cast of musicians throughout their existence with Berman remaining as the only constant member. In addition to this, Berman released a book of poetry in 1999 entitled Actual Air. In 2009, he released another book. This time it was a collection of drawings/cartoons entitled The Portable February.

In 2019, after not releasing any music for eleven years, Berman announced a new band and album called, Purple Mountains. The lyrics drew on themes of the strains of depression and his marriage, among other topics. Released in July 2019, Berman was set to go on tour in August 2019, but it was cut short when he was found dead three days before the tour was to begin. Berman would battle with depression throughout his life. In the mid 2000’s he dealt with drug abuse. He would address many issues in his lyrics. He famously said that he worked on his words more because he “couldn’t rock out harder than everybody, or overcome people with mastery like Jack White of the White Stripes”. As a result, the music that Berman created with these lyrics were layered in multiple possible meanings and embodied indie rock often with a striking poignancy and with a sense of humour and wit in a great literary sense. He received critical acclaim for his abilities as a lyricist, which connected with fans on many levels. The music is something you have to experience to fully understand, but a recent article in the New Yorker may have said it best. They said that David Berman “had a gift for articulating profound loneliness in ways that felt deeply familiar, which in turn made you feel less alone.”

Show 793 (Originally Aired On September 21st, 2019)(Ric Ocasek, The Cars & Daniel Johnston Tribute):

1. The Cars - My Best Friend's Girl (1977 Demo)
2. The Cars - Don't Cha Stop
3. The Cars - Night Spots
4. Milkwood - With You With Me
5. Daniel Johnston - True Love Will Find You in the End
6. Daniel Johnston - Casper
7. Daniel Johnston - Lennon
8. Daniel Johnston - Walking the Cow
9. Vivian Girls - Sick
10 Amyl & the Sniffers - Control
11. B Boys - Pressure Inside
12. Pottery - Lifeline Costume
13. Mark Sultan - Filthy Rat
14. (Sandy) Alex G - Southern Sky
15. Rick White - Tomorrow
16. Leonard Cohen - The Goal
17. Brittany Howard - History Repeats
18. Iggy Pop - Love Missing
19. Pixies - Los Surfer Muertos
20. Sprinters - Ending
21. Jale - All Ready
22. Deke Dickerson w/ Bloodshot Bill - Bad Biscuit
23. Bloodshot Bill - Shark Tank
24. The Sadies - Lay Down Your Arms
25. The Sadies - Venison Creek
26. Paul Jacobs - Waiting for the Grave
27. Foggy Tapes - Can't Stay in Bed All Day
28. Shotgun Jimmie - Blues Riffs
29. Fontaines DC - Big

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

Show 791 (Originally Aired On September 7th, 2019)(Ann Arbor Blues Festival 1969, Frankie Cosmos, Animal Collective, Lou Reed, Supergrass):

1. Mississippi Fred McDowell - John Henry (Ann Arbor Blues Festival 1969)
2. Big Mama Thornton - Ball and Chain (Ann Arbor Blues Festival 1969)
3. South River Slim - Grinnin in Your Face
4. Necking - No Playtime
5. Fontaines DC - Hurricane Laughter
6. Otoboke Beaver - S'vll vous plait
7. Frankie Cosmos - Windows
8. The Glow - Lose
9. Animal Collective - Ballad of Reverend War Character
10. David Bowie - Dollar Days
11. Orville Peck - Dead of Night
12. Nap Eyes - Roll It
13. No Museums - Fangs That Once Were Teeth
14. Heavy Trash - Dark Hair'd Rider
15. Demon’s Claws - Hunting on the 49
16. The Gruesomes - Unchain My Heart
17. Lou Reed - Kill Your Sons
18. D.O.A. - Rent a Riot (1978 Demo)
19. Pointed Sticks - Out of Luck
20. The Danks - What We're Doing
21. The Jackets - Be Myself
22. Miles Davis - Carnival Time
23. Pekoe Cat - My Baby
24. A Savage - Untitled
25. Those Pretty Wrongs - Ain't Nobody But Me
26. The Scenics - Gotta Come Back Here
27. Supergrass - Mansize Rooster

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

Show 790 (Originally Aired On August 31st, 2019) (Ann Arbor Blues Festival 1969, Jonathan Richman, Shotgun Jimmie, Protomartyr, David Burman Tribute):

1. Jonathan Richman & The Modern Lovers - That Summer Feeling
2. Klaus Nomi - Lightning Strikes
3. The Flaming Lips - Feedaloodum Beedle Dot
4. Black Midi - Bmbmbm
5. Nots - Built Environment
6. Butchers - Golden Sugar
7. Silver Jews - Living Waters
8. Silver Jews - The Frontier Index
9. Silver Jews - Smith & Jones Forever
10. Silver Jews - Transylvania Blues
11. Silver Jews - Sometimes a Pony Gets Depressed
12. Silver Jews - Aloysius, Bluesgrass Drummer
13. Purple Mountains - That's Just the way That I Feel
14. Red Mass - Crooked
15. Red Mass - Bored
16. Jon Spencer Blues Explosion - Chicken Dog
17. R.L. Burnside - Miss Maybelle
18. Muddy Waters - Long Distance Operator (Ann Arbor Blues Festival 1969)
19. Bloodshot Bill - It'll Be You
20. Catl. - Waiting List
21. Mac DeMarco - Little Dogs March
22. The Vondells - 2 Tone Blue
23. Shotgun Jimmie - Sappy Slogans
24. Shotgun Jimmie - One Trick Pony
25. Louder Than Death - Baby Huey
26. 3ft - Evening Song
27. Protomartyr - Principalities
28. Protomartyr - King Boots

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

Show 792 was a repeat of an episode that originally aired in August 2019. Download/stream this episode here and find the playlist here

Thursday, August 29, 2019

Jon Spencer Interview & Show # 789


Spencer Sings The Hits! is the first solo album released by Jon Spencer. Having been in the bands Pussy Galore, Jon Spencer Blues Explosion, Boss Hog and Heavy Trash, Spencer has long been involved in styles of music that go by their own rules. While it is often in the garage and punk direction, his 2018 solo offering features a melding of his styles so to speak. Spencer Sings The Hits! sounds just as wild and raw as anything that Spencer has ever done. Armed with synth bass, distorted primitive guitar riffs and drums accented with metal percussion, this album creates a world of its own, not retreading past musical landscapes that Spencer has been known for.

The album had its beginnings with demos created by Spencer in his apartment in Manhattan when he didn’t really have a current band to play with. After writing and demoing songs on his own, he put together a new band for this record. He added Sam Coomes (from the band Quasi, Heatmeiser) on keyboards/synth bass and M. Sord (No Monster Club) on drums. All of the songs were recorded in Benton Harbor, Michigan at the Key Club Recording Company and produced/mixed by Jon Spencer and Bill Skibbe. “Do The Trash Can” starts off Spencer Sings The Hits! with the words “Fuck this orange piece of shit!” in between primitive drums and fuzzy overdriven synth bass and fuzzy guitars, “Do The Trash Can” operates with danceable garage punk grooves. The opening lines address the current US political climate in a humorous way, but also with the rest of the song, it releases a sense of anger and rage. Several of the songs on the album address political issues, the celebration of rock and roll, doing something new/looking at the past and other topics in a way only Jon Spencer can. “Fake” lyrically directs its anger outward calling out phonies with its stop and start guitar and bass riffs, “Overload” brings in blues and garage punk dynamics with lyrics that address elements of taking on too much, but the lyrics could also easily apply to the overload of media content we experience on a daily basis.

“Ghost” addresses the theme of aging as the music projects a horror movie sounding aesthetic, “Beetle Boots” features driving guitar and bass riffs and drums as lyrically it addresses the challenges and stereotypes and authenticities of being in a band. With lyrics “You wearing those fake Beetle Boots/You gonna need a new career/Imitation leather and plastic zipper” and “Wrong priorities/Misguided intentions/Ironic distance just reinforces convention” Spencer drives this point home. “Hornet” brings in funky rhythms as lyrically it buzzes about the craziness of one’s past and the freedom that it brings while looking at the present with words such as “Why would anyone want to tie you down/You should be free”, “Wilderness” with its garage and funky interlude features lyrics such as “Set the way back machine for never” and lines like “The noise, the noise, the noise” that finds itself in a world juxtaposed with the noise of being retro for retro’s sake without much else.

“Love Handle” comes in with pounding drums and distorted guitar and bass before a rockabilly styled riff floats into the mix as Spencer sings of the frustrations of long term relationships with a razor sharp wit, “I Got The Hits” is a tongue-in-cheek song that draws parallels to our current political and media climate amongst its soulful garage riffs, while “Cape” ends Spencer Sings The Hits! With its slithery Cramps like riffs alongside synth bass and primal drums, it addresses the frustrations of a male dominated world contrasting it with a desire for a more female centric outlook. The song ends with lyrics that list off female superheros “Calling out Batgirl, calling out Sue Storm, Calling out Black Widow, She Hawk, Starfire, Wonder Woman”. On the album cover of Spencer Sings The Hits! one of Jon Spencer’s hands isn’t a hand at all, it is a menacing looking monster hand. Like the monster hand that appears the album’s cover, the music on Spencer Sings The Hits! lurks with fuzzy guitar riffs, overloaded synthesizer bass and visceral, primal rhythms, creating something that when combined with the lyrical content claws at your subconscious.

Check out Revolution Rock's interview with Jon Spencer here:



Show 789 Playlist (Originally Aired On August 24th, 2019)(Jon Spencer Interview):


1. Jon Spencer - Do The Trash Can
2. The Jon Spencer Blues Explosion - Shirt Jac
3. Heavy Trash - The Loveless
4. Boss Hog - Winn Coma
5. The Jon Spencer Blues Explosion - Bellbottoms
6. The Jon Spencer Blues Explosion - Burn it Off
7. Pussy Galore - NYC 1999!

JON SPENCER INTERVIEW PART ONE

8. Heavy Trash - That Ain't Right
9. R.L. Burnside - Snake Drive

JON SPENCER INTERVIEW PART TWO

10. Demolition Doll Rods - Fast One
11. Purlicue - Fire
12. Science is Fiction - Awkward Girl
13. Le Kidd & Les Marinellis - Camille
14. Le Kidd & Les Marinellis - Dis Moi
15. I.n. Baba - Dads
16. Smokey & the Feelings - The Worm
17. Chad VanGaalen - Weird Love
18. Cellos - Blight
19. Oh Seas - Snickersnee
20. Foggy Tapes - Here Comes the Fog
21. Nature Boys - No Subject
22. Dumb - Slacker Needs Serious Work
23. Jon Spencer - Beetle Boots
24. Jon Spencer - Ghost
25. Jon Spencer - Cape

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

Saturday, August 17, 2019

Ramones Radio Brain Drain Show # 788


As part of CJAM FM’s Radio Brain Drain programming this year, which is a week’s worth of celebrating punk rock in all its forms. Revolution Rock did a program made up entirely of music from the Ramones. With 14 studio albums in their discography, not counting live albums and compilations, the Ramones branched out in a variety of styles from 1974-1996, but commercial success evaded them. The band was and is still highly influential and even what some people view as not their best albums still feature some great songs. This program featured a mix of music from the band’s discography, selections from the recent 40th anniversary box sets of their first four albums including demos, rare recordings and live recordings. Download/stream the show after the playlist below.

Ramones Radio Brain Drain Playlist:


1. Ramones - Judy is a Punk (Demo) (Ramones - Sire Records - 1976/2001)
2. Ramones - Return of Jackie and Judy (End of the Century - Sire Records - 1980)
3. Ramones - I Want You Around (Soundtrack version) (Rock 'N' Roll High School (Music From The Original Motion Picture Soundtrack - Sire Records - 1979)
4. Ramones - Glad to See You Go (Bubblegum version) (Leave Home - 40th Anniversary Deluxe Edition - Sire/Rhino Records - 2017)
5. Ramones - I Wanna Be Sedated (Take 2) (Road to Ruin - 40th Anniversary Deluxe Edition - Sire/Rhino Records - 2018)
6. Ramones - Surfin’ Bird (Alternate Vocal) (Rocket to Russia - 40th Anniversary Deluxe Edition - Sire/Rhino Records - 2017)
7 Ramones - She's the One (Road To Ruin - Sire Records - 1978)
8. Ramones - Bop Til' You Drop (Halfway to Sanity - Sire/Beggars Banquet - 1987)
9. Ramones - Psycho Therapy (Subterranean Jungle - Sire Records - 1983)
10. Ramones - My Brain is Hanging Upside Down (Animal Boy - Sire Records - 1986)
11. Ramones - Howling at the Moon (Sha-la-la-la) (Too Tough to Die - Sire/Beggars Banquet - 1984)
12. Ramones - Eat that Rat (Animal Boy - Sire Records - 1986)
13. Ramones - Warthog (Too Tough to Die - Sire/Beggars Banquet - 1984)
14. Ramones - I Don't Wanna Grow Up (Adios Amigos! - Radioactive - 1995)
15. Ramones - Do You Remember Rock n' Roll Radio? (Greatest Hits Live - Radioactive - 1996)
16. Ramones - Pet Sematary (Brain Drain - Sire Records - 1989)
17. Ramones - California Sun (Sundragon Rough Mix) (Sundragon Sessions - Sire/Rhino Records - 2018)
18. Ramones - Swallow My Pride (Sundragon Rough Mix) (Sundragon Sessions - Sire/Rhino Records - 2018)
19. Ramones - I Don't Wanna Go Down to the Basement (Ramones - Sire Records - 1976)
20. Ramones - Havana Affair (Ramones - Sire Records - 1976)
21. Ramones - 53rd & 3rd (Demo) Ramones (Ramones - 40th Anniversary Deluxe Edition - Sire/Rhino Records - 2016)
22. Ramones - Commando (Leave Home - Sire Records - 1977)
23. Ramones - Ramona (Sweet Little Ramona Pop Mix) (Rocket to Russia - 40th Anniversary Deluxe Edition - Sire/Rhino Records - 2017)
24. Ramones - Rockaway Beach (Rocket to Russia - Sire Records - 1977)
25. Ramones - We're a Happy Family (Rocket to Russia - Sire Records - 1977)
26. Ramones - Teenage Lobotomy (Rocket to Russia - Sire Records - 1977)
27. Ramones - Rock 'N' Roll High School (End of the Century - Sire Records - 1979)
28. Ramones - All's Quiet on the Eastern Front (Pleasant Dreams - Sire Records - 1981)
29. Ramones - The KKK Took My Baby Away (Pleasant Dreams - Sire Records - 1981)
30. Ramones - Questioningly (take 2) (Road to Ruin - 40th Anniversary Deluxe Edition - Sire/Rhino Records - 2018)
31. Ramones - Little Bit O’Soul (Subterranean Jungle - Sire Records - 1983)
32. Ramones - I'm Not An Answer (Dee Dee Vocal Version) (Too Tough to Die - Sire/Beggars Banquet - 1984/2002)
33. Ramones - R.A.M.O.N.E.S. (Greatest Hits Live - Radioactive - 1996)
34. Ramones - Blitzkrieg Bop (Live) (Leave Home - Sire Records - 1977/2001)

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

Saturday, August 10, 2019

Mark Sultan Let Me Out & Shows # 785, 786, 787


Let Me Out was released in October 2018 on Dirty Water Records on vinyl/CD and on cassette through Burger Records. Recorded at Sultan’s Sound Imperfection Studio in the woods of Berlin, this album is the latest release from Sultan, who has a plethora of releases in his discography with other groups such as The Spaceshits, Les Sexareenos, The Ding-Dongs, The King Khan & BBQ Show and as Mark Sultan/BBQ. The songs on this album are layered in fuzz guitar lines, 60s styled Farfisa organ and soulful vocals and rhythms. Let Me Out also has a punk influenced energy that when combined with the other elements that make up this album creates a world of its own.

“Coffin Nails” digs into the listener’s subconscious with fuzz guitar, surf guitar lines, 60s organ stabs and soulful bass and vocals. Lyrically with words such as “You dropped your casket/Into my heart/And there you stay girl until we part/Cause this world don’t mean a thing/It never did it never will” themes of anger, loss and love are cast alongside a desire to not be held down by the aspects of negativity. “The Other Two” delves into a lament for a connection between two people. In between Farfisa organ flourishes, guitar stabs, drum fills and a catchy chorus that states “Three out of five people looking for love/I wanna be the other two”, Sultan’s vocals grab a hold of the listener’s attention with a heartfelt melody that avoids all cliché. “Everybody Knows” dips into a more cosmic, psychedelic atmosphere. With a deep, catchy bass groove, Sultan croons over simmering organ, subtle guitar parts and a chorus revealing the complexity of trust and the words that are often left unsaid that come along with it as the lyrics emphasize “Looks like everything came true/And there’s nothing left to do/Cause everybody knows/Everybody knows”.

“Believe Me” cuts below the surface with a groove taking inspiration from The Count Five, as it changes time signatures, creating a strong dramatic effect, “Don’t Bother Me” picks up the pace with up-tempo drums, organ and revolving basslines, “Last Chance” creates tension amongst fuzzy guitar breakdowns and catchy verses that seem to float between the choruses, “Humiliation” attacks with its stop and start riffs, drum build ups, crashes and otherworldly organ parts. Lyrically, with words such as “So come back baby into my heart/I don’t feel no shame/The prying eyes of a vengeful god are to blame”, this song calls for a sense of understanding from past mistakes and confusions. A new intensity grows with the psych garage of “Let Me Out”. This song festers with a frustration and need to move forward, “Heed This Message” musically goes back to some early 50s rock sounds mixed with early 60s soul and garage sounds, while “Black Magic” floods your speakers with organ, vocal harmonies and jangly guitar. “The Problem” moves back and forth with its own mesmerizing rhythms amongst lyrics such as “And maybe that’s the problem man/That you don’t understand/The way I wanna be” that plea for individuality and a sense of identity. This is a theme that is even more relevant today, but also one that can have many layers to it.

Drum fills and R&B rave up guitar riffs come in with the next track, “Tragedy”. With the lyrics “Drowning in an ocean of obscurity/Got no patience/I ain’t got security” and “Maybe the world’s slipping/None of that matters without you by my side”, this song searches for a place, but is also a love song with a Kinks/Animals musical outlook. “Wasting Away” ends Let Me Out. With slow, fluid organ parts and surf-inflected guitar mixed with pulsing basslines and a marching drumbeat, Sultan seems to be embracing the chaos of life whether it is good or bad. Let Me Out sizzles with intensity, authenticity and strong songwriting. A cohesion presents itself throughout this album with many layered possibilities and lyrical meanings. With all the instrumentation performed by Sultan himself, the music here may be a collection of 60s garage psych songs, but the album does not revel in nostalgia. Let Me Out finds its own voice and is set free with Mark Sultan’s impassioned vocal melodies and innate musical abilities showing why Sultan is a master of his craft.

Show 787 (Originally Aired On August 10th, 2019)(David Berman, Mark Sultan, B Boys, The White Stripes):

1. Silver Jews - Honk If You’re Lonely
2. Purple Mountains - All My Happiness Is Gone
3. Wilco - Red-Eyed And Blue
4. The Unintended - Beautiful Things
5. Smokey & The Feelings - Chores
6. Rheostatics - I Wanna Be Your Robot
7. Aweful - Lucid Dream
8. Oh Sees - Heartworm
9. Mark Sultan - Coffin Nails
10. Mark Sultan - Everybody Knows
11. Mark Sultan - The Problem
12. The Original Sins - Making Up For Lost Time
13. Light Bulb Alley - Walking Backwards On The Moon
14. Pow Wows - Hidden Future
15. The Black Lips - Noc-A-Homa
16. Shotgun Jimmie - 401
17. The Exits - Cheam
18. The V.I.P.'S - Who Knows
19. B Boys - I Want
20. B Boys - Cognitive Dissonance
21. Parkay Quarts - The Map
22. Ronald Regean Story - (Your Love Has Turned My Heart Into A) Hand Grenade
23. Psychic Void - Internet Human
24. Teenanger - Teenanger
25. PIL - Annalisa
26. Simply Saucer - Here Come The Cyborgs (Part 1)
27. The Pointed Sticks - The Witch
28. Danny & The Darleans - Soul On Ice
29. MC5 - Lookin' At You
30. The White Stripes - Stop Breaking Down
31. The White Stripes - Broken Bricks

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

Show 786 (Originally Aired On August 3rd, 2019)(Jack Oblivian, The Oblivians, Ty Segall):


1. The Challengers - Skinned Shins
2. Revels - Revellion
3. Jack Obilivan - La Charra
4. Jack Obilivan - Scarla
5. Reigning Sound - Call Me #1
6. Oblivians - Shut Your Mouth
7. Oblivians - Something for Nothing
8. Membranes - The City is an Animal (Nature is its Slave)
9. The Black Fever - Keep You
10. Ty Segall - Radio
11. Ty Segall - Taste
12. The Hives - Good Samaritan
13. LTD - Leather Boy
14. Almighty Defenders - Cone of Light
15. King Khan Experience - La Responsabe
16. The Jackets - Steam Queen
17. The Vandells - French Girl
18. Iggy Pop - James Bond
19. Purple Mountains - Margaritas at the Mall
20. Leeroy Stagger - Strange Attractor
21. Digawolf - By the Water
22. Paul Jacobs - Stay at Home
23. Uppers - Parapet
24. Idles - Mercedes Marxist
25. METZ - Leave Me Out
26. Titus Andronicus - Beneath the Boot
27. Dude York - Unexpected
28. Snail Mail - Thinning
29. Necking - Go Getter
30. Snake River - Jeanie, I Know When I Want to Go Home

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

Show 785 (Originally Aired On July 27th, 2019)(The Replacements, Foggy Tapes, Cellos):


1. The Replacements - I'll Be You
2. Violent Femmes - Hotel Last Resort
3. The Feelies - Fa Ce La
4. The Sadies - Leave this World Behind
5. Ron Leary - Miles
6. Snakies - Cobra High
7. X - Under the Big Black Sun
8. Prince - Sex Shooter
9. The Stranglers - (Get A) Grip (On Yourself)
10. Talking Heads - Mind (Alternate Version)
11. Buzzcocks - Airewaves Dreams
12. Shotgun Jimmie - Cool All The Time
13. Dumb - Some Big Motor Dream
14. Cellos - Slow Revolution
15. Not Of - Tectonic Plates
16. Mannequin Pussy - Patience
17. Lungbutter - Depanneur Sun
18. Necking - Spare Me
19. Light Bulb Alley - I Don't Owe You a Thing
20. Foggy Tapes - Fly in my Head
21. Raised by Weeds - Another Day
22. The Routes - Mantohihi Brother
23. Takeshi Terauchi & the Bunnys - Black Carnation
24. Purple Hearts - Scooby Doo
25. Peter Jay and the Jaywalkers - Before the Beginning
26. Priests - Carol
27. Gang of Four - To Hell With Poverty (Peel Session)

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

Friday, July 19, 2019

Light Bulb Alley - Lights and Shades Interview & Shows # 782 & 783


Lights and Shades is the latest release from Montreal’s Light Bulb Alley. Fronted by guitarist/vocalist Allister Booth, Light Bulb Alley’s origins go back to 2007. Since then, the band has changed band members several times, toured across Canada, the USA and in Mexico, but still retain a loose, wild rock and roll spirit. The current lineup of LBA features Allister on vocals/guitar, Pablo Garcia on drums, Jack White on bass (no relation to the Detroit/White Stripes front man), Max White guitar and Sean Cary-Barnard on guitar. Their first album, The Sound of Things, was released in 2011 on the Ricochet Sound label. The music reflected 60s garage and 70s punk influences. Bright Side of the Dumpster followed in 2016. It featured a raw, sleazy, loose atmosphere, but ventured deeper into their garage, 70s punk and blues influences. Lights and Shades arrived in June 2019. This 16-track album is their most experimental yet. The album embraces a psychedelic aesthetic, while still drawing on the band’s earlier influences. On Lights and Shades you will still hear elements of 60s garage, but you will also find swampy, less defined influences. Recorded at the Bottle Garden Studio in Montreal live off the floor on reel-to-reel tape, the band on this album unearths a raw, unfiltered chemistry.

“Corpus Lopus (Sink Like A Stone)” starts off Lights and Shades with a series of psychedelic sounds that echo and reverberate. The eerie intro is made up of piano, guitar and drum sounds before the song kicks in with a droning guitar riff. The song builds with a sound reminiscent of 60s bands such as the 13th Floor Elevators, amidst crunchy guitar riffs and captures a certain feeling of a character seemingly going through some sort of breakdown. “Problems” brings forth early rock n roll influences, with a touch of Johnny Thunders and a vocal attacking with a Nick Cave-like quality. “Solitude” starts off with surf guitar riffs as driving drums rise overtop distant sounding vocals, “Travelling Alone (I Lost My Mind)” is a slower, intense garage track. The song starts off with just guitar and vocals before the full band comes in to back up this lament over love lost.

Throughout the album there are short psychedelic interludes. “Did You Get What You Came For” is one of these interludes. It features overloaded reverse sounding effects before drifting into “What You Wanted (Is What You Get)”. This Rolling Stones influenced track, speeds up and down with a chorus of “What you wanted is what you get” that depicts the allure of the Montreal night life/underground scene in between cutting guitar solos and an unmistakable grittiness, “I Don’t Owe You A Thing” features heavy fuzz drenched guitar riffs and a psychedelic atmosphere, “Volunteer” sounds like it was lifted off the vinyl grooves of a long lost 1970s rock album. With its chaotic guitar and deep, soulful beat, this song, which is filled with abstract lyrical phrases such as “Those with loaded guns/Those who dig”, echoes the chaos once explored by Alex Chilton. “Fly Away (You Stupid Ghost)” is a slower song, featuring mainly guitar and reverb drenched vocals and is the only track that wasn’t recorded live off the floor. This haunting track propels itself at its own pace as lyrics such as “Watch the snakes in the grass/They will suck you in the past”, and a chorus of “Fly away you stupid ghost/Go to bed you demon child”, emphasize a cathartic exorcism of the past by removing these toxic elements from your life.

“Roads Must Part” is an electrified country song tinged with bittersweet harmonies. The song echoes a Rolling Stones country influence while also being inspired early outlaw country music. With words such as “The roads must part and I’m feeling like a broken down piece of art/The roads must part and I took it way too hard”, and “This heart so cold/It nearly froze your soul”, this song floats into a gritty tale of heartbreak, betrayal and melancholy. “How Far” simmers with hallucinogenic blues sparks, “Cut Me Loose” is a moving, mid-tempo garage track, while “Lazy” is a trippy Brian Jonestown Massacre induced song with muffled vocals, guitar, drums and bass pushed up in the mix. “Eat Your Vegetables” is an experimental track that is over three minutes long that features odd phrases spoken overtop of the music and effects for its duration. This song bookends Lights and Shades with a Twin Peaks-like sonic soundscape.

Musically, Lights and Shades draws on many influences, but pulls in a more gritty psychedelic groove. Lyrically, the words are often sparse, but they provide the listener with abstract visual sketches that are open to interpretation. The themes of the songs border on darker motifs, while also creating a duality that finds its way into many of the character driven songs found on this album. When all of these elements are combined together, Lights and Shades delves into a sonic landscape unlike any that Light Bulb Alley have explored before.

Check out my interview with Allister of Light Bulb Alley here:




Show 783 (originally Aired On July 13th, 2019)(Light Bulb Alley Lights And Shades Interview):

1. The Velvet Underground - Last Night I Said Goodbye To My Friend
2. Volunteers - Come On Through
3. Shotgun Jimmie - Hot Pots
4. Outrageous Cherry - Complicate Me
5. Graham Coxon - Standing On My Own Again
6. Guided By Voices - Twilight Campfire
7. Little You Little Me - Thinking It
8. Rolling Stones - High Heeled Sneakers
9. Light Bulb Alley - Problems
10. Light Bulb Alley - Solitude

INTERVIEW WITH ALLISTER (OF LIGHT BULB ALLEY)

11. Light Bulb Alley - Roads Must Part
12. Metz - Dirty Shirt
13. Mission of Burma - This is Not a Photograph
14. Generation X - No No No (Phil Wainman Version)
15. Cold Warps - I'm With You
16. The Jackets - What About You
17. The King Khan & BBQ Show - Ocean of Love
18. Captain Beefheart & His Magic Band - Moonlight on Vermont
19. Captain Beefheart & His Magic Band - My Human Gets Me Blues
20. Iggy Pop - Baby
21. The Fall - In These Times
22. Devo - Love Without Anger
23. Kim Gray - Dream Like Tommy
24. Alan Vega - Kid Congo
25. Boys Next Door - Brave Exhibitions
26. New Order - Age of Consent

Download/stream this episode here!

Show 782 (Originally Aired On July 6th, 2019)(Canada Day Nardwuar Special):


1. The Evaporators - You Got Me Into This, Now You Get Me Out
2. The Evaporators - Sasquatch and Me
3. The Evaporators - Ogopogo Punk
4. The Gruesomes - What Am I Doing This For
5. Twink - Fear The Unknown
6. Black Mountain - Future Shade
7. Necking - Habbo Hotel
8. The Evaporators - Addicted To The Cheese
9. Partner - Long and Mcquade
10. Trout - Freelance Therapist (CJAM Session)
11. Of The Pack - What The Hell (CJAM Live Sessions 2019)
12. Light Bulb Alley - Corpus Lopus (Sink Like A Stone)
13. Your 33 Black Angels - Patient Love
14. Bloodshot Bill - I Don't Mind At All
15. The Evaporators - Ripple Rock
16. The Evaporators - I Can Be Shaved
17. Thee Headcoats - Louis Riel
18. The Evaporators - Crispy Space Bacon
19. The Evaporators - St. Roch
20. Nardwuar vs. Pierre Burton
21. Thee Headcoats - Don't Try and Tell Me
22. 49th Parallel - Citizen Freak
23. Chessmen - Love Don't Die
24. Orville Peck - Take You Back
25. Daniel Romano - Hard On You
26. Grapes of Wrath - Love comes Around
27. Shadowy Men On A Shadowy Planet - (Relax) You Will Think You Are A Chicken (Live: The CBC Tapes)
28. Shadowy Men On A Shadowy Planet - Hunter S. Thompson's Younger Brother (Live: The CBC Tapes)
29. The King Khan Experience - Fa Fa Fa (Love Song)
30. Dumb - CBC Radio 3
31. The Evaporators - Oh Non

Download/stream this episode here!

Show 784 was a repeat of an episode that originally aired March in 2019. You can download/stream this episode here and view the playlist here.

Saturday, June 29, 2019

Guided By Voices, Nirvana and Joy Division & Shows # 778, 779, 780, 781

In the month of June Revolution Rock celebrated the 25th anniversary of Guided By Voices Bee Thousand album, the 30th anniversary of Nirvana's Bleach and the 40th anniversary of Joy Division's Unknown Pleasures. Find playlists and download links below this post featuring a bit of info on each of these albums.

Guided By Voices - Bee Thousand (1994)



Guided By Voices Bee Thousand was originally released on June 21st, 1994. At the time, GBV had already released several albums and Bee Thousand would be their seventh album. Prior to this, all of the band’s albums had been recorded in studios. Bee Thousand would be different. Instead of recording the album in a studio, GBV recorded this album on a variety of four track recorders in different garages and basements of the various band members. The results were very lo-fi, a lot of the recording sounds like it could be from an old bootleg. This was part of band leader Robert Pollard’s intention. He stated that he wanted the album to resemble Beatles bootlegs. Musically, the songs draw on British invasion rock, punk rock, pop, psychedelic and progressive rock influences. The majority of the music found on Bee Thousand was made up of overdubbed, re-edited versions of older, unused material by the band. Lyrically, the songs featured words that have drawn comparison to the cut-up technique that was once used by writer William Burroughs. The songs would draw on many themes that seemed fantastical, but due to the lyrical technique of Pollard, they are layered with many different potential meanings.

At this point in time Guided By Voices was more of loose collective of musicians. Pollard has stated that the band during this period was made up of whatever friends were available to play. In addition to the music created by Robert Pollard, there are also the songs written by Tobin Sprout, who would be part of the GBV classic lineup from 1987-1997 and again from 2010-2014. Songs such as “Awful Bliss”, “Mincer Ray”, Ester’s Day” and “Hot Freaks” all add to the uniqueness of this album and when combined with the other songs such as “I Am A Scientist”, “Hardcore UFO’s” and “Gold Star For Robot Boy” create something unpredictable and spontaneous. Originally Bee Thousand was going to be the last album for Guided By Voices, due to pressure to focus on Pollard’s teaching career and family, in addition to the financial issues that arose with being in a band. However, Bee Thousand pulled Guided By Voices out of obscurity and turned out to be a new beginning for the band.

Nirvana - Bleach (1989)


Originally released on June 15th, 1989 on Sub Pop Records, Bleach was the debut album by Nirvana. The album featured a heavier, grungier sound, as opposed to Nirvana’s Nevermind and In Utero albums. When Bleach was released it only featured eleven songs. It wasn’t until after Nirvana released Nevermind that Bleach would be re-released with two additional tracks. It would chart at number 89 on the Billboard 200 upon the re-release in 1992. The music on Bleach reflected the Seattle music scene at the time blending elements of punk, metal and classic rock.

Nirvana recorded Bleach with Jack Endino at Reciprocal Studios in sessions that took place between December 1988 and January 1989. Before Dave Grohl joined Nirvana as their drummer, the band went through a series of drummers. Prior to being called Nirvana, they went by several different band names and Aaron Burckhard played drums with them. He quit the band in December of 1987. In January 1988, Kurt Cobain asked Dale Crover (of The Melvins) to record a demo session with Nirvana so that it could help them find a new drummer. The band recorded ten songs on January 23rd, 1988, including vocal overdubs and had a rough mix of the songs done in roughly six hours. Dale Crover is featured on three songs on Bleach “Paper Cuts”, “Floyd The Barber” and “Downer” that originate from this session. Most of the others that he recorded during this session would be spread out over other releases such as 1992’s Incesticide and the 2004 box set With The Lights Out. Chad Channing joined Nirvana in 1988 and shortly after joining recorded the Love Buzz single with them. Other than the three noted songs, Channing is featured on the remainder of the songs on Bleach.

Lyrically, the songs on Bleach have a bleak and claustrophobic outlook. Cobain has said that most of the lyrics are about his life in Aberdeen. “Negative Creep” is one of the many tracks with heavy guitar riffs, “School” was said to be a critique of the Seattle music scene, and “Mr. Moustache” was inspired by Cobain’s dislike of macho behaviour. In addition to the heaviness found on Bleach, the song “About A Girl” shows the pop abilities of Kurt Cobain. This song has been described as a “Jangly R.E.M. type of pop song”, but also one influenced heavily by The Beatles. It stands out on Bleach, but also shows that Kurt Cobain and Nirvana were more than just another band in the Seattle music scene.

Joy Division - Unknown Pleasures (1979)



On June 15th, 1979, Manchester band Joy Division released their debut album Unknown Pleasures on Factory Records. A high-water mark of postpunk music, this atmospheric release from the Manchester quartet made a significant impact in the realm of independent music. Before recording Unknown Pleasures, Joy Division was known as Warsaw. They signed a recording contract with RCA Records in 1977 and recorded demos for the label, however, they were unhappy with the results. The recordings were eventually released as Warsaw. Before that happened however, four of the songs from the RCA sessions were selected and self-released by Joy Division on their own Enigma label as An Ideal For Living. Heavily influenced by bands such as Sex Pistols and Buzzcocks, this EP reflected the band’s early punk sound. It was also around this time that Joy Division’s manager Rob Gretton convinced the band to sign to the label Factory Records. They signed to Factory Records in 1978 with Martin Hannett in the producer seat for their first album.

The recording of Unknown Pleasures took place at Strawberry Studios in Stockport, England over three weekends in April of 1979. Martin Hannett, who had produced the first Buzzcocks EP Spiral Scratch as Martin Zero took Joy Division’s punk sound and added his sense of experimentation to it. Hannett added space and atmosphere to Joy Division’s sound, which when combined with the music of Joy Division and the lyrics of Ian Curtis created a world of mystery and darker textures to the Unknown Pleasures landscape. Unusual production techniques were employed by Hannett such as using the sound of a toilet, breaking glass, someone eating crisps (played backwards), in addition to the use of tape echo, digital delay (on the drums) and time modulators. Ian Curtis’ vocals for the song “Insight” were also recorded from a telephone line.

The music while punk based was different. It would be known as post-punk. The basslines played by Peter Hook were played in higher registers, in a way that had not been done before. The baritone vocals by Curtis combined with minimalist guitar by Bernard Sumner and the manic, precise drumming of Stephen Morris created something unique. The lyrics of Curtis influenced by writers such as J.G. Ballard, William Burroughs, and Gogol, touched on many topics that weren’t being addressed at the time and that people still identify with today. Although the band were initially displeased with the sound of Unknown Pleasures, the album has had a long lasting legacy. Hundreds of musicians would claim influence from this album, ranging from rock acts like U2 and The Cure, to hip-hop artists like Danny Brown and Vince Staples. Its influence does not stop at music. It has also inspired books, film and even graphic design. Unknown Pleasures is an album that has been written about many times. There is something different for the listener to discover when listening to it. Whether it is the darker themes addressing depression, existentialism, the sense of alienation that people identify with or the other themes that run through this album, Unknown Pleasures creates an air of mystery that is not easily defined. It is one that keeps people returning to it and will do so for a long time to come.

Show 781 (Originally Aired On June 29th, 2019)(Guided By Voices Bee Thousand - 25th Anniversary):

1. Guided by Voices - Hardcore UFO's (Bee Thousand - Scat Records - 1994)
2. Guided by Voices - Buzzards and Dreadful Crows (Bee Thousand - Scat Records - 1994)
3. Guided by Voices - Hot Freaks (Bee Thousand - Scat Records - 1994)
4. Guided by Voices - Smothered in Hugs (Bee Thousand - Scat Records - 1994)
5. Necking - Spare Me
6. Feels - Awful Need
7. Sebadoh - Vacation
8. Kiwi Jr. - Wicked Witches
9. Dumb - Columbo
10. Guided by Voices - Yours to Keep (Bee Thousand - Scat Records - 1994)
11. Guided by Voices - Echos Myron (Bee Thousand - Scat Records - 1994)
12. Guided by Voices - Gold Star for Robot Boy (Bee Thousand - Scat Records - 1994)
13. Guided by Voices - Mincer Ray (Bee Thousand - Scat Records - 1994)
14. Guided by Voices - A Big Fan of the Pigpen (Bee Thousand - Scat Records - 1994)
15. The Electric Cows - Shattered Glass
16. Vondells - Snakes Eyes
17. The Mighty Swells - Runaway
18. West Ends - Belle v. Sebastian
19. Guided by Voices - Her Psychology Today (Bee Thousand - Scat Records - 1994)
20. Guided by Voices - Kicker of Elves (Bee Thousand - Scat Records - 1994)
21. Guided by Voices - Demons Are Real (Bee Thousand - Scat Records - 1994)
22. The Oh Sees - The Great Crush
23. The Oh Sees - Ghost in the Trees
24. Little Girls - Delaware
25. Pottery - The Craft
26. Kim Gray - Hand in Glove
27. The Flowers of Hell - Destroying Angel
28. Guided by Voices - Queen of Cans and Jars (Bee Thousand - Scat Records - 1994)
29. Guided by Voices - You're Not an Airplane (Bee Thousand - Scat Records - 1994)
30. 3ft - 21st Century Drone
31. Cosmonauts - Medio Litro
32. Cate Le Bon - You Don't Love Me
33. Guided by Voices - I Am a Scientist (Bee Thousand - Scat Records - 1994)

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

Show 780 (Originally Aired On June 22nd, 2019)(Nirvana Bleach - 30th Anniversary):

1. Nirvana - Floyd the Barber (Bleach - Sub Pop - 1989)
2. Nirvana - School (Bleach - Sub Pop - 1989)
3. Ty Segall - I Worship the Dog
4. Titus Andronicus - (I Blame) Society
5. Lungbutter - HONEY
6. Jinns - Death Wish
7. LTD - Get Them Talkin'
8. Fecal Matter - Downer (Illiteracy Will Prevail - 1985)
9. Nirvana - Spank Thru (1988 Dale Crover Demo)
10. Nirvana - Tolken Eastern Song )With The Lights Out - 2004)
11. Drive Like Jehu - Human Interest
12. Fontaines D.C. - Chequeless Reckless
13. Salt Horse - Weekend Medicine
14. The Space Plan - Trail the Rails
15. Atomic 7 - Skynrd
16. Rodriguez - I Wonder
17. Nirvana - About a Girl (Live) (Bleach: 20th Anniversary Edition - Sub Pop - 2009)
18. Nirvana - Love Buzz (Bleach - Sub Pop - 1989)
19. Nirvana - Papercuts (Bleach - Sub Pop - 1989)
20. Mudhoney - Blinding Sun
21. Lubriated Goat - He Moves in Mysterious Ways
22. Bad Hoo - Confuse Bouche
23. Alex Little & The Suspicious Minds - No Control
24. Foxhart Fishman - Ramblin' Dan's Righteous Manefesto
25. No Museums - Fangs That Once Were Teeth
26. Smokey and the Feelings - Fields of the Bored
27. Sturgill Simpson - The Dead Don't Die
28. Nirvana - Blew (live) (Bleach: 20th Anniversary Edition - Sub Pop - 2009)

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

Show 779 (Originally Aired June 15th, 2019)(Joy Division Unknown Pleasures - 40th Anniversary):

1. Joy Division - Exercise One (BBC Session 1979)
2. Queen's Rug - Untitled Demo
3. The Organ Fire - In The Ocean
4. Blue Peter - Radio Silence
5. Dumb - Some Big Motor Dream
6. Joy Division - Living in the Ice Age (Warsaw Demo)
7. Joy Division - Disorder (Unknown Pleasures - Factory Records - 1979)
8. Joy Division - Day of the Lords (Unknown Pleasures - Factory Records - 1979)
9. Joy Division - Candidate (Unknown Pleasures - Factory Records - 1979)
10. Joy Division - Insight (Unknown Pleasures - Factory Records - 1979)
11. Joy Division - New Dawn Fades ((Unknown Pleasures - Factory Records - 1979)
12. Joy Division - She's Lost Control (Unknown Pleasures - Factory Records - 1979)
13. Joy Division - Shadowplay (Unknown Pleasures - Factory Records - 1979)
14. Joy Division - Wilderness (Unknown Pleasures - Factory Records - 1979)
15. Joy Division - Interzone (Unknown Pleasures - Factory Records - 1979)
16. Joy Division - I Remember Nothing (Unknown Pleasures - Factory Records - 1979)
17. Teenanger - It Works with my Body
18. Psychic Void - Gutter Butter
19. Leather Uppers - Slow Puke
20. Pretty Matty - Kicked Out
21. Odonis Odonis - Hollandaze
22. Protomartyr - Ypsilanti
23. Walrus - Fur Skin Coat
24. The Prefects - Faults
25. The Nightingales - Idiot Strength
26. Controller.Controller - PF
27. Joy Division - Transmission (Live) (Les Bains Douches 1979)

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

Show 778 (Originally Aired On June 8th, 2019)(Dr. John, 13th Floor Elevators & Roky Erickson):


1. Dr. John - Right Place, Wrong Time
2. Dr. John - Jump Sturdy
3. Dr. John - Ice Age
4. Dr. John - Gut Bucket Blues
5. Delvon Lamarr Organ Trio - Al Greenery
6. Charles Bradley - You Think I Don't Know But I Know
7. Mark Sultan - The Other Two
8. Reigning Sound - What Did I Tell You
9. Kim Gray - Eugene Vampire
10. Constantines - National Hum
11. Women - Robert Starratt (Locust Valley) (CBC Radio 3 Session)
12. The Jam - Down in the Tube Station at Midnight
13. The Spades - You're Gonna Miss Me
14. The 13th Floor Elevators - Fire Engine
15. The 13th Floor Elevators - She Lives (In a Time of Her Own)
16. Roky Erickson & the Aliens - Night of the Vampire
17. Roky Erickson & The Black Angels - Thank God For Civilization
18. The Neins Circa - The Astoria Hotel
19. No Aloha - Generational Divide
20. Greys - These Things Happen
21. LTD - Chief Sleeps In The Park
22. Young Canadians - Where are You
23. Pow! - Connecting
24. Nots - Floating Hand
25. Outrageous Cherry - Sign o' the Times
26. Neil Young & Stray Gators - Time Fades Away (Live 1973)

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