Letsagetabitarockin'....The Joe Strummer Story & Joe Strummer Day CJAM Special

The years 1986 until 1999 are commonly referred to as The Wilderness Years in regards to former Clash front man Joe Strummers artistic output, musically and in film. In 1986, Joe Strummer contributed two songs to the soundtrack for the movie Sid & Nancy. The two songs featured on the soundtrack were “Love Kills” and “Dum Dum Club”. While these two songs were labelled under Joe Strummer he contributed further music to the project under a different name due to the fact that he was limited contractually for two songs only on the soundtrack album. The film was made by director Alex Cox, who met Strummer after part of Sid & Nancy had been filmed (the London scenes). This encounter would lead Joe Strummer to further soundtrack work and acting roles. In the same year Joe reconnected with former Clash band mate Mick Jones producing and co-writing several tracks on the Big Audio Dynamite album No.10 Upping Street, Jones’ post-Clash band. When 1987 hit, Joe Strummer had a small acting role as “Faucet” in the Alex Cox film Walker, he also wrote and performed the score/soundtrack to the film. The movie Straight to Hell was made in the very same year by Alex Cox. Joe played a character named “Simms”, the movie also featured members of The Pogues. Soundtrack work to this Western, which has often been called bizarre was done by Joe Strummer with contributions by The Pogues. Around this time The Pogues needed a fill in for their 1987/1988 tour. Joe filled that role bringing him back into the realm of touring with a band.

A band was put together in 1988 known as The Latino Rockabilly War. Consisting of Zander Schloss, Lonnie Marshall, Jack Irons and Willie MacNeil, this group contributed five songs (“Trash City”, “Theme From Permanent Record”, “Nothin’ Bout Nothin”, “Baby The Trans” and “Nefertiti Rock") to the soundtrack for the film Permanent Record, which featured Keanu Reeves. A full length album was also recorded in 1989. The album featured The Latino Rockabilly War as Joe’s backing band and was entitled Earthquake Weather. The album was a passionate fourteen track collection of songs drawing on a variety of influences such as Folk, World Music, Dub, Rock and there are even hints of Spanish guitar. The album featured songs such as “Gangsterville” and “King of the Bayou” which are quick Rock songs containing Dub elements. There are standout tracks such as the tropical charm of “Island Hopping”, and the soulful “Sleepwalk” which ends the album. Earthquake Weather was an eclectic mix of styles falling within the Rock realm that was a very unique artistic statement and still is. At the time of its release it was panned by critics. The album did not sell well and as a result Joe Strummer was dropped from his contract with Sony records.

In 1989, Joe Strummer played a character named Johnny, alongside Steve Bushemi in the Jim Jarmusch film Mystery Train. The album Hell’s Ditch by The Pogues (which would be released in 1990) was produced by Strummer in the same year. In 1990, Joe Strummer had a small part in a movie by Aki Kaurismäki entitled I Hired A Contract Killer. In the film Joe plays a guitarist performing two songs in a pub. The two songs (“Burning Lights” and “Afro-Cuban Bebop”) were released on a promotional seven inch single. The songs are credited to Joe Strummer & The Astro Physicians, which were actually The Pogues. In 1991, Joe Strummer temporarily replaced Shawn McGowan (singer of The Pogues) for their tour that year. Doubling as vocalist and rhythm guitarist, the band played several Clash songs on that tour. One night of the tour was recorded professionally and three of the tracks (“London Calling”, “I Fought the Law”, and “Turkish Song of the Damned”) can be found on The Pogues 2008 box set. For much of the early years of the 90’s Joe Strummer went under the radar not really doing anything musically. In 1993, Joe Strummer wrote material for the film When Pigs Fly. He scored the entire film, but had issues with distribution resulting in the film and soundtrack being unreleased. He returned in 1994 to live music for a benefit concert known as “Rock For Refugees” for people that were left displaced by war in Bosnia. Taking place in Prague, Joe played a live set backed with Dirty Pictures, a Czech American band that featured many Clash songs that he had not played in a decade. In 1995, Joe Strummer played piano on the song “Just The One” by the UK band The Levellers and then made an appearance on the 1996 Black Grape single “England’s Ire”. Around this time a dispute occurred with Epic Records which lasted almost eight years. The label finally agreed to let Strummer record solo material with another label, but if The Clash were to reunite, they would have to record for Sony. In 1998, Joe Strummer contributed a song entitled “It’s A Rockin’ World” to Chef Aid: The South Park Album. This positive Rock song featured Flea from Red Hot Chili Peppers, Nick Hexum of 311, Tom Morello of Rage Against the Machine, DJ Bonebreak and Benmont Tench.

In 1999, Joe Strummer began working with a trio for some short movie soundtracks, for Tunnel of Love and Question of Honor. These other musicians were Pablo Cook and Richard Norris which would lead Strummer to Antony Genn. Strummer would then begin recording a new album at the insistence of Genn, this album would become Rock Art and The X-Ray Style, the first album by Joe Strummer & The Mescaleros. The original band line up consisted of Joe Strummer on guitar/lead vocals, Scott Shields on bass, Antony Genn on guitar, Martin Slattery on keyboards, additional guitar/various instruments, Pablo Cook on percussion and Steve Banard on drums. Produced by Antony Genn and Richard Norris with Richard Flack doing some engineering and other effects in the studio, Rock Art and The X-Ray Style was Joe Strummer first full length album since 1989’s Earthquake Weather. The album mixed a variety of styles, but also this time adding in a various electronic elements. The album opens with the song “Tony Adams” a powerful song with reggae styled guitar riffs and saxophones that lyrically deals with a catastrophe hitting New York. The song was also named after English Football (or Soccer in the US) player Tony Adams, who Strummer thought should have been the captain of the England Football team. The song doesn’t necessarily deal with Adams directly, but its title can be seen as being more of a dedication to the athlete. There are also songs such as “Sandpaper Blues” which delves into African beats, “The Road to Rock and Roll” which features almost Hip Hop styled drumming and “Techno D-day” a high energy Rock song with electronic elements. The album also features the song “Yalla Yalla, a song that was actually written prior to the recording of Rock Art and the X-Ray Style. The song is richly layered and features synths, guitars, bass, and drums as well as sustain provided by an e-bow. The song was once described by Strummer himself as “An ancient British Folk song … written in the year 1999”. The album ends off with “Willesden to Cricklewood” a song that poignantly looks back at someone who is growing up. The song touches on London, being home, and watching your children grow.

Following the release of Rock Art and the X-Ray Style, Joe Strummer toured across Europe, England, and North America, the bands live sets featured many Clash fan favourites. In 2001, Joe Strummer & the Mescaleros signed to the California Punk label Hellcat Records. The bands follow up to Rock Art was Global A Go-Go, which was released in 2001. This album had contained more of the genre bending flavours that Joe had been experimenting with on the bands previous efforts. Notable influences are apparent on this album. There is a big World Music influence along with Folk, and other exotic rhythmic elements found here. Dominated by mostly acoustic guitars, Global A Go-Go is like no other album in Strummers catalogue. The album opens with Folk Rock of “Johnny Appleseed”. The song takes on an apparent Bob Dylan influence featuring thought provoking lyrics such as “If you’re after getting honey/then don’t go killing all the bees”, which can be read on many levels, relating to workers rights and ideas within the social contexts of the freedoms of society. The song is easily one of the strongest in Strummer’s catalogue and was used as the theme song to the HBO television series John from Cincinnati. Other interesting tracks include “Cool ‘n Out’, which has prominent electric guitar, the Folk and World Music mix of “Global A Go-Go”, “Mega Bottle Ride”, and “Mondo Bongo”. The album also features the almost eighteen minute epic track “Minstrel Boy”, which reflects an Irish Celtic Folk influence. While these are just some of the nuggets found on this album, there are some other facts that are worth mentioning in regards to Global A Go-Go. The album features guest vocals from Who front man Roger Daltrey, and fiddler Tymon Dogg, who was involved in The Clash’s album Sandinista!, and who has musical connections back to Joe Strummers 101’ers days. On Global A Go-Go Joe Strummer re-invented himself separate from his Clash past. While Joe had been experimenting with his unique blend of Folk and World Music from as far back as 1989’s Earthquake Weather, this album easily stood out from the rest and garnered Strummer with new recognition from his peers, fans and critics alike.

The Mescaleros embarked on a 21 date tour in support of Global A Go-Go, touring in North America, England and Ireland. The bands live set usually featured Clash material (as did his previous Mescaleros tour), along with a mix of covers such as “A Message To You Rudy”, “They Harder They Come”, and “Blitzkrieg Bop”. Around this point The Mesaleros were on their Bringing it All Back Home Tour, which was an extensive tour of the UK. It was also around this time where rumours of a Clash reunion started to take place. It was announced that The Clash were being inducted into the Rock and Roll Hall of Fame in January 2003 and the band were talking again. Nothing was ever confirmed, but when Clash guitarist Mick Jones joined Joe Strummer on stage on November 15th, 2002 for a few live Clash songs at a Mescaleros show, hopes were raised high. Mick joined the Mescaleros for three Clash numbers on stage during that show (“Bankrobber”, “White Riot”, and “London’s Burning”), which was the first time that Mick Jones played on stage with Joe Strummer since 1983. The performance was unplanned. Afterwards Jones was quoted as saying that he felt compelled to join Joe on stage. This was one of the last gigs that Joe Strummer played with the Mescaleros, on December 22, 2002 Joe Strummer passed away due to an unknown congenial heart defect at the age of 50.

In 2003, Joe Strummer & The Mescaleros released Streetcore posthumously. The ten track album was a combination of the final studio sessions that Joe Strummer had done with the Mescaleros prior to his death. The album was critically acclaimed at the time of its release being called an album as accessible as some of Joe’s previous Clash efforts. Many of the songs on Streetcore feature a return to Rock basics that had not been found to a large degree on previous Mescaleros albums. At the time of the first recording session for the album, in February 2002 The Mescaleros band line up included Martin Slattery (guitar, keyboards, sax), Scott Shields (guitar, percussion), Luke Bullen (drums) and Simon Stafford on bass. While the band recorded several songs in preparation for the album, many of the songs did not have vocals recorded. One can’t be known for sure, but it has been said that vocals were never recorded for “Dakar Meantime”, and “Guitar Slingerman”, two songs that quickly began to be integrated in the Mescaleros live sets prior to Joe’s passing. Overall the album mixes elements of Folk, Blues, Reggae, Dub and Rock. The album kicks off with the almost Garage Rock “Coma Girl”, a song that has been said to have been the last studio recording to feature Joe Strummer on guitar. The second song on the album is the soulful Reggae Rock hybrid of “Get Down’ Moses”. Other high energy songs on the album include “All in a Day”, and “Arms Aloft”. In addition to the rocked up Mescaleros tracks there are also some ballads that can’t help but remind the listener of The Clash and influences. “Burning Streets” especially emphasizes this point, it seems to draw on a previous Clash based work ethic and at the same time step forward in a new direction with The Mescaleros. "Ramshackle Day Parade”, is the other ballad provided here. The song was recorded for the movie The Diving Bell and Butterfly. “Midnight Jam” is a song that has no lyrics, instead clips of Joe Strummer talking from his London Calling BBC radio show (which ran from 1998-2001) are inter-spliced between the notes of this moving piece.

There are also several acoustic songs on the album one of them being “Long Shadow”. This passionate acoustic number was recorded by Rick Rubin in consideration for Johnny Cash, but wasn’t recorded by Cash. It was recorded by Ruben with Strummer and Smokey Hormel on guitar. Another acoustic song recorded by Rubin was “Redemption Song”. This cover of a song originally done by Bob Marley features Joe’s passionate vocals and a lone acoustic guitar, it was also recorded as a duet with Johnny Cash on vocals (it can be found on Cash’s Unearthed Box Set). The final track on the album is a joyous cover of the Bobby Charles song “Before I Grow Too Old”, renamed “Silver and Gold” on Streetcore. With lyrics emphasizing that one should live their life before they’re too old and it’s too late, leaves Streetcore to end the album on a rather poignant note.

Joe Strummer left behind detailed notes about Streetcore and how it should be organized prior to his passing. The cover art can be best described by strummer himself as: "A distillation thru the mind bending coil..." created by Joe himself, the album is juxtaposed with a bright orange background and on the back features a picture of Strummer sitting cross-legged playing his trademark Telecaster. While the album was released posthumously, it is unknown what was originally intended for the album and what was left out off this album due to Joe’s untimely passing. The album stands as a strong document of his musical efforts, regardless of whether or not it was the bands last album. In 2007 a documentary was made about Joe Strummer entitled The Future is Unwritten by Julian Temple, which further documented the music of Joe Strummer, alongside the Dick Rude documentary Let’s Rock Again!, and Don Letts’ Westway to The World. The music created by Joe Strummer, both in his Clash days and his post-Clash days has gone on to influence and inspire many people to create music that is passionate, meaningful and full of feeling.

If you liked this post check out my Joe Strummer 2011 special, where I did two programs, one program focusing on harder to find recordings from Joe Strummer & The Clash and a second program I did on the album Sandinista!

Joe Strummer Day Play List:

1. Joe Strummer - It's A Rockin' World (Chef Aid: The South Park Album 1998)
2. Joe Strummer – Gangsterville (Earthquake Weather 1989)
3. The Clash - Tommy Gun (Give ‘Em Enough Rope 1978)
4. The Clash - Clash City Rockers (Original Version) (Essential Clash 2003)
5. 101'ers - Letsagetabitarockin' (Elgin Avenue Revisited 2005)
6. 101'ers - Keys To Your Heart (Version 2) (Elgin Avenue Revisited 2005)
7. Joe Strummer - Love Kills (Sid & Nancy Soundtrack 1986)
8. Joe Strummer - Dum Dum Club (Sid & Nancy Soundtrack 1986)
9. Joe Strummer & The Mescaleros - Global A Go-Go (Global A Go-Go 2001)
10. Joe Strummer & The Mescaleros - Bhindi Bhagee (Global A Go-Go 2001)
11. Joe Strummer - Island Hopping (Earthquake Weather 1989)
12. Joe Strummer - Sleepwalk (Earthquake Weather 1989)
13. Joe Strummer - Tennessee Rain (Walker 1987)
14. Joe Strummer - Pouring Rain (When Pigs Fly 1993)
15. Joe Strummer & The Mescaleros - Yalla Yalla (Rock Art & The X-Ray Style 1999)
16. The Clash - The Leader (Sandinista! 1980)
17. The Clash - Jimmy Jazz (London Calling 1979)
19. The Clash - (Whiteman) In Hammersmith Palais (The Clash (US Version) 1979)
20. The Clash - Hateful (London Calling 1979)
21. The Clash - London Calling (Live Amsterdam 1981)
22. The Clash - Bankrobber (From Here to Eternity II)
23. The Clash - This Is England (Cut the Crap 1985)
24. Joe Strummer & The Pogues - Turkish Song of the Damned (Live (Pogues Box Set 2008)
25. Joe Strummer & The Astro Physicians - Burning Lights (I Hired A Contract Killer 1990)
26. Joe Strummer & The Mescaleros - Road to Rock and Roll (Rock Art & The X-Ray Style 1999)
27. Joe Strummer & The Mescaleros - Techno D-Day (Rock Art & The X-Ray Style 1999)
28. Joe Strummer - Passport To Detroit (Earthquake Weather 1989)
29. Joe Strummer & The Mescaleros - Cool 'n' Out (Global A Go-Go 2001)
30. The Clash - Safe European Home (Give ‘Em Enough Rope 1978)
31. The Clash - Rock The Casbah (Live at the US Festival 1983)
32. The Clash - Police & Thieves/Blitzkrieg Bop (Rockers Galore Promo 1999)
33. The Clash - Garageland (Demo) (Rude Boy: The Directors Cut 1980)
34. The Clash - White Riot (The Clash (US Version) 1979)
35. The Clash - Know Your Rights (Combat Rock 1982)
36. The Clash – Magnificent Seven (Live From Here to Eternity 1999)
37. Joe Strummer & The Mescaleros - Johnny Appleseed (Global A Go-Go 2001)
38. Joe Strummer & The Mescaleros - Coma Girl (Streetcore 2003)
39. Joe Strummer & The Mescaleros - Get Down Moses (Streetcore 2003)
40. Joe Strummer & The Mescaleros - Dakar Meantime (Live Streetcore Outtake 2002)
41. Latino Rockabilly War - Trash City (Permanent Record Original Soundtrack 1988)
42. Joe Strummer & The Mescaleros - Long Shadow (Streetcore 2003)
43. Joe Strummer & The Mescaleros - Redemption Song (Streetcore 2003)

To download this program, visit CJAM's schedule page for Joe Strummer Day and download the files for 12 AM & 3 AM.

Reind Dears Christmas...Show # 331

In the year 1978, a one off Christmas single was recorded by The Reind Dears. The band consisted of members of The Shirkers, Pin-Ups, Urban Verbs, and Nurses, who were all bands from the Washington, D.C. area. The band featured Howard Wuelfing on bass/vocals, Danny Frankel on drums, Tommy Kane on guitar, Martha Hull on vocals, Amy Tract on vocals and Marc Halpern on lead guitar. Being a fans of Christmas records this group of musicians decided to record a Punk Christmas single. Recorded in Don Zientara's basement studio during a seven hour session that included mixing, The Reind Dears released "Xmas (Is Going To Bring Me…)" backed with White Christmas on Limp in 1978. Being a few years before Ramones recorded their own Christmas song "(Merry Christmas (I Don't Want to Fight Tonight)", which was released on their 1989 album Brain Drain, the sleeve of the single featured a dedication to the band which can best be described by Howard Wuelfing:

"As I remember it, I was a fan of Xmas records and decided their should be a punk one. The sleeves said - "dedicated to the Ramones who should've thought of this first" and thereafter I did hand them copies."

As a bonus, here is a free download of the 1978 single by The Reind
Dears:

"Xmas...Is Going To Bring Me Down"
"White Xmas"

The Christmas Play List:

1. Ramones - Merry Christmas (I Don't Want To Fight Tonight)
2. The Smithereens - Rudoplh, The Red Nosed Reindeer
3. The Dickies - Silent Night
4. The Celebate Rifles - Merry Xmas Blues
5. The Yobs - Another Christmas (Single Version)
6. Ten Million Lights - On A Holiday
7. By Divine Right - Mall Santa
8. Ox - Xmas in the Jailhouse
9. Arcade Fire - Jinglebell, Rock
10. Boxer The Horse - Material Christmas
11. The Zolas - Snow
12. The Details - Strings & Ribbons
13. Pearl Jam - Let Me Sleep (Its Christmas Time)
14. James Brown - Soulful Christmas
15. The Wailers - She's Coming Home
16. The Galaxies - Christmas Eve
17. The Sonics - The Village Idiot
18. The Pogues - Fairytale of New York City
19. Blondie - We Three Kings
20. Matt Black & The Doodlebugs - Punky Xmas
21. Husker Du - We Wish You A Merry Christmas
22. The Fall - No Xmas for John Quays
23. Stiff Little Fingers - White Christmas
24. The Ravers - Punk Rock Xmas
25. The Reind Dears - Xmas Is Going to Bring Me Down
26. The Greedies - A Merry Jingle

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for December 21st. Or subscribe to Revolution Rock as a Podcast.

Joe Strummer Day on CJAM FM December 22nd!

On Wednesday December 22nd, 2010 CJAM will air 24 hours of Joe Strummer related music and wrap it around issues relating to poverty. They're calling it Joe Strummer Day. I will kick off the marathon Tuesday December 21st at midnight and host a three hour radio program featuring an eclectic mix of Joe Strummer solo and Clash material. The show will lean heavier on Joe Strummer based material, but there will also be a variety of Clash songs and rarities played. As per usual this blog will feature a profile on the artist that I play.  I will be posting a profile on Joe Strummer and his Post-Clash efforts following my show on the 21st at Midnight, so check this blog later this week for some additional info on Strummer.  The rest of the 22nd will feature special prgramming, more information can be found at http://www.cjam.ca/

There have already been numerous posts about online Joe Strummer Day on CJAM FM. Here is a collection of them:

The Clash Blog
Strummerville.com
Anit-Label Blog

Let's Id!...The Story of The Prehistoric Cave Stokers & Show # 330

The Prehistoric Cave Strokers formed in March of 1985 and originate from Windsor, Ontario. The original band consisted of Jono Fiddler on snare drum and two cymbals (which served as drums for the band), Lyndon Way on bass, backing vocals/occasional lead vocals, Dan Moriarty on lead vocals/tambourine, and Marc Fedak on rhythm guitar, backing/occasional lead vocals. All of the bands original members were in the University of Windsor’s Communication Studies program and were also affiliated with their campus/community radio station CJAM FM. The band took their influences from a variety of places. Musically their influences came from a shared interest in Garage Rock, Punk, Post-Punk, and Lo-Fi non-commercial based music. Bands such as The Dead Kennedies, Ramones, early Joy Division, Wire, Gang of Four, Billy Childish and his various bands (Thee Mighty Caesars, Thee Milkshakes, The Delmonas), Iggy and The Stooges, The MC5, and 60s Psychedelic and Garage Rock that appeared on the Nuggets and Boulders compilation series. Lyrically, the Prehistoric Cave Strokers were influenced by Sigmund Freud, the absurd lyrics of The Ramones, and courses that they were taking at the University in the Communications and Sociology field.

Prior to the bands formation, only Marc Fedak had previous musical experience. The band played their first gig on guitarist Marc Fedak's 22nd birthday at a gong show located at the University of Windsor Pub just three days after forming. The band was gonged twice for their performance, but this did not deter them. The band rehearsed for six months, which would have a greater impact on their future live shows. They would play their live gigs in places around Windsor such as The Coach & Horses, The Spotted Dog, Stanleys, Changez, Faces, The Whispers, house parties and even the Freedom Festival two times. In Detroit the band played occasionally at places such as The Old Miami.

Around 1985, The Prehistoric Cave Strokers made their first studio recordings at a studio owned by an experimental musician (Frank Pahl) from Wyandotte, Michigan. The recordings remain unreleased. Around the same time as this studio session the band had another recording session. This time it was at Len Puch’s Wanghead with Lips studio in Detroit for inclusion on a Garage Rock compilation entitled It Came From the Garage Volume One, which would be released in 1986. The band recorded a few tracks during the sessions, but the only song that would emerge for inclusion on the Garage Rock compilation was a song entitled “Urine You're Out”. This catchy song had a Garage Rock feel reminiscent of Billy Childish Garage Rock. Lyrically the song addressed experiencing a shy bladder when having to give a urine test while applying for a job at a local factory. In the late 80s the band would also have some recordings released on further Garage Rock compilations such as the Tunes from the Crypt compilation and were featured in a few articles of What Wave magazine.

In addition to making these recordings and their inclusion on several compilations, The Prehistoric Cave Strokers also made their own recordings at a Warehouse in Windsor, Ontario from 1985-1986 on a rented four track Tanscam cassette recorder. A complete DIY ethic was applied during these recordings, the manual for the four track recorder didn’t even have English instructions. There were seventeen songs recorded during the dead of winter in an unheated warehouse, to keep warm the band drank plenty of beer. The songs were mixed by lead singer Dan Moriarty on his home stereo and have a Lo-Fi quality to them. The recordings made during these sessions weren’t publicly released. The collection of songs is known as Don’t Forget About Us When You’re Famous, but also goes by the name Let’s Id!

It should also be noted that the band line up would alter when bassist Lyndon Way moved to Montreal in 1988 and drummer Jono Fiddler relocated to Peterborough in 1990. James Nemeth would take over on bass/backing vocals, and occasional lead vocals from 1988-1991, and Jerry Rozon would become the groups new drummer (playing a full kit) from 1990-1991. The Prehistoric Cave Strokers continued to play as a band until their dissolution in August of 1991. While the band had a variety of influences from a variety of sources and were known locally for their unique/absurd lyrics and songs, they always retained a Garage Rock element. Since then some of the band members have relocated to other places, James Nemeth and Dan Moriarty live in Windsor, James performs occasionally. Marc Fedak has relocated to Toronto and is playing in a band called Spacecraft 7, and Jono Fiddler is playing in a Garage Rock band called Hundred Year Champions. In December of 1999, The Prehistoric Cave Strokers had a 15th anniversary show at The Coach & Horses in Windsor, Ontario that was well attended. The Prehistoric Cave Strokers will be holding a 25th anniversary show on Thursday, December 30th at the FM Lounge in Windsor, Ontario. Opening sets will be performed by Marc Fedak Jono Fiddler acoustically.

More information on the band and some of their songs can be heard on The Prehistoric Cave Strokers Myspace page.

This Week's Play List:

1. Floored By Four - Watt
2. The Duke Spirit - Everybody's Under Your Spell
3. 96 Tears - Know What You Mean
4. Headaches - No Reason For Your Call
5. Headaches - Can't Stand Still
6. Active Dog - Good Filthy Fun
7. Captain Scarlett & the Mysterons - In The Midnight Hour
8. Action Makes - Berlin
9. Prehistoric Cave Strokers - Story of My Life
10. Prehistoric Cave Strokers - Cavebangin' (Live)
11. Jim Bryson & The Weakerthans - Fell Off the Dock
12. Sloan - Autobiography
13. The Crocodiles - Outlaw Blues
14. Husker Du - Statues
15. Husker Du - Makes No Sense At All
16. Alex Chilton - Bangkok
17. The Long Ryders - Looking For Lewis & Clark
18. Rich Kids - Rich Kids
19. Ultravox! - ROckWrok
20. Buzzcocks - What Do I Get (Demo)
21. John Lennon - Do the Oz

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for December 14th. Or subscribe to Revolution Rock as a Podcast.

Wreckless Eric...A Popsong & Show # 329

Wreckless Eric (real name Eric Goulden) is known for his New Wave/Power Pop song writing abilities and was at one time on the Stiff Records label alongside Elvis Costello & The Attractions, Nick Lowe, Ian Dury & The Blockheads and The Damned. While he is perhaps best known for his wonderful Pop concoction known as "The Whole Wide World", Eric wrote numerous catchy songs attributing to the same Power Pop/Punk/New Wave vein. One of those songs was the song entitled "A Popsong". The song itself opens Wreckless Eric's third album Big Smash! and was released as his sixth single on Stiff Records in January of 1980. The song itself lyrically is about a record company asking for a hit, and is undeniably catchy while at the same time ironic. The album on which it is contained, was a catchy album with comparisons often being made to his fellow label mates Elvis Costello and Nick Lowe, but it has a style all it's own. When released in 1980, Big Smash! was packaged with a bonus compilation album of B-sides and early singles. The compilation on its own was known as The Whole Wide World in the US when it was released there in 1979 in hopes of Wreckless Eric breaking into the American Market. When Big Smash! was released on the Stiff Records label, it was created in a way that should have ensured success, but the album was overlooked. As a result Eric left Stiff and music for a few years. He returned to music in 1985 where he continued to pursue his career through other avenues.




This Week's Play List:

1. Lost Patrol - My Soul
2. UIC - What I Want
3. Deja Voodoo - 48 Bucks
4. The Haunted - Come On Home
5. The Mongrels - The Wreck of Ol' 97
6. Howlin' Wolf - Baby How Long?
7. Gene Vincent - Pink Thunderbird
8. John Lee Hooker - Dimples
9. Bob Dylan - Tombstone Blues (2010 Mono Version)
10. Elvis Costello - The Spell You Cast
11. Hands & Teeth - Race to the End
12. The Chords - Maybe Tomorrow
13. The Meteors - You're Out Of Time
14. Exploding Hearts - I'm A Pretender
15. Orphan Choir - Broken Strings
16. Burnt Ones - Real Gone
17. Revolvers - Break It Loose
18. The Spys - Underground
19. Wreckless Eric - A Popsong
20. The Police - Be My Girl Sally
21. Pere Ubu - Non-Alignment Pact
22. The Gun Club - Texas Serenade
23. True Lovers - Fade Away

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for December 7th. Or subscribe to Revolution Rock as a Podcast.

XTC Ten Feet Tall & Show # 328

In January of 1980, the UK band XTC released a single in the US for the song "Ten Feet Tall". The song was originally found on the bands third full length album Drums and Wires, but the single version that was released in the USA in January of 1980 was completely different than the album version, it was re-recorded. This single was also the bands first single to be released in the US, it was done so to coincide with their first US tour. The song itself was a catchy New Wave Pop song, the album version featured acoustic guitar while the US single version featured electric and was a bit faster. The album Drums and Wires itself reached number 34 on the UK album charts and number 176 on the US album charts. The album is notable for containing the song "Making Plans for Nigel", a song that reached number 17 on the UK Singles charts and number 12 on the Canadian Singles Charts. The album also produced the single "Life Begins At The Hop", which was included on some versions of the album. The album was originally released with six different track listings in different parts of the world.

The artwork for the single featured a stacked up tape measure. The design was simple and straight to the point, but it was also a visual pun of sorts. If you look carefully there are ten tape measures stacked up, it was also designed by Andy Partridge of XTC.  The bands previous album cover for their album Go2, was an anti-album cover of sorts featuring just text, poking fun at usual album covers. Regardless the catchy song featured attractive artwork and stayed true to the bands interesting album art covers that they always seemed to have. The single version of "Ten Feet Tall" can now be found on the two disc singles collection Fossil Fuel. 

The Play List:

1. The Ruts - Babylon's Burning
2. The Specials - You're Wondering Now
3. The Nefidovs - Absent Jackets
4. Weekend - Coma Summer
5. Construction & Destruction - The Oracle
6. Disco Zombies - Drums Over London
7. The Worst - Can't Stand This Love
8. The Smugglers - 5-4-3-2-1
9. Raptors - Kids All Want Something
10. Red Red Meat - Braindead
11. No Age - Eraser
12. Pluto - Pretty Little Jacket
13. The Wipers - Rebel With A Cause
14. The Soft Boys - Hear My Brane
15. What Seas What Shores - Pave The Oceans
16. Magazine - Give Me Everything
17. XTC - Ten Feet Tall
18. X-Ray Spex - Oh Bondage Up Yours!
19. Siouxise and the Banshees - Mirage
20. The Mark Inside - Shots From A Broken Bottle
21. The D4 - Stops Me Cold
22. Ramones - It's A Long Way Back

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for November 30th. Or subscribe to Revolution Rock as a Podcast.

I Can't Wait...The Story of The Jolt & Show # 327

Originating from Glasgow, Scotland, The Jolt consisted of guitarist/songwriter Robbie Collins, Jim Doaks on bass, and Ian Sheddon on drums. After playing around Scotland for awhile, the band decided to relocate. The band relocated to London in 1977 to join to music scene there, opening for bands such as X-Ray Spex and The Jam. By August 1977 the band was signed to Polydor Records. When the band signed to Polydor it was not looked upon too kindly from their fans back in their hometown. The bands first single You’re Cold b/w All I Can Do was released in 1977. The single has been called a single with a major label release and a small label sound. According to guitarist Robbie Collins the producer for the songs wanted a rough cheap sound, the result was their most Punk sounding release. The bands next release would be closer to the bands Mod revival sound. The band would release their next single in 1978 being a cover of The Faces “What ‘cha Gonna Do About It? backed with “Again & Again”. Their third single was “I Can’t Wait” backed with “Route 66” and their fourth single was released in 1979 featured four songs (“Maybe Tonight”, “I’m In Tears”, See Saw”, “Stop Look”).  Following the bands 1977 single "You're Cold" all of the bands songs reflected a Mod/Power Pop sound, they would sometimes be referred to as Glasgow's answer to the Jam.  The band was not a Jam clone, but were on the same label, were a three piece, and their name even started with a "J". 

The band released a self titled album in 1978 that has often been described as Power Pop with New Wave and Punk hooks. The album features tracks such as “Decoyed”, “Mr. Radio Man”, “No Excuses” and “Chains” all falling into a catchy rhythm. In 1978 the band became a four piece adding keyboards to their sound. The underrated album was followed by the Maybe Tonight single/EP in 1979, following this the band split. The bands album has since been re-released on CD featuring several bonus tracks.

The Play List:

1. The Kills - Pull At U
2. Pigeons - Tresor
3. The Details - The Original Mark
4. The High Dials - I'm Over You (I Hope its True)
5. Elliot Smith - The Biggest Lie
6. The Shakers - Give It Back
7. The Collectors - Don't Feel Bad
8. The Nocturnals - If This Ain't Love
9. King Khan & BBQ Show - Hold Me Tight
10. The Dundrells - Nothin'
11. The Isley Brothers - Testify
12. The Jolt - You're Cold
13. Transmitters - High Rise
14. The Autographs - While I'm Still Young
15. Cane - Suburban Gorilla
16. Ex-Boyfriends - Chinese New Year In Vancouver
17. Brian Eno - Bone Jump
18. Gang of Four - Sleeper
19. Magic Hall of Mirrors - Coke Mountain
20. The Clocks - Tick Tock Man
21. The Vamps - Love Letters
22. Wire - French Film Blurred
23. Iggy Pop - Angel
24. Ramones - You're Gonna Kill That Girl
25. Hot Panda - Fools
26. Stone Temple Pilots - Art School Girl

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for November 23rd. Or subscribe to Revolution Rock as a Podcast.

Cool, Calm, Collected...The Rolling Stones Between The Buttons & Show # 326

In 1967, The Rolling Stones released their fifth full length studio album Between The Buttons. In 1966, albums were being released such as Pet Sounds by The Beach Boys, Revolver by The Beatles and Blonde on Blonde by Bob Dylan all highly influential records, but also records that expanded and challenged the boundaries of Rock music. While the Stones released Aftermath the year before, Between the Buttons has often been over looked not only given the variety of high quality albums being released at the time, but also in comparison to many great albums that The Rolling Stones have in their catalogue. The album has been said to have been an album where the band began to experiment with elements Psychedelic music. The band would further their psychedelic experimentation on their album Their Satanic Majesties Request. The album featured songs that differed from the Garage Rock and Blues based ethics that the band had been known for. The songs were catchy, but they still had a unique grittiness that the Stones have been associated with.

The only single released from the album was "Let's Spend the Night Together" backed with "Ruby Tuesday”. On the UK edition of Between the Buttons, those two songs did not appear. The album would reach #3 on the UK album charts despite its differentiation from the bands previous albums. The US version of the album would feature "Let's Spend the Night Together" and "Ruby Tuesday" cutting the tracks for "Back Street Girl" and "Please Go Home".  Those two songs would later appear on a compilation album Flowers. It should also be noted that in the US "Ruby Tuesday" reached number one on the singles charts, while the album Between the Button went to # 2 on the top album charts. The album was produced by Andrew Long Oldham and was recorded in two parts. The first recordings began in 1966 in Los Angeles and later that same year in London, England. Oldham's influence is prevalent on this album more than any of the bands previous albums, it would also be The Rolling Stones last album with him, they would have a falling out after this album. He employs a Phil Spector layered production style on certain tracks such as "Yesterday's Papers", "My Obsession", and "Complicated".

The first track on the album is "Yesterday's Papers". The song was written by Mick Jagger himself (usually he wrote the majority of Rolling Stones songs with his writing partner and Stones guitarist Keith Richards). The song is aimed at a sour relationship that Mick Jagger had at the time with Chrissie Shrimpton. Brian Jones plays a variety of exotic musical instruments on this song (and on the album for that matter). He played the Harpsichord and Marimba, Keith Richards supplies the distorted guitar. From the very beginning the song is different and it is obvious that the Stones were expanding their song writing abilities within the realm of Psychedelic Rock music. "My Obsession" is a rumbling track. Featuring heavy bass and guitar distortion along with a steady hard hitting drum pattern from Charlie Watts, this song is an interesting feature on the album. With its start and stop rhythm and rapid piano parts it's an example of a great track found on Between the Buttons. Another interesting track found on the album is "Connection". With heavy piano, stabbing Chuck Berry influenced guitar parts it is sung by both Richards and Jagger, but primarily Keith Richards sings this one. Keith himself has said that this is one of his favourite obscure Rolling Stones songs. Lyrically the song deals with the long hours spent waiting at airports and the pressures that the band were going through at the time. Both Richards and Jones were arrested on drug charges prior to the song being recorded, the song is also a popular live track.

"She Smiled Sweetly" is one of the slower songs found on Between the Buttons. Taking on a Bob Dylan inflection, It features heavy plodding bass and prominent Organ, it was also featured in the movie The Royal Tennanbaums in 2001. "Cool, Calm, Collected" is definitely a song with Psychedelic connotations, it has honky tonk styled piano, and Kazoo. It is also undeniably catchy. Other interesting tracks include the Raucous "All Sold Out", the electric Bo Diddley Rhythm of "Please Go Home", and the strange and seemingly Music Hall influenced "Something Happened To Me Yesterday", which lyrically addresses taking Psychedelic drugs. Overall, Between the Buttons fits its title. The band was in a creative, innovative period in their career, they were writing in between their earlier Garage R&B sound mixing it with Psychedelics. Following this album the band went full out Psychedelic on Their Satanic Majesties Request, thus ending their Psychedelic period. Between the Buttons itself is a great look into a small period of time in the Rolling Stones career that is often overlooked.

The Play List:

1. The Black Angels - Telephone
2. Elvis Costello & The Imposters - Go Away
3. The Mods - Wasting My Time
4. The Worst - I Don't Want You
5. The Chessmen - Time Machine
6. Huevos Rancheros - Raunchy
7. The Bayonets - Stuck In This Rut
8. The Corn Dogs - You Tell Me
9. The Modernettes - Celebrity Crack Up
10. Amber Squad - Tell You A Lie
11. Armed Forces - Pop Star
12. Lightning Raiders - Psychedelic Music
13. The Valves - Ain't No Surf in Portobello
14. Joe Strummer - Ambush At Mystery Rock
15. The Black Lips - Can't Bring Me Down
16. The Prehistoric Cave Strokers - Baby And Me (Fast Version)
17. Johnny West - Wine In A Water Glass
18. Yeah Yeah Yeahs - Mystery Girl
19. The Rolling Stones - Please Go Home
20. The Rolling Stones - She Smiled Sweetly
21. The Rebel Set - Poison Arrow
22. The Dirtbombs - Sherlock Holmes
23. White Stripes - I Can't Wait
24. Bob Dylan - Isis

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for November 16th. Or subscribe to Revolution Rock as a Podcast.

Modern World...The Story of The Modern Lovers & Show # 325

Originally from a suburb in Boston, Natick, Massachusetts, Jonathan Richman moved to New York following his graduation in 1969. While there he was became closely associated with The Velvet Underground, even opening for them on one occasion. Richman spent several weeks sleeping on the couch of Steve Sesnick, the Velvet Underground’s manager. He then relocated to a hotel in New York known for its rodent infestation and poor conditions, the Hotel Albert. After nine months in New York, Jonathan Richman moved back to Boston and formed a band of his own. The band that would be known as The Modern Lovers had originally consisted of Jonathan Richman (vocals/guitar), John Felice (guitar), Rolfe Anderson (bass), and David Robinson on drums. The band’s first live gig was in September of 1970. In early 1971, the band had some line up changes. Rolfe Anderson and John Felice exited the group, being replaced by Ernie Brooks on bass, and Jerry Harrison would join the group as a keyboardist. With these new members in the band, the classic line up of The Modern Lovers was now in place.

The band began playing live shows and building up quite a reputation through word of mouth. By the fall of 1971, major label attention came the bands way, first in the form of Warner Brothers Records. The band recorded their first multi-track demo session in Boston. The demo created further interest in the band, more industry label interest came to the band from A&M Records as well. In April of 1972, the band went to Los Angeles to record two demo sessions. The first demo session the band recorded was with John Cale in the producer seat for Warner Brothers Records, the second for A&M Records with Alan Mason producing. Bootleg copies of the John Cale sessions began circulating all over, including the UK. As a result even more interest in the band generated.

The band continued to play live and build up a stronger following and by 1973 they had signed to Warner Brothers Records, but the band was on different wavelengths. Jonathan Richman agreed to record the bands earlier material, but wanted to depart from the bands early Rock/Velvet Underground inspired sound to a more mellow based sound. The band intended to record more sessions with John Cale producing, but the sessions never occurred (they also coincided with the death of friend Gram Parsons). Kim Fowley produced material with the band following this at Gold Star Studios. Since the band failed to deliver a completed album, The Modern Lovers were dropped from their label. They continued to perform live with a new drummer, Bob Turner. Disagreements amongst the remaining band members ensued. Richman had no interest in performing the bands older, still unreleased material preferring to go in a new direction. In 1974, after a final disagreement about the bands musical direction with Jerry Harrison, the band split. Jerry Harrison would join Talking Heads, drummer David Robinson would join and help form The Cars, John Felice would form The Real Kids, and Ernie Brooks joined up with David Johansen.

Jonathan Richman relocated to California in 1975 and began working at Beserkley Records. While Jonathan continued working in his new direction, Beserkley Records compiled material from the earlier sessions done by The Modern Lovers and put together an album from the sessions that the band did with John Cale and Alan Mason in 1972. The album was simply titled The Modern Lovers. When it was released the album received attention even being hailed as “One of the truly great art rock albums of our time” by critic Ira Robbins. The album featured nine tracks initially. The tracks “Roadrunner”, “Astral Plane”, “Old World”, “Pablo Picasso”, “She’s Cracked” and “Someone I Care About” all originated from the sessions that the band did with John Cale in 1972. The remainder of the albums tracks came from the sessions done with Alan Mason “Girl Friend”, “Modern World” and the song “Hospital” was taken from the bands first demo session in 1971.

“Roadrunner”, the first track on the album has been described as “the most obvious song in the world, and the strangest” by Rolling Stone magazine. It was written when Jonathan was 19, and drew influence from The Velvet Underground song “Sister Ray”, modifying the Velvet’s three chord structure to a two chord sequence for the most part of the song. Lyrically the song references the modern urban environment of Boston, Massachusetts while driving alone with the radio on. The song is magically passionate and was eventually covered by Sex Pistols. It was also recorded several times by Richman. It would appear on the Jonathan Richman & The Modern Lovers album in 1976. The song “Pablo Picasso” was another unique track on the album. Credited to John Cale and Jonathan Richman, the song featured lyrics such as “Pablo Picasso never got called an asshole”. The instrumentation on the song was Jonathan Richman on guitar/vocals, Ernie Brooks on second guitar, Jerry Harrison on bass, David Robinson on drums, and John Cale on piano. The album was released in 1976 and had a big impact on the future of what would become Punk Rock and New Wave, often being called Proto-Punk. While musically stylistic with elements of The Velvet Underground and Rock and Roll, The Modern Lovers lyrically harnessed a feeling that people could related to with songs about awkwardness, dating, growing up in Massachusetts, the love of life and the USA.

During the release of this album Jonathan Richman released another album titled Jonathan Richman & The Modern Lovers. The Modern Lovers became the moniker for his backing band and was not the same musicians as previously stated. The music on this album was in a different direction, a mellower more Acoustic based sound with Doo-Wop flavour and Pop elements. This line up of the band included Leroy Radcliffe on guitar, Greg Keranan on bass, and David Robinson on drums. Robinson would exit the group following Richman’s insistence that he reduce the size of his drum kit. D. Sharpe would replace Robinson and bassist Greg Keranan would exit the group as well, being replaced by Asa Brebner. This line up would record the album Rock and Roll with the Modern Lovers which was released in 1977. This album produced a top five European hit for the band with the song “Egyptian Reggae”. The song itself was an instrumental track, with a haunting melody. While the songs on the album explored different song writing styles, a highlight of the album is the song “Dodge Veg-O-Matic”, which is an acoustic Rock song about a totaled car. Jon went solo in 1979 with the album Back in Your Life, but returned with a new version of The Modern Lovers backing him in 1983 with the album Jonathan Sings! This album which is now out of print features a strong romantic outlook on many of the songs. This album has been cited as one of his best, with songs such as “Give Paris One More Chance” and “That Summer Feeling”.

In 1981, another compilation album was released featuring recordings that the band did with Kim Fowley in 1972 as The Original Modern Lovers. The title was a little bit misleading, since the recordings did not feature the “classic” line up of The Modern Lovers. Released on Bomp Records, the songs serve as a document of early incarnations of Modern Lovers songs featuring two takes of “Roadrunner”, and several previously unreleased songs. Songs such as “Walk Up The Street”, “Sleep In Your Arms”, “Don’t Let Our Youth Go To Waste”, and “Dance With Me”. Jonathan continued to release records with the Modern Lovers backing him until the 1988 album Modern Lovers 88. He continues to perform solo, usually acoustically. While he never did return to the early Modern Lovers Rock sound, Jonathan Richman has gone down in music history as one of the most unique, eccentric and unpredictable musicians to come out of Boston.

This Week's Play List:

1. Modern Lovers - Pablo Picasso
2. Square Root of Margret - WYSIWYG
3. Thee Dueces - You Gotta Try
4. Tom Northcott Trio - Just Don't
5. Ritchie Knight & The Mid-Nights - Work Song
6. Thee Mighty Caesars - Now I Know
7. Modern Lovers - Government Center
8. Ray Charles - Isn't It Wonderful
9. Otis Redding - Nobody Knows When You're Down and Out
10. Them - One More Time (Single Version)
11. The Plimsouls - I Can't Turn You Loose
12. Mike Jones Group - Funny Feeling
13. Micronite Filters - Let's Get Drunk
14. Micronite Filters - One-Eyed Stew
15. Sunbear - Living Dead
16. Guided By Voices - Cut-Out Witch
17. The Visitors - Sad TV
18. Dee Dee Ramone & The Chinese Dragons - Bad Little Go Go Girl
19. The Mark Inside - There Is Nothing To Admit
20. Jonathan Richman & The Modern Lovers - Dodge Veg-O-Matic
21. Jonathan Richman & The Modern Lovers - Egyptian Reggae
22. Modern Lovers - Road Runner (Alternate Version)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for November 9th. Or subscribe to Revolution Rock as a Podcast.

CJAM Pledge Drive 2010 & Show 324

Today was my annual pledge drive show. Some money was raised for pledge drive this year on my show, but pledge drive runs until November 5th. Tonight there is a film screening at Phog Lounge in Windsor at 9 PM of a documentary about CJAM FM's frequency change that occurred last October, entitled Voice of the Underground. The event is FREE, but any donations received during the night’s activities will go towards CJAM and their pledge drive to increase their signal strength. Also being screened is Neil Young's Le Noise documentary. If you would like to donate to CJAM you can visit cjam.ca to make a pledge and support campus community radio.

1. Nick Lowe - Shake That Rat
2. New Town Animals - Fashion Fall Out
3. Money Brother - Just Another Summer
4. The Detentions - Ain't So Bad
5. Hot Nasties - I Am A Confused Teenager
6. The Clash - Pressure Drop

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for November 2nd. Or subscribe to Revolution Rock as a Podcast.

CJAM...Watts Up: The Rally for Reach 2010

It's that time of year again. It's time for CJAM's annual pledge drive. Next week my show will be a special pledge drive show. Revolution Rock will be on the air helping out with CJAM’s 2010 pledge drive starting November 2nd, 2010 at 10:30 AM until noon.

Last year CJAM made the transition from 91.5 FM, where it broadcasted for over 25 years to 99.1 FM. This year’s theme is called “Watts Up: The Rally for Reach.” CJAM is looking to begin the process of a power increase in terms of wattage so that our voices carry further to you.

Revolution Rock goes in depth into the genres of 70s Punk, New Wave, Alternative, 60s Garage Rock and all related subgenres. Each week my show features obscure hard to find music as well as some new music that is not heard on normal mainstream radio. In addition to this Revolution Rock also plays a variety of local music on radio that is not getting airplay on the mainstream market. And in a nutshell, that’s half of what CJAM does.

The other half is anchored by CJAM’s interviews that question the answers as much as shows that truly debate. Offering real alternatives to the mainstream, we see the environment as it should be in a city that often doesn’t. And while we’re at it, we wonder what else could be out there. Beyond, so many of Windsor’s arts and cultural communities are represented that listing them would turn this into, well, a list. But suffice it to say that we offer shows in more than 10 languages.

CJAM has to ask listeners for support in exchange for providing this space. As such I ask that you consider making a donation to help this great programming carry further. You can make a pre-pledge donation to CJAM right now by:

- Going to http://www.cjam.ca/ and donating through your credit card or paypal account
- Dropping me an email at damn.that.television@gmail.com
- Stopping by in person any weekday during office hours: M-F, 10:00 am to 4:00 pm, or Mailing a cheque or money order to:

CJAM FM Station Manager
c/o University of Windsor/CJAM 99.1 FM
401 Sunset Ave.
Windsor, Ontario, N9B 3P4

And of course, between Oct. 29 and Nov. 5, you can phone in your pledge from Windsor at 519-971-3630. Toll-free from Detroit, the number to call is 313-963-6112 ex: 3630. But however you donate, please send us a message and make it clear what program you are supporting. CJAM has a variety of incentives to offer this year. Thank you for considering us.

Dave
Revolution Rock

PS:
In addition to this during CJAM's pledge drive on November 2nd, there will be the premiere of a documentary about the stations frequency change that occurred last year.  Voice of the Underground will be screened at Phog Lounge (157 University Avenue West, Windsor, Ontario) at 9 PM.  It is a FREE event, but it is also a pay-what-you-can event.  Any proceeds that are made during the night will go towards CJAM's pledge drive in order to increase their signal strength.  This is yet another great reason to support CJAM.

The trailer can be viewed below:

Zombie Dance...The Story of The Cramps & Show # 323

The Cramps had their initial beginnings in Sacramento, California in 1972. Erik Purkhiser and Kristy Wallace met at the City College there and soon found out some common interests that they shared. They both loved music, record collecting and the strange, obscure, and early primal sounds of Rock and Roll. They soon decided to form a band, Erik would be the vocalist renaming himself Lux Interior, naming himself after a car advertisement, and Kristy would be the guitarist calling herself Poison Ivy Rorschach. Her name is said to have come to her in a dream, but it is also hinted that it originated from the Rorschach, test. They would move to Akron, Ohio briefly and then to New York in 1975. In New York, Lux met Greg Beckerleg through working at a record store, he would soon join the band as a second guitarist renaming himself Bryan Gregory. He also got his sister to join as the drummer. The band would change drummers twice fairly quickly from Miriam Linna to former Electric Eels drummer Nicky Knox.

The bands sound differed greatly from all of the artists from the emerging New York scene at the time. While they did have the energy and attitude of Punk, their sound consisted of a mix of Rockabilly, early Rhythm and Blues, 60s Surf such as Dick Dale, Link Wray and The Ventures, 60s Garage such as The Standells, The Trashmen, Green Fuzz and The Sonics, as well as bands such as The Ramones and Screamin’ Jay Hawkins. Their songs visually projected images of B Horror/Sci-Fi movies, while physically they bashed out their songs with two guitars, minimalist drumming, and Lux Interiors demented ghastly vocal style. They clawed their way through the New York scene playing places such as CBGB’s and Max’s Kansas City, quickly building up a following. The band first released two seven inch singles on their own label Vengeance Records. The singles were recorded in Memphis in 1977 at Ardent Studios with Alex Chilton in the producing seat. The band would sign to Miles Copeland’s I.R.S. label and the bands first EP, Gravest Hits was released in 1979. The EP was a collection of the bands first two independently released singles. Of the five songs on the EP, there was only one original “Human Fly”. This fuzz guitar drenched song was complete with surf like effects that fly in and out of the primal drumming and Lux’s distorted vocals and buzzing sound effects. With lyrics like “I Got 96 Tears and 96 Eyes”, the band references the popular Garage Rock hit by ? and The Mysterians. The other songs on the EP are covers of classic 50s and 60s songs in true Cramps style. This EP is the first evidence of a Rockabilly revival and the first beginnings of the genre that would be known as Psychobilly.


After touring in support of The Police, The Cramps returned to Memphis with Alex Chilton producing to record their first full length album at Phillips Recording that would be entitled Songs The Lord Taught Us. The album featured more originals than covers this time with songs such as “Garbage Man”, “TV Set”, “I Was A Teenage Werewolf”, “Zombie Dance”, and “Mystery Plane” the band upped the ante on this album added more primal psychosis to their sound (also with the help of Chilton’s producing abilities) releasing and album encompassing their beginnings on Gravest Hits, while adding more layers to their sound at the same time. Also on the album are covers of The Sonics “Strychnine”, and Billy Burnette’s “Tear It Up”. The song "Garbage Man" is apparently a song about the state of mainstream radio at the time. The B-side to this song was the twisted and humorous song "Drug Train". Released in 1980 the album should have been followed with a US tour, but following its release guitarist Bryan Gregory split town leaving the band without telling them and taking a van full of their equipment. Minus one guitarist Lux, Ivy, and Nick Knox relocated to Hollywood, California.

The band quickly recruited Gun Club guitarist Kid Congo Powers in their ranks and they began recording their second full length album Psychedelic Jungle, which would be released in 1981. The album features Cramps reworkings of “Green Fuz”, and “Goo Goo Muck”. The album also contains originals such as “Can’t Find My Mind”, “The Natives are Restless”, and “Caveman”. There is also the strange freak out sensibilities of “Don’t Eat Stuff Off The Sidewalk”, and the unique Cramps rearrangement of the song “Green Door”, originally done in the 50’s by Bob Davie. Overall, the album has a swampy, trashy creepiness. The album was produced by The Cramps themselves with Paul McKenna handling engineering duties. It should also be noted that the cover of the album was taken by famed photographer Anton Corbijn. Some of the B-sides produced from these recording sessions are just as essential as material found on Psychedelic Jungle. "She Said" said is a stripped back cover of a song originally by Hasil Adkins, the song is rumoured to be sung by Lux with a disposable cup in his mouth to give it an incoherent vocal style. The other B-sides include "Save It", and "New Kind of Kick".

During the recording of this album the band got into a dispute about royalties and creative rights with their label at the time, resulting in them having to go to court. During this time, the band was not allowed to record any new material until the matter was settled. In 1983 The Cramps returned in recorded form with the live album Smell of Female, which was recorded at New York’s Peppermint Lounge. The band would once again face line up changes, adding Mike Metoff (renamed Ike Knox) of The Pagans on guitar. He accompanied them on their 1984 European Tour, which included four nights at The Hammersmith Apollo in London, all of which were sold out. Two compilations were released compiling material from their earlier releases and B-sides. In 1983 ...Off the Bone was released in the UK and in 1984 Bad Music For Bad People in the US.

In 1985, The Cramps recorded a song for the Horror movie The Return of The Living Dead. The song they contributed was called “Surfin’ Dead”. On this track there was even bass guitar played by Poison Ivy, she also played the guitar. This would also be the beginning of an era of The Cramps where they modified their primal two guitar and drum attack to include bass. This was even more evident on the bands next full length album A Date With Elvis that was released on Big Beat Records. For this album Poison Ivy ended up played both the guitar and bass parts. The band also shifted their lyrical prowess on this album, from their classic B Horror/Sci-Fi movie themed lyrics to ones that featured more double entendres in the sexual realm. Musically the album had a Garage Rock fuzz, mixed with their Rockabilly and Surf connotations for a unique and original album featuring songs such as “Kizmiaz”, “Can Your Pussy Do The Dog?” This album being the bands seventh full length release was recorded in Hollywood, California at Ocean Way Studios by engineers Steve McMillan and Mark Ettel. The band toured in support of this album playing many sold out dates in places in Europe, even having their first charting hit with “Can Your Pussy Do The Dog?” in the UK.

Acquiring a permanent bassist (Candy Del Mar) in 1986, the band recorded a live album Reelin’ and Rocking in Auckland New Zealand that was released in 1987. The band signed to Enigma Records and then released another full length album that was produced by Poison Ivy entitled Stay Sick! In 1990. Nick Knox left the band in 1991, at the time they had a top 40 hit in the UK with “Bikini Girls With Machine Guns”. In 1995, The Cramps appeared on a Halloween episode of the TV Show Beverly Hills 90210, performing two songs “Mean Machine” and “Strange Love”. The band continued on in various incarnations through out the 90s and early 2000’s releasing more albums and playing numerous live shows. The bands last full length album would be released in 2002, it was entitled Fiends of Dope Island on their own Vengeance record label. A collection of live recordings, and demos from the bands early career was released in 2004 on a compilation called How To Make A Monster. On February 4th, 2009 Lux Interior passed away due to aortic dissection, he was 62. The Cramps were a fascinating musical concoction of Rock and Roll mixing in a variety of styles that came out sounding unique, fresh and exciting. They helped coin the term Psychobilly, and while Lux Interior has said that this description does not suit their style, they definitely had a style all their own.

This Week's Play List:

1. The Cramps - Human Fly
2. The Cramps - Mystery Plane (Original Mix)
3. Sting-Rays - Catman
4. The Razorbacks - Saturday Night
5. Deja Voodoo - Cheese and Crackers
6. The Dundrells - Nothing On TV
7. Bob Dylan - Walkin' Down The Line
8. Olenka & The Autumn Lovers - Clean
9. Gamma Gamma Rays - Health & Growth
10. The Cramps - Can't Find My Mind
11. The Cramps - Green Door
12. Link Wray - Jack the Ripper
13. The Hillbilly Soul Surfers - Cha Wow Wow
14. The Reverb Syndicate - Shake Don't Stir
15. Say Domino - The Amount
16. Anagram - I've Been Wrong Before
17. The Mark Inside - House of Cards
18. The Cortinas - TV Families
19. The Scabs - Amory Building
20. The Sonics - Have Love Will Travel
21. The Kinks - Till The End of the Day
22. The Kinks - I'm Not Like Everybody Else
23. The Cramps - Sunglasses After Dark
24. The Cramps - Good Taste (Live)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for October 26th. Or subscribe to Revolution Rock as a Podcast.

Cheetah Chrome from the Front Lines of Punk Rock & Show # 322

The Dead Boys evolved from the band Rocket From The Tombs, originating in Cleveland, Ohio. In 1977, they exploded onto the New York CBGB’s scene utilizing their now Punk classic “Sonic Reducer” and amazing live shows, eventually going on to become of the most influential Punk acts to come out of the US. The band released two albums Young, Loud, and Snotty in 1977 and We Have Come For Your Children in 1979 before splitting up. Now guitarist Cheetah Chrome has written his own autobiography entitled Cheetah Chrome: A Dead Boy’s Tale From The Front Lines of Punk Rock.

Before reading Cheetah Chrome: A Dead Boy’s Tale From The Front Lines of Punk Rock, I have to admit that I had not known much about Cheetah or The Dead Boys in general other than they were involved in the New York CBGB’s Punk scene of the late 70s. Upon opening the book, you are presented with a forward introduction from none other than Legs McNeil - co-founder and writer for Punk Magazine, and author of Please Kill Me: The Uncensored History of Punk. The book is separated into three main parts. Part one deals heavily with Cheetah Chrome’s upbringing in Cleveland, Ohio. This part of the book captures the excitement of growing up and discovering music from witnessing The Beatles in concert, to acquiring his first guitar, first hearing music by The Velvet Underground and The Stooges, and the honing of his guitar skills. As the book progresses you are taken into Cheetah forming bands and playing around town to meeting Stiv Bators (future Dead Boys vocalist) and his beginning with drug and alcohol addictions.

Part two deals with the transition from Rocket From The Tombs to The Dead Boys, to post-Dead Boys. In this section there we learn of the CBGB’s scene and get a good feel for how it worked and how it was to live in that time of music. We also experience what is a common theme throughout this book, the pranks that the band plays on each other. There are moments from simply driving through big puddles of water to splash unsuspecting pedestrians, to having food fights, hotel room destruction, and a variety of on and off-stage antics. The pranks along with a number of other events in the book add amusing detail to the stories that are found on each page and in each chapter. The third part of the book deals with the later part of Cheetahs life, post-Dead Boys and his battles with addiction. We experience his meeting Slash and Duff of Guns N” Roses to learn that they would be covering “Ain’t It Fun” for their 1993 release The Spaghetti Incident? , and the reformation of Rocket From The Tombs, who would release an album in 2002 titled Rocket Redux.

Throughout the book events and stories are interwoven for an effect that can be best described as a time capsule. Reading this book, you at times feel that you are right there in that moment experiencing the events as they unfold. There are times of excess and times of extreme excess throughout the book that build as it progresses, but it is tied in with the passion and desire that Cheetah Chrome has for music. The book is completely honest. Nothing is held back and Cheetah is not afraid to express his thoughts on any matters that occur, making the book a great read. The encounters throughout the book with people such as Iggy Pop, Lou Reed, Devo, The Ramones, and many other notable Punk acts and music artists from the time add further interest to this fascinating Dead Boys tale.

The following is an excerpt from Cheetah Chrome: A Dead Boy's Tale from the Front Lines of Punk Rock. It can be purchased through Amazon.com

In spring of 1976 there was a festival at Max’s Kansas City in New York. Stiv went up for it, and while there he stayed with some people he had met through Miriam Linna named Lux Interior and Poison Ivy. I didn’t know these people at all, but Stiv thought they were pretty cool and stayed in touch with them when he got back. He also saw Joey Ramone and Johnny Thunders on this trip, and went to CBGB to check it out.

I got a call from him the day he was coming home asking if my girlfriend and I could pick him up at the airport. We could, so we headed out to Hopkins and, since we were early, to the bar nearest Stiv’s arrival gate. When I walked in, the first person I saw was Jimmy Zero.

“How ya doing, man? What are you doing here?” I asked.

“Stiv called me and asked me to pick him up.” he answered.

Just then Johnny Blitz and Slim came strolling in. We looked at them, they looked at us, we all looked at each other and started laughing. We sat down, ordered some beers, and began catching up. Everybody was there except Jeff. When they announced the arrival of Stiv’s flight, we all agreed that we didn’t have to go to the gate; he’d know where to find us. Sure enough, a short time later he came in, smiling that familiar smartass smile. He ordered a beer, sat down, and explained why he had called us all together.

There were other people like us, he explained. People who dressed like us, liked the same bands we liked, and wanted to do their own songs. They just didn’t live in Cleveland, they lived in New York. And they weren’t going to come to Cleveland to find us, we were going to have to go to New York to find them. He had spoken to Hilly Kristal, the owner of CBGB, who told Stiv who to talk to about auditioning. Stiv had also spoken to someone at Max’s Kansas City, but that person hadn’t been quite as encouraging.

“We need to get back together. We need to go play in New York,” he told me. It made sense, but it made me nervous. I hadn’t been out of Ohio in a long time for anything, let alone a gig.

We agreed to give it a try, and I told them I would begin looking for a loft, since I had references. Stiv said we didn’t have time for that; we should rent Raven Slaughter’s space until we found one. Raven had a great place and also had amps we could use if needed, although I did love my Sound City.

Stiv had spoken to Jeff, but he didn’t want to do it. So we needed a bass player. We also needed songs, and seriously, now. I was damned if I was gonna play “Deuce” in front of an NYC crowd. We also needed a name . . . and I needed a guitar, as all I had was an Epiphone twelve string. Shit, this was going to be a pain in the ass.

I went to my favorite pawn shop on West Twenty-fifth, where I had found my first guitars. First I asked the guy what he could give me on the Epiphone and then explained the situation to him. He took me over to the wall of guitars and pulled down a Les Paul copy with a natural wood finish.

“Try this out. It’s a lot better than it looks,” he said as he handed it to me. It played great, even though I could tell it needed some tightening up. There were a lot of good Les Paul copies out there, usually made by Japanese companies like Ibanez, Greco, and Tokai. The name was sanded off of the headstock on this one, but it was as close to a Paul as you could get without it actually being one.

I asked him how much it was, and he told me he could do an even trade. He even threw in the cheapest-looking brown alligator case that I’ve ever seen, bar none. I was thrilled—now we could get to work.

One thing most people don’t know about me is what a gearhead I am. I love guitars, amps, recording equipment, and all the accessories that come with them. I love working on guitars, and when amps were simple, like my Silvertone and Sound City, I even did some of my own repairs. I can stand around a music store for hours looking at crap, and I will pore over every Guitar Center catalog until my wife Anna makes me throw it out. About half of my bookmarked web pages are vintage gear sites.

So as soon as I got the new axe home, I went straight to work on it. Its main drawback was that the neck was not glued to the body, but bolted on, and I soon found that if it wasn’t just right it caused problems. So I got some wood and made shims to hold the neck even every time I needed to adjust it. I went over the bridge and pickups with steel wool, removing any little rust spots, and I took the pickups out and cleaned and adjusted them. The bridge was a bit iffy, but usable. By the time I got done I had an extremely serviceable guitar, if not one I could brag about.

I tried it out through the Sound City and it sounded great, even seemed to have that famous Gibson tone. I ended up using this guitar right up through our early CBGB shows, and I recorded Young Loud and Snotty with it. But I digress. . . .

We put an ad in The Plain Dealer for a bass player and hoped for the best.

We began rehearsals for real then, without one for now. For material, we still had the three originals from Frankenstein, and we began to finish up songs like “Ain’t Nothin’ to Do” and “Not Anymore,” but they would not be ready for the first show. No, we had the Rocket From The Tombs stuff we knew from Frankenstein, and we had covers. We dusted off “Death May Be Your Santa Claus,” “Don’t Mind Rockin’ Tonight,” and “Hey Little Girl,” and added Eddie Cochran’s “Nervous Breakdown,” along with “Yesterday’s Numbers” by the Flamin’ Groovies. While we weren’t thrilled by it, we did have a set.

Stiv got the go ahead to call Hilly and get a gig—but he had a better idea.
“Joey Ramone told me he can help us, talk to Hilly for us. I think we’ll get a better night that way,” he told me.

I thought it was a good idea, and he called Joey, who, good to his word, told Hilly we had played with the Ramones in Youngstown and that he should book us. Hilly told him to have us call him, which Stiv did, and Hilly said we could have a regular night and wouldn’t have to audition. He also asked for the name of the band and, when told there wasn’t one, gave us a week to come up with something to put in the ads. Stiv and Holly agreed on a date in late July, and that was it—we were going to New York. Now all we needed was a set of songs, a bass player, and a name!

A few days later I was at Stiv’s waiting to go to rehearsal. He was in the bathroom shaving, and I was in the living room smoking a joint and reading the Scene when suddenly he called me.

“What?” I answered. Sorry, it was the best I could come up with.

“Dead Boys,” he said cryptically.

My first reaction was to think, “What the hell is he talking about?” Then I thought, “That’s the first line from ‘Down in Flames,’” which then led to, “What in the hell does that have to do with anything?”

Then I got it: Dead Boys—for the name of the band.

“Yes!” I shouted emphatically.

And that was it. We were now Dead Boys.

Dead Boys still needed a bass player, but after much discussion, it was decided we had to take a chance and do this first New York show without one. We’d worry about it when we got back.

This Week's Play List:

1. Teenage Head with Marky Ramone - Teenage Beer Drinkin' Party
2. Neon Hearts - Regulations
3. The Rivals - Skateboarding in the UK
4. Sandman Viper Command - Yo Bobcat
5. Magic Hall of Mirrors - Ghosts In My House
6. That Petrol Emotion - V2
7. 20th Century Zoo - You Don't Remember
8. Shondels - Don't Put Me Down
9. The Beatles - I'm Happy Just To Dance With You
10. The Kinks - She's My Girl (1965 Unreleased Dave Davies Solo Album)
11. Chuck Berry - You Can't Catch Me
12. Harlem - Friendly Ghost
13. Square Root of Margret - So Far gone
14. The Prehistoric Cave Strokers - Story of My Life 
15. The Love Me Nots - Alley
16. Johnny Thunders & The Heartbreakers - Let Go
17. Brian James - Why? Why? Why?
18. The Pagans - I Juvenile
19. Cheetah Chrome & The Ghetto Dogs - Here Comes Trouble
20. The Dead Boys - What Love Is 
21. The Dead Boys - Sonic Reducer
22. The Velvet Underground - Oh, Sweet Nuthin'

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for October 19th. Or subscribe to Revolution Rock as a Podcast.

Washing Machine Fill In!

Last week I filled in for Clara of The Washing Machine, playing a mix of Indie, Punk, and Alternative music. Her show can be heard regularly on Thursdays from 10:30 until noon on CJAM 99.1 FM. 

Here is the play list, visit the Washing Machine blog for more info on another one of CJAM FM's great shows.  The picture above was a Pop Art styled painting originally done by Roy Lichtenstein.  More info on Roy's wonderful work can be found at http://www.lichtensteinfoundation.org/

Washing Machine Play List:

1. The Black Angels - Yellow Elevator # 2
2. Grinderman - What I Know
3. The Vaselines - Sex With An X
4. Suuns - Gaze
5. Clinic - Evelyn
6. Magic Hall of Mirrors - Crystal Ball
7. Twilight Hotel - Twilight Hotel
8. The Twilight Sad - Last Year's Rain Didn't Quite Fall So Hard
9. Tame Impala - Why Don't You Make Up Your Mind?
10. Heat-Ray - Oooh Yeah
11. Thrush Hermit - French Inhale
12. Square Root of Margret - Attack of the Giant Problem vs the Creature from the Planet of the Incredible Shrinking Solution
14. San Sebastian - Young Youth
15.Gemma Ray - Looking The World Over
16. The Crocodiles - Hearts of Love
17. April March - Chick Habit
19. Mongols - Natuoloid Reef
20. The Caesars - (I'm Gonna) Kick You Out
21. Fire Engines - Candy Skin
22. Buzzcocks - Harmony In My Head
23. The Modernettes - Static
24. The Black Lips - O Katrina!

The show which aired on October 14th can be downloaded here.

The Hives Tarred and Feathered! ... Show # 321

Tarred and Feathered is the latest offering from the Swedish Garage/Punk band The Hives. Released digitally On July 2nd, 2010, Tarred and Feathered is a three track EP of obscure cover songs. The first song on the EP, "Civilizations Dying", is a cover of a song originally done by The Zero Boys. The Zero Boys were a four piece Punk/Hardcore band from the Indianapolis, Indiana area. They lasted from the 1979 to about 1985 initially, reforming in the late 80s/early 90s. The Hives version of "Civilizations Dying" is a faithful version of the original with an added Hives flavour. The next track on the EP is the song "Early Morning Wake Up Call" a song originally by Flash And The Pan. This New Wave band originates from Australia and was essentially an ongoing studio project featuring members of the Australian band The Easybeats, Harry Vanda and George Young (older brother of AC/DC's Angus Young and Malcolm Young). The song was originally released in 1984, on an album of the same name and featured prominent synthesizers. The Hives version swaps the synthesizer for guitars, while maintaining the essence of the original song for a result that some are calling a better than the original cover song. Finally the EP ends with "Nasty Secretary" a song originally done by Joy Ryder & Avis Davis. This band is even more obscure they released a vinyl in 1979 titled No More Nukes, "Nasty Secretary" being the B-side.

While the album is only currently available digitally it is supposed to be released on 7 inch vinyl later this year. Overall, the three track EP serves an appetizer for the bands upcoming full-length, which they are currently working on. Recorded live to tape in Ghrondahl Studio in Stockholm during five days in March 2010, Tarred and Feathered is musically in the realm of classic 70s Punk and New Wave, while lyrically all the songs deal with anti-establishment based themes. The EP also serves as exposure for Hives fans to bands that they may not have previously listened to before, expanding their musical tastes beyond the traditional Rock realm.

The Play List:

1. Television - Friction (Alternate Version)
2. Hurtin' Kind - Look Inside
3. Cool World - Dream Shake
4. Neil Young - Hitchhiker
5. The Rage - Stay
6. Richard & The Taxmen - Ice Skating Rita
7. Cyberman - You're To Blame
8. The Wasps - Teenage Treats
9. Index - Total Bland
10. Clinic - Lion Tamer
11. Laughing Clowns - Mr. Rediculous
12. Arkells - I'm Not The Sun
13. Punk Rods - Rip It Up
15. Puncture - You Can't Rock and Roll
16. Simply Saucer - Bullet Proof Nothing
17. Ride Theory - Devil In My Heart
18. Standells - Rari
19. Solomon Burke -Home in Your Heart
20. Joe Strummer - Nothin' Bout Nothin'
21. Pearl Jam - Down
22. The Hives - Civilization's Dying
23. The Hives - Early Morning Wake Up Call

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for October 12th. Or subscribe to Revolution Rock as a Podcast.

New CONTENT from Gang of Four...Show # 320

For the first time in 16 years Gang of Four will be releasing an album featuring new material. Perhaps best known for their stripped down Rock and Post-Punk album Entertainment!, Gang of Four went on to experiment with other genres such as Dance, Disco and Punk on albums such as Songs For The Free and Hard. In the mid eighties the band took a break from working together following the release of their 1983 album Hard. Andy Gill and Jon King reunited and released two more albums as Gang of Four. Mail was released in 1981 and Shrinkwrapped was released in 1995. In 2004 the original line up of the band reformed for some live shows and have continued to tour off and on until the present day. A new Gang of Four album followed in October of 2005 featuring re-recordings of songs from the albums Entertainment!, Solid Gold, and Songs For The Free, it was entitled Return the Gift. Drummer Hugo Burham and bassist Dave Allen left the group in 2006, Mark Hearny took on drumming duties and Thomas McNeice tackled the bass. Now in January 2011, Gang of Four will release an album of new original material for the first time since 1995's Shrinkwrapped. Content will be released on Yep Roc records. The album has been available at the bands show for sometime now and has been said to be as unconventional and stripped down as the bands debut 1979 release Entertainment!

The band is offering a FREE MP3 from their upcoming album can be downloaded here it is also streamed below:  Gang of Four - You Never Pay For The Farm MP3 DOWNLOAD

Discover Simple, Private Sharing at Drop.io

This Weeks Play List:

1. Crocodiles - Hollow Hollow Eyes
2. Public Image Limited - Bad Night
3. Steroid Kiddies - Seaside Teaser
4. No Age - Common Heart
5. Rah Rah - Henry
6. Black Mountain - The Hair Song
7. David Byrne - She's Mad
8. Suuns - PVC
9. Lewis Macleod - Where The Exits Are
10. James OL & The Villains - Paddling Tom's Canoe
11. The Flamin' Groovies - Evil Hearted Ada
12. The Locusts Have No King - Trench Song
13. Eddie Moonie & The Grave - Zombie
14. Direct Hits - Back To The Sixities
15. Dum Dum Boys - Idiot Boy
16. The Cheetahs - Radio-Active
17. Shadowy Men On A Shadowy Planet - Harlem By The Sea
19. Stand - Losing My Frustrations
20. BBQ - Take A Message
21. The Jam - I Will Be There (1975 TW Demo)
22. Gang of Four - You Never Pay For The Farm

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for October 5th. Or subscribe to Revolution Rock as a Podcast.