Rent Party! The Story of The Waldos & Show # 380

Following the break up of Johnny Thunders & The Heartbreakers in 1977, Walter Lure (one of the singer/guitarists in The Heartbreakers) continued to branch out musically. While most people don’t know that he wrote and sang about half the songs in the The Heartbreakers, there are a few additional interesting musical facts that some people may not be aware of. In the 80s he contributed guitar to three Ramones albums at the request of Johnny Ramone (Subterranean Jungle, Too Tough To Die and Animal Boy) in addition to this he played live in his own band that featured a revolving cast of musicians. In 1979 he released a single with a new group that he was part of called The Blessed. The single featured two tracks, “Deep Frenzy” and “American Bandstand”, but his time with the band was short lived. He would play under the name The Hurricanes and The Heroes, who released a single 1978 featuring the members of The Heartbreakers, minus Johnny Thunders which featured the songs “Too Much Junkie Business” and “Seven Day Weekend”. He eventually arrived at the band known as The Waldos.

The Waldos did not make too many recordings during their peak period as a band in the mid 80s, in 1993 they released a single titled Crazy Little Baby. In 1994 a full length album followed entitled Rent Party, which is the only full length studio album to be released by The Waldos. The band line up for this album featured Walter Lure (guitar/vocals), Tony Coiro (bass/vocals), Joey Pinter (guitar), and Jeff West on drums. The album was produced by Andy Shernoff of The Dictators and featured a collection of Walter Lure originals and a few cover songs. Rent Party features recordings of several songs which date back to Lure’s early days with The Heartbreakers, the most notable being the song “Flight”, which is a song that was never released officially with The Heartbreakers. It was however an early staple of the bands live set and a song that dates back to the earliest days with The Heartbreakers when Richard Hell was a member of the group. “Count Down Love” was another song that was actually written by Jerry Nolan (New York Dolls/Heartbreakers drummer), the other songs that have a connection to Lure’s past groups are the covers “Seven Day Weekend” originally a song by Gary U.S. Bond’s, but also a song that was played by both New York Dolls and The Heartbreakers, a sleazed up cover of Ray Charles “Busted”, and “Party Lights” a song originally done by Claudine Clark. These three songs alone have a deeper meaning, reflecting on themes that were often found in Lure’s past. One of the most poignant tracks featured on Rent Party is the Country Rock song “Golden Days”. The song, which also has an almost Pogues-like influence addresses Lure’s past in a sentimental, yet meaningful way.

Rent Party harnesses a sound and fidelity that is a not unlike his work with Johnny Thunders & The Heartbreakers, but one that is more fleshed out production-wise than LAMF. Listening to Rent Party one can’t help but wonder what the next album by The Heartbreakers would have sounded like if they did not break up in 1977, this is as close as you are going to get. The album features a depth that contrasts its party like atmosphere. Walter Lure proved to be a survivor of the scene he was a part of. Many of his band mate’s have fallen since the release of this album including Jerry Nolan (NY Dolls/Heartbreakers drummer), Johnny Thunders (NY Dolls/Heartbreakers), Waldos original drummer Charlie Sox, Waldos bassist Tony Coiro, and saxophonist Jamey Heath. Walter Lure has continued to play live in New York City with different incarnations of The Waldos since the release of Rent Party, in between his gigs Walter worked on Wall St. as a stock broker (he is now in the financial district). Around 2006/2007, The Waldos started playing more frequently, Walter Lure released a live CD followed in 2007 titled Live In Berlin, which was recorded as a result of a European tour. The album is a solo album and it featured Walter teaming up with Dee Jaywalker.  In 2009 and 2011, Lure reunited with original Waldos guitarist Joey Pinter, for some live shows. Currently The Waldos continue to play live (Lure also plays shows as a solo artist) and there has been an interest in a new album, but it is not sure what will materialize. As Lure said in an interview for soundcheckmagazine.net “Whatever happens, happens…. People keep asking me to write more songs and do a new album which I might do if I can write enough new songs to fill it - Who knows?” Rent Party is now somewhat of a rarity, the original pressings go for quite an expensive sum online. In 2009, Rent Party was reissued on vinyl.

More information on Walter Lure and The Waldos can be found at:

Walter Lure's myspace page
The Waldos facebook page


This Week's Play List:

1. The Pygmies - She Lied
2. The Ex-Boyfriends - Bubblegum
3. David Lynch - I Know
4. The Esquires - It's A Dirty Shame
5. Ritchie Knight & The Mid-Nights - Work Song
6. Woody Guthrie - Gamblin' Man
7. Gun Lake - Trees
8. The Tetraktys - Go Go Alice
9. James T Kirks - Paper Bags Got A Little More Soul
10. Chelsea - Urban Kids
11. The Cramps - Uranium Rock
12. The Humans - I Live In The City
13. Eric Welton - Kooler
14. Previous Tenants - Rolling In Dough
15. Little Red - Little Bit of Something
16. The Blessed - American Bandstand
17. David Bowie - Word On A Wing
18. Johnny Thunders & Heartbreakers - Flight (Yonkers 1976 Demo)
19. The Waldos - Cry Baby
20. The Waldos - Seven Day Weekend
21. Johnny Thunders & The Heartbreakers - One Track Mind
22. The Hives - A Little More For You

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for November 29. Or subscribe to Revolution Rock as a Podcast.

Abdication...Reigning Sound & Show # 379

Memphis, Tennessee band Reigning Sound (now based out of Asheville, North Carolina), who features Garage/Punk legend Greg Cartwright (he has been in numerous bands such as The Oblivians and The Compulsive Gamblers) has a new mini LP available and it’s FREE! This eight track collection features eight songs all of which reflect a soulful Garage/Punk nature. The band consists of Greg Cartwright (guitar/vocals), David Wayne Gay (bass), Dave Amels (organ), and Lance Wille on drums. Reigning Sound has been around since 2001, having released several full length albums and seven inch singles. Most recently the band released Love & Curses in 2009, prior to this new mini LP of course which is titled Abdication ... For Your Love. It should also be noted that five of the eight tracks found on Abdication, were recorded by Dan Auerbach of The Black Keys.  (Note this album is no longer available for free download).


This Week's Play List:

1. The MC5 - Thunder Express
2. Alex Chilton - Hook or Crook
3. Deer Tick - Main Street
4. Al Tuck - The Banks of Newfoundland
5. Crissi Cochrane - Drive All Night
6. Frontiers - My Oh My
7. Wavves - Bug
8. Falklands - Blackout Cold
9. The Damned - Wait For The Blackout
10. Army Girls - Always
11. Spectrals - Get A Grip
12. Stiv Bators, Dee Dee Ramone & Johnny Thunders (AKA Whores of Babylon) - Poison Heart
13. Ted Clark Five - (Darling You're) Bringing Me Down
14. Androids - Over and Over
15. The Diodes - Action-Reaction
16. 49th Parallel - Eye To Eye
17. Reigning Sound - Everything I Do Is Wrong
18. Tom Waits - Get Lost
19. The Beets - Wipe It Off
20. The Gruesomes - Outta My Mind
21. Vic Godard & The Subway Sect - No Love Now
22. Wire - From The Nursery
23. Motorhead - Damage Case

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for November 22. Or subscribe to Revolution Rock as a Podcast.

Dean Marino Papermaps Interview & Show # 378

Papermaps began as the band EX~PO. Producer/engineer and song writer Dean Marino first released the EX-PO album Central Meaner Street in 2008, playing the large majority of instruments on the album. Deciding to tour behind the project he assembled a band to play live shows. In between the releases Central Meaner Street and the first self titled Papermaps album, the project that was initially known as EX~PO evolved into something else. Changing their name, the first official release from Papermaps under that band name was the “Reunion” seven inch single in January of 2011. The band currently features Dean Marino (guitar/vocals), Wendy Leung (keyboards), Bobby Lee (drums), Betty Dimo (bass/keyboards) and Todd Harrison on guitar/synth. Doubling as a producer and engineer Dean recorded the first Papermaps album in between his other job which is producing, recording and engineering at the studio that he owns and operates in Toronto (Chemical Sound) with fellow musician and engineer/producer Jay Sadlowski.

In April 2011, Papermaps released their first full length album, simply titled Papermaps. Like a paper map, the Papermaps album charts into new musical territory using Central Meaner Street as a starting point, the band has currently ventured into Power Pop influenced territory. Papermaps features ten well crafted Pop songs mixed in with other elements that gives you something that keeps you on your toes. The albums opener “Angela” sets a tone for the overall album building as it progresses, it features predominately guitar/bass and drums. Near the end there is a splash of synthesizer which gives the listener a tasty bite of what’s to come. The second song featured on the album is the piano driven sing-a-long “Reunion”, which has done very well on Independent campus radio based charts, the third song on the album is the guitar driven and energetic “Can’t Make A Living” which moves the listener along the albums ten track course. “Complicate Things” is a moody yet synthesized anthemic Dance Rock track, while “Exit” is one the heaviest tracks on the album. “Coddled” is a song that starts off like a solo John Lennon outtake, reminiscent of a lullaby before it picks up in to all its loud glory, “You Are My Gallows” ends the album with a call and response dynamacism. Papermaps blurs the lines of their musical territories for a sound that is all their own.

With a one full length album completed, the band is now working on material for a second full length album that has a projected release date of Fall 2012. Papermaps have toured to support their album and have played CMJ Music Marathon in New York, two shows at the Halifax Pop Explosion, as well as touring in Toronto, Montreal and Windsor, Ontario. Following a show in Toronto in December of 2011, Papermaps will retreat into Chemical Sound Studios to focus on their next album. More info on the band can be found on their official website http://papermaps.net/. 

Papermaps will play Phog Lounge in Windsor, Ontario on Friday November 19th with local acts Learning and Frontiers. Today's program featured an exclusive interview with Dean Marino of Papermaps. We talk about the bands evolution, musical influences, recording, Phog Lounge and more. The interview can be heard by downloading this weeks podcast/program or you can listen to an extended version of the interview below:


Download the Interview here!

This Week's Play List:

1. The Spades - Esp
2. Brazilian Money - Jive With The Killer Instinct
3. The Iguanas - Again & Again
4. 1977 - You Got A Way
5. Novels - This Wouldn't Be The First Time
6. Sloan - Take Good Care of the Poor Boy
7. The Regulators - That's Right, Nothing's Left
8. Dee Dee Ramone & The Spikey Tops - Bop 'Til You Drop (Live NYC 1991)
9. Mudhoney - Suck You Dry
10. EX~PO - Tasty Bites
11. Papermaps - Can't Make A Living

Dean Marino Interview

12. Papermaps - Reunion
13. Sports - Played Yourself
14. Them - Don't Start Crying Now
15. Compulsive Gamblers - Pepper Spray Boogie
16. The Saints - Lost and Found
17. X - We're Desperate
18. Buzzcocks - Friends of Mine
19. Elvis Costello & The Attractions - (I Don't Want To Go To) Chelsea
20. The D4 - Sleaze City

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for November 15. Or subscribe to Revolution Rock as a Podcast. 

Papermaps Videos:

 

Revolution Rock Pledge Drive 2011 & Show # 377

 

This years pledge drive show was very successful. A good amount of money was raised for CJAM this year, but CJAM can still use your help. We are not even over the half way mark of our overall goal of $30,000. If you would like to make a pledge or donation you can do it securelly online at http://www.cjam.ca/. We also have a wide variety of incentives this year such as T-Shirts, Beer Steins, Tote Bags and more!

As for the program, today's show was comprised entirely of demo recordings from different bands such as The Pointed Sticks and Generation X, to local Windsor artist Johnny West and music from The Clash, and The Stooges. Today also featured guest hosts Vern Smith of The Jazz Hacienda, Adam Fox CJAM station manager/host of Biz Cas Fri and Clara of The Washing Machine

The Play List:

1. Generation X - Save My Life (1977 Demo)
2. Pointed Sticks - Love or Money (1980 Demo)
3. Ghost Riders In Disguise - Chili in Rellino (Demo)
4. B-Girls - Alibi (Demo)
5. Velvet Underground - Countess From Hong Kong (Demo)
6. Johnny West - Alligator Girl (First Mix)
7. Dirty Pretty Things - No Signal, No Battery (Demo)
8. Young Rival - Dead End Scene (Demo)
9. The Clash - The Man In The Me (Vanilla Tapes Demo)
10. Magazine - Touch & Go (Definitive Daze 1977 Demo)
11. Iggy & The Stooges - I Got A Right (Demo)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for November 8. Or subscribe to Revolution Rock as a Podcast.

CJAM Pledge Drive 2011

 

 

Hey listeners and friends,

It is time again for CJAM FM’s annual pledge drive. This years theme is Stayin’ Alive!

As a volunteer programmer for CJAM FM, community radio plays an important role in my life. Every week I donate my time and energy to contribute to our city and culture via Radio, and today I'm reaching out to you for your support. As Windsor-Detroit's not-for-profit campus-based community radio station we rely on the generosity of our listeners for our very existence. This year's modest goal is $30,000 and we need the support from every friend and family in the CJAM social network.

We are not-for-profit, volunteer-driven, grassroots alternative media, unlike anything else on the FM dial. The station relies on contributions from listeners, and without the support of folks like you, we wouldn't be able to bring important news/spoken word/ cultural/ music programming not offered by mainstream radio to the area.

This year's pledge drive runs from November 4-11, but you don't have to wait for my show to make your pledge. I know times are tight right now for everyone, but if you feel compelled could you please make a donation this year? Even small amounts help out CJAM. You can pledge online securely using paypal or credit card at http://www.cjam.ca/, or during the pledge drive by calling 519-971-3630, or for you Detroiters: 313-963-6112 extension 3630. If you do pledge, make sure that you specify which CJAM program you are pledging to in this case it would be REVOLUTION ROCK. We've got some really nice incentives this year as well, which you can check out on our website.

Thank you so much!

PS: On my next program, I will be having a special pledge drive program. There will be a unique theme to the show as well as some special CJAM guests in the studio. It will air Tuesday November 8th at 10:30 AM to Noon.

Dave
Revolution Rock

The Misfits Static Age & Show # 376

Following the release of the “Cough/Cool” single by The Misfits in August of 1977, The Misfits would head into a studio to record a full length that would be titled Static Age, but it would not released in its entirety until 1997. The road to the recording and release of Static Age is one that like The Misfits in their early stages from 1977-1983, had many changes. The Misfits began in January of 1977 in Lodi, New Jersey. They were formed by lead vocalist and song writer Glen Danzig who named the band after the final film to feature actress Marilyn Monroe, one written by American Playwright Arthur Miller titled The Misfits. Initially Danzig also played electric piano and sang along with Jimmy Battle on guitar, Diane DiPiazza on bass and Manny Martinez on drums to complete the first line up of the group. Not long after practicing together, DiPiazza and Battle left the group. Jerry Caiafa was recommended by drummer Manny Martinez due to the fact that he received a new bass for Christmas of that year. The new line up featuring Caiafa on bass, practiced for a couple of months as a three piece minus a guitarist. Their first single “Cough/Cool” backed with “She” was released in the summer of 1977 on Danzig’s own Blank Records label and featured no guitar, instead hammering synth-like electric piano. When the single was initially released bassist Jerry Caiafa’s name was spelled incorrectly, he suggested that in the future his name would be spelled “Jerry only, Jerry” which led the stage name Jerry Only, which he would soon adopt for the rest of his musical career. The single displayed the band in their embryonic stages, sounding almost like a New Wave band, but the imagery that was provided by Danzig and later identified as Horror Punk can still be heard in the singles A side “Cough/Cool”.

Not soon after the release of their first single, The Misfits added Franche Coma (real name Frank LiCata) as the bands guitarist. With a guitarist now in the group, Danzig dropped the electric piano and focused on vocals while at the same time launching the band into a more Punk Rock sounding direction. Soon Mr. Jim Catania replaced Martinez on drums and The Misfits found themselves in a very unique position. Mercury Records wanted to use the name Blank Records for one of their subsidiary divisions, so they offered Danzig thirty hours of studio recording time in exchange for the name Blank Records, he accepted. In January of 1978, The Misfits entered C.I. Recordings in New York City with producer Dave Archelis and recorded seventeen tracks, fourteen of which were mixed with Archelis. Due to time restraints the band recorded the songs live in the studio, only doing a few takes of each song and minimal overdubs. The proposed fourteen track album was to be titled Static Age, but the band were unable to find a record label that was interested in releasing the album. The band then opted to release four tracks on the Bullet EP in June of 1978 (“Bullet”, “We Are 138”, “Attitude” and “Hollywood Babylon”). These songs were released on Danzig’s new label titled Plan 9 Records. The remainder of the material from these sessions were not released for some time, the band would release a remixed version of “Last Caress” on the Beware EP in 1980 and “Teenagers From Mars” was re-recorded and used on the 1979 “Horror Business” single. “The Horror Business” single also featured a design that would become that bands infamous skull logo. The logo was based off of a poster designed for the 1946 Horror film The Crimson Ghost, it has been used on band releases ever since. It should also be noted that the Beware EP also contained the songs “Horror Business” and “Teenagers From Mars”.

The Misfits would go through another set of line up changes, but Glen Danzig and Jerry Only would remain constant members in the group in their early days of The Misfits. The band leaped more in the horror themed direction lyrically and visually. On stage they changed their appearance to suit their new brand of Punk that would be brandished as Horror Punk. Lyrically the songs subject matter would be drawn from films of the Horror genre, but more specifically the B-Horror movie genre. The band slowly built up a following releasing more singles and EPs, in 1982 they released the full length album Walk Among Us, which is often regarded as one of the greatest Punk albums of all time. The Misfits began to take their music to more extremes musically going into a more Hardcore Punk direction. It was also around this time that Danzig grew unsatisfied with the band, he began working on a new project and after the release of one more album, Earth A.D./Wolf’s Blood in 1983 which displayed the band in a more Hardcore and Heavy Metal/Rock sense, the band was pretty much over. Following a show on October 29th in Detroit, the band went their separate ways. In 1985, nine of the tracks from the Static Age sessions were released on the Legacy of Brutality compilation album. The nine tracks from these sessions that were put on the Legacy album featured overdubbed bass and guitar parts by Glen Danzig himself, which were done following the bands break up in 1983. In 1995, several more tracks from these sessions were released on the Collection II album including the then unreleased “Return of the Fly”. In 1996, The Misfits Box Set was released. This set is notable for its large collection of early Misfits studio material (minus the album Walk Among Us) and outtakes, but also for being the first place in which fans could acquire the fourteen track Static Age album as it was originally intended. In February of 1997, a single disc version of the Static Age album was released featuring additional tracks that the band had recorded during the albums sessions back in 1978, but were never mixed.

Static Age embodies everything that The Misfits stood for, it displays all of the elements which made up The Misfits. The album addresses issues and subject matter in an intelligent defiant way, not unlike classic albums by bands such as The Ramones, The Clash and Buzzcocks. Static Age gurgles with an intense ferocity that has caused many fans of the band to choose this as their favourite release by the band, despite the fact that it was released over a decade too late. Songs such as ‘Static Age”, “TV Casualty”, :Attitude”, “Some Kinda Hate”, “Angelfuck”, “She”, “Hybrid Moments” and the Rockabilly groove of “Hollywood Babylon” all add to the albums aura. Along with the musicianship, the vocals are howled out by Glen Danzig like some kind of Elvis/Jim Morrison hybrid. Static Age is simply, some would argue The Misfits at their best.

Since the release of The Misfits first single and the recording of the bands first album, their status has grown to enormous proportions. During their break up in the 80s the bands cult like status grew so large that copies of the bands material would constantly go out of print. The band who drew their name from a film and took much of their inspiration from B-Horror films built up a new genre of music, creating a large fan base not unlike the large B-Horror movie fan bases that exist now. The road to the release of Static Age in its entirety as it was originally intended took eighteen years. Like the movie, The Misfits band initially received mixed reviews, but are now highly regarded among Punk music fans. Currently The Misfits continue to play and release albums, Jerry Only is the only remaining member in the group from The Misfits early period of 1977-1983. Although the group remains popular, The Misfits have not reunited with Glen Danzig. Danzig has had successful post-Misfits careers in his bands Samhain and Danzig, which musically reflect a heavier Rock/Metal direction.

This Week's Play List:

1. Deja Voodoo - Monsters In My Garage Got Married
2. Miesha & The Spanks - Night Danger
3. The Sphinxs - Time Above Me
4. The Okmoniks - I'm On My Own
5. The 5.6.7.8's - Harlem Nocturne
6. The Frogmen - Underwater
7. The Specials - Too Hot
8. Arkells - On Paper
9. Promises - Valerie
10. Chandells - One Track Mind
11. Rocket From The Tombs - I Sell Soul
12. Brazilian Money - John Wayne
13. Rah Rah - Ghosts
14. Beastie Boys - 14th St. Break
15. Talking Heads - I Feel It In My Heart
16. Pearl Jam - Ole
17. Ramones - Do You Wanna Dance?
18. The Nils - Freedom
19. Joe Strummer - Don't Tango With Django
20. Girls - Alex
21. Destroy All Monsters - Nobody Knows
22. The Fays - Self-Centretown
23. The Cramps - Goo Goo Muck
24. The Misfits - Cough/Cool
25. The Misfits - Teenagers From Mars
26. The Misfits - Hybrid Moments
27. The Misfits - Static Age

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for November 1. Or subscribe to Revolution Rock as a Podcast.

City Slang ... Sonic's Rendezvous Band & Show # 375

From 1975 to 1980 a band existed in Ann Arbor, Michigan known as Sonic’s Rendezvous Band. The band was composed of Fred “Sonic” Smith (previously of The MC5) on guitar/vocals, Scott Morgan (previously of The Rationals) on guitar/vocals, Gary Rasmussen (previously of The Up) on bass, and ex-Stooges drummer Scott Asheton. Although relatively unknown while they were still active by the mainstream, Sonic’s Rendezvous Band has now elevated to legendary/cult-like status. During their time as a band they only ever released one single "City Slang". The "City Slang" single had the same song on the A side and the B side, although one side was labelled as a mono version and a stereo version, the single contained the exact same song on both sides. “Electrophonic Tonic” was recorded to be the B side of the "City Slang" single, but due to lack of funds the band could only afford to put the one song on the single. Original copies of the "City Slang" single, originally released in 1978 now go for hundreds of dollars.

The band essentially formed from the ashes of The MC5, and The Rationals. Smith and Morgan became friends and prior to the forming of Sonic’s Rendezvous band, Fred Smith contributed lead guitar to Scott Morgan’s first solo single (1973's Take A Look/Soul Mover). The two then decided to form a band, which would go through many line up changes in the rhythm section. The band played their first gig as The Orchids which featured Ron Cooke of Mitch Ryder’s Detroit Wheels on bass. The gig was poorly attended due to a large blizzard that occurred during that night in the bands early incarnation. Shortly after Cooke was out as Scott Asheton came into the group as their new drummer and Gary Rasmussen of The Up signed up on bass. The line up was now complete and the band changed their name to Sonic’s Rendezvous Band and began playing more gigs around the Michigan area starting in 1975. They tried to veer away from playing songs from each of their respective musical pasts instead opting for new original material, but slowly built up a following. The band combined the high energy Rock style of The MC5/The Stooges, with the soulful Garage ethics of The Rationals, but at the same time took a step into a new direction. Several songs were longer songs, evolving from jams that the band had together during rehearsals. Major labels seemed to avoid interest in this band, despite their local following and talent, but things were different then. It was around 1978 that the growing tensions between Smith and Morgan reached greater levels. Eventually the band faded to a stop in 1980.

The bands legendary status was maintained by their fan base through bootlegs released in the 80s of band demos and live shows. Sonic's Rendezvous Band gained international attention during the late 70s Punk scene, which despite the band no longer being together, their fan base grew. In the late 90s, the studio recording of the song “Electrophonic Tonic”, the intended B side to “City Slang” was released by Alive/Total Energy Records. This generated a new interest in the band and two albums were released titled Sweet Nothing (in 1998) which compiled a good quality live recording of the band from Ann Arbor in 1978 and City Slang (in 2000), which followed due to the success of Sweet Nothing. City Slang combined live recordings with the bands 1978 City Slang single, both albums are now currently out of print and were released by Mack Aborn Rhythm Arts. In 2006, Easy Action a UK record label released a six CD box set of Sonic’s Rendezvous Band material. Simply titled Sonic’s Rendezvous Band Box Set, the six CD’s compiled demos, rehearsal recordings, studio material and four live concerts. In 2007, another live recording was released from when the band played The Masonic Temple in 1978 in Detroit.

Following his time with Sonic’s Rendezvous band, Fred Smith married musician Patti Smith in 1980. In 1986 he worked with Patti on her album Dream of Life collaborating as a songwriter, producer and guitarist. This would be one of Smith’s last recordings, in November of 1994 Fred “Sonic” Smith passed away due to heart failure. Scott Morgan continued to tour and record as a solo artist and with groups such as Scots Pirates, Power Trane, Dodge Main, and The Hydromatics. Gary Rasmussen continues to play music as a studio musician and Scott Asheton currently plays with the reunited Stooges. The band reunited as The Rendezvous Band in 1999 featuring Deniz Tek (of Radio Birdman on guitar) in place of Smith at The Magic Stick in Detroit, it was released in 2000 under the titled Getting There is Half the Fun. More info on The Sonic's Rendezvous band can be found at http://sonicsrendezvousband.net/.

This Week's Play List:

1. Teenanger - Too Nice To Say No
2. Ghost Knife - Omnipotent
3. Rock 'N Roll Monkey & The Robots - I Should've Stayed In Detroit
4. Flamin' Groovies - High Flyin' Baby
5. Guage - I Saw You On The Telephone
6. Johnny Jaws & The Sharks - Out of Love
7. Pointed Sticks - Part of the Noise
8. Joy Division - Interzone
9. Crocodiles - Soft Skull (In My Room)
10. Mode Moderne - Radio Heartbeat
11. Colleen Green - Green One
12. Hoa Hoa's - Going Out With Her
13. Dog Day - What She Says
14. Empire - Him Or Me
15. The Only Ones - Re-Union
16. XTC - The Rhythm
17. Blue Orchids - The Flood
18. Models - Man of the Year
19. Magazine - Sweetheart Contract
20. Laughing Clowns - In Front of Your Eyes
21. Indian Wars - Old Hotel
22. Sonic's Rendezvous Band - Sweet Nothing (Live)
23. Sonic's Rendezvous Band - City Slang (1999 Mix)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for October 25. Or subscribe to Revolution Rock as a Podcast.

The Ruby Spirit & The White Stripes & Show # 374

This week I will post a few videos for a change of pace. First up a quirky, peculiar video from a Canadian Indie Rock band with a dash of Garage and a peppering of Pop called The Ruby Spirit. The band currently has a six track EP available titled Born under a Veil. The video for "Cagliari" is a stop motion created video that was done by Mike Walter. For more info you can visit http://www.therubyspirit.com/. 

The Ruby Spirit - Caligari from THE RUBY SPIRIT on Vimeo.

Here's another cool music video that may or may not be stop motion based:

Also Revolution Rock is now on facebook.  Like Revolution Rock on facebook!!!

The Play List:

1. The Stomach Mouths - Eegah
2. The Rationals - I Need You
3. ? and The Mysterians - It's Not Easy
4. The Barracudas - Rendez-Vous
5. Invasions - Out Of Touch
6. The Remedials - That Look
7. Finks - Can't Say No
8. Martha & The Muffins - Copacabana
9. Southern Culture on the Skids - Zombified
10. The Ruby Spirit - Caligari
11. Magnificent Bastards - She Won't Do It Anymore
12. Bad Vibrations - Losing Time
13. Mad Ones - Behaviour
14. Shimmering Stars - I'm Gonna Try
15. Bear Vs. Shark - Catamaran
16. The Specials - Little Bitch
17. The Equators - Baby Come Back
18. The Ruts - Babylon's Burning
19. The Skids - Night And Day
20. Famous Names - Blind Date
21. Exits - Going Places
22. The Jam - When You're Young
23. The Professionals - Just Another Dream
24. Guided By Voices - Teenage FBI
25. The Hives - Thousand Answers

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for October 18. Or subscribe to Revolution Rock as a Podcast.

Not Now No Way ... The Pagans & Show # 373

Coming from Cleveland, Ohio in 1977 The Pagans are often a largely ignored band that came from the first wave of American Punk bands alongside acts such as The Dead Boys. The Pagans consisted of Mike Hudson (vocals), Brian Hudson (drums), Mike “Tommy Gunn” Metoff (guitar) and Tim Allee on bass. The band played a unique blend of grimy Garage influenced Punk music, which was filled with venomous attitude. They released their first recordings as a 45 single that contained two of the same songs on side A and side B, “Six and Change”. The sneerful and bone rattling Street Where Nobody Lives was the bands second single, it was backed with the self explanatory, but equally gnarly “What’s This Shit Called Love?” It was followed up by the Not Now No Way single in 1979 and the Dead End America single in the same year. The band split initially in 1979, which along with their anti-famous image and lyrical subject matter put the band to a halt, but not for long. The Pagans reformed again in 1982 and disbanded yet again in 1983.

The band released a self titled album in 1983, and continued to release music off and on. A compilation album of the bands recordings was released in 1986 titled Buried Alive, which is often regarded as the best compilation and release from The Pagans to ever be released. The compilation compiled the band in their nasty, snotty glory featuring all of the bands early seven inch recordings and several unreleased tracks. The first CD compilation was released in 1994 entitled Everybody Hates You, and several other compilation albums cataloging The Pagans material has been released since then. A book was released by Mike Hudson titled Diary of Punk in 2008 chronicling his time with The Pagans. The band while they reformed several times, have released numerous recordings that at the time of its initial release was greatly under looked. They have now come to be more recognized by others Hudson’s lyrical style often attacked society related issues and at times came off with a stark lyrical imagery that when combined with the bands anti-star attitude made them not only a unique and at times offensive band, but one that were truly original

The Play List:

1. The Stooges - I Wanna Be Your Dog (Alternate Vocal Version)
2. DOA - Smash the State
3. Existers - Telex Love
4. Plan Nine - I Ain't No Robot
5. Rage - I've Got Your Number
6. Sports - Side Effect of Talk
7. Dum Dum Girls - Always Looking
8. Kasabian - Let's Roll Like We Used To
9. Television - I'm Gonna Find You (1974 Unreleased Song)
10. The Strollers - I Fell Right Down
11. Thee Mighty Caesars - Little By Little
12. Chang-A-Lang - Lay By Your Side
13. Neil Young - Vampire Blues
14. The Locusts Have No King - Last Night In My Favorite Bar And The Reprocussions Thereof
15. Johnny Cash - Locomotive Man
16. Will Currie & The County French - Railroad
17. Johnny Thunders - (She's So) Untouchable
18. Richard Hell & The Voidoids - New Pleasure
19. Generation X - New Order
20. The Bears - Fun, Fun, Fun
21. The Pagans - I Don't Understand
22. The Pagans - Not Now No Way
23. The Dead Boys - Ain't Nothing To Do
24. Compulsive Gamblers - Whole Lotta Woman
25. True Lovers - Obsession

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for October 11. Or subscribe to Revolution Rock as a Podcast.

(Return to) Friday at the Hideout

This Friday I filled in for CJAM's Willy Wilson on the program Friday's At The Hideout. A few months back I filled in for the very same show, my play list on this program reflected the Surf, Garage, Punk, and Folk genres. Willy Wilson also hosts the program The Motorcity is Burning every Tuesday at 7 PM, Friday's At The Hideout can be heard every Friday from 8-10 PM.  The program can be downloaded below.

The Play List:

1. Link Wray - Law of the Jungle
2. Shadowy Men On A Shadowy Planet - Shake Some Evil
3. The Collectors - Eyes
4. The Townsmen - Back Yards
5. Prehistoric Cave Strokers - You're In You're Out
6. The Fuse - Sad Eyes
7. The Hi-Fi's - Look What You've Done
8. Sports - Played Yourself
9. Dum Dum Girls - Hold Your Hand
10. Kasabian - Neon Noon
11. Drew Smith - Smoke & Mirrors
12. Will Currie & The County French - Railroad
13. The Mekons - Geeshie
14. John Doe - Walking Out The Door
15. Twin Library - I Asked Her To Build Me A Phone
16. Chang-A-Lang - Japanese Eyes
17. The Remains - Don't Look Back
18. The Uniques - You Ain't Tuff
19. The Count Five - Psychotic Reaction
20. Square Root of Margaret - Attack of the Giant Problem vs. The Creature From The Planet of the Incredible Shrinking Solution
21. Mark Sultan - Mortal Man
22. Radio Birdman - Do The Pop!
23. The Misfits - Hollywood Babylon
24. Ramones - You Should Never Have Opened That Door
25. The Adverts - Safety In Numbers
26. Buzzcocks - I Don't Mind
27. The Exploding Hearts - I'm A Pretender
28. The D4 - Joe 90
29. The Clash - The Leader (Live Amsterdam 1981)
30. Dex Romweber Duo - Climb Down
31. Dave Allan & The Arrows - Outer Surf
32. Velvet Underground - I Found A Reason (Demo)

The show can be downloaded here. 

Nirvana ... Newermind & Show # 372

Twenty years ago Nirvana released their second full length album Nevermind. Prior to the album being recorded the band nor their record label (then Sub Pop, before signing to Geffen) had no idea of the impact that the album would have. While initially it was pressed in smaller quantities, the album quickly climbed the Billboard top 200 charts eventually knocking Michael Jackson’s Dangerous album off the top spot. But would the album have had the same impact if it had been not re-mixed by Andy Wallace? The super deluxe edition of Nevermind that was released on September 27th of 2011 provides an inside look and insight into the events leading up to Nevermind’s success and also provides the listener with a plethora of material to wrap their heads around as Nirvana’s Nevermind hits the 20 year mark. It should also be noted that currently, Nevermind has re-entered the UK top ten album charts.

The set comes in a large vinyl sized book featuring glossy colour photos cataloguing Nirvana’s adventures mostly in picture form. Inside there are budget breakdowns, press releases, previously unseen photos, screenshots from Nevermind-era music videos, and the album cover shoot, and a reprint of a Melody Maker magazine feature on Nirvana and the Seattle scene at the time. If that isn’t enough there is the music which is provided in a variety of formats – one in CD form. There are four CD’s in the set and one DVD featuring a previously unreleased Nirvana Concert from the Paramount Theatre in 1991. The first CD features a remaster of the actual Nevermind album, and a collection of B-sides, that if you have been a die-hard Nirvana fan have most likely heard before.

The second CD is where the super deluxe set gets interesting. First it starts off with the eight song Smart Studios Sessions that Nirvana Did with Butch Vig (who would also produce Nevermind) in April of 1990. Through these eight songs we hear Nirvana with Chad Channing on drums, and in an early primalistic form, the songs sound like they come from Bleach-era Nirvana, which they do in a sense, but this form of Nirvana is one that is in transition. The listener is taken through early versions of songs such as “Lithium”, “Breed” (then titled “Immodium”), “In Bloom”, “Pay To Play” (which would become the song “Breed”), and a cover of the Velvet Underground song “Here She Comes Now”, “Dive”, and “Sappy”. From these demos the band decided to shop around in hopes of moving to a major label, but following the demos the listener is thrown right into yet another, early version of the Nevermind album. There are eight boom box demos, which were recorded by Nirvana in their rehearsal space in Tacoma, Washington in March 1991. Here we have yet more early versions of songs that would find their way onto Nevermind, with different lyrics and two tracks which never made the final cut of the album “Old Age” and “Verse Chorus Verse”. Ever since a snippet of the boombox demo of “Old Age” was leaked onto the internet many years ago, these demos have been greatly in demand by Nirvana fans. It should also be noted that on the 2004 Nirvana With The Lights Out box set, there are the studio outtake versions from the Nevermind album sessions of “Old Age” and “Verse Chorus Verse”, they do not appear on this set. Additionally, there was a version the band did of “Sappy”, which would be re-recorded and released at a later date, but the Nevermind recorded version remains unreleased. After listening to Nirvana playing some of the same songs back to back with different drummers (Channing on the Smart Demos and Grohl on the boombox) there is an immediate change in chemistry to the bands energy. Through this CD we hear Nirvana’s evolution. At the end of this CD, two songs from a BBC session are tacked on “Something In The Way” and “Drain You”.

The third CD provides the listener with what is called The Devonshire Mixes. These are the infamous mixes that Nirvana front man Kurt Cobain had referenced in the past, saying that they were rawer and less polished than the final released Andy Wallace mixed version. The songs found on this CD are a more stripped down version of the Nevermind we have all come to recognize. While some of the tracks appear to not have much changes, several of the songs have noticeable differences, such as “Lounge Act”, Territorial Pissings”, and “On A Plain”. “Come As You Are” is noticeably less produced that the album version, while “Drain You” is different, yet doesn't have the same impact of the Wallace mixed version. The songs seem to have clearer vocals, a more raw/live feel to them, which when compared to the Wallace version is less produced, but at times lacks the impact that the final officially released version has. These were rough mixes that were put together by Producer for Butch Vig for the band to hear, which in this set provides us with yet another fascinating evolutionary stage of the album. Finally we are provided with a CD version of a live concert that is also provided in DVD form, which can be argued for its significance. But after delving through many demos, alternate/early versions of songs and alternate mixes, the 20th anniversary super deluxe edition of Nevermind ends with the band in its rawest aural form, live. Finally there is the Live At The Paramount DVD, which is a previously unreleased live concert of the band from October 31st, 1991.

This limited edition release is pricey but if you are a big Nirvana fan it is something that you will enjoy. Hearing the evolution of a band coming from the Seattle underground into the mainstream, we are provided with a lot of material to listen to and watch. There are also different versions of the release, such as the two CD deluxe edition of the album, a four LP vinyl box set, and a Blu Ray version of the Live At The Paramount concert. So what if the album was never re-mixed by Andy Wallace would it have had the same impact? The songs are there, they were being crafted by Cobain and the band in preparation. This is a question that at this point is irrelevant, it could be argued for on either side, but regardless of which you prefer the songs are there and the music is there. Good music is good music, oh well whatever Nevermind.

For more info on the band you can visit http://www.nirvana.com/ or Kerrang! Radio's 20 Facts about Nevermind.

The Play List:

1. The Libertines - The Boy Looked At Johnny
2. Dream Dates - Heartattack Rhythm
3. Psychotic Pineapples - Stranded
4. The Polymorphines - Bring Your Love Back Home
5. Wild Flag - Short Version
6. The Strokes - Two Kinds of Happiness
7. Nick Lowe - 36 Inches High
8. Brian James - Ain't That A Shame
9. Result - Suburban Addicts
10. Wayouts - Wild At The Beach
11. B-Girls - Angel Doesn't Shoot A Gun
12. The Dishrags - Can't Wait
13. Brazilian Money - Slowly Soaking Up Some Rays On A Sofa
14. Wilco - I Might
15. The Saints - Memories Are Made of This
16. The Velvet Underground - Beginning To See The Light
17. Nirvana - Sappy (Smart Studios Demo Version)
18. Nirvana - Territorial Pissings (Devonshire Mix)
19. Nirvana - Drain You (Live At The Paramount)
20. The Teardrops - Seeing Double
21. The King Khan & BBQ Show - Hold Me Tight
22. The Lyrics - So What!!
23. The Hentchmen - Ham & Oil
23. The Black Lips - Not A Problem

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for October 4. Or subscribe to Revolution Rock as a Podcast.

The Pack A.D... Unpersons & Show 371

I first heard of and saw The Pack A.D. when they were performing in Windsor, Ontario at The Phog Lounge. Since then I have come to see them perform on numerous other occasions. Initially known as The Pack, The Pack A.D. are a two piece female Garage/Blues Rock duo that has just released their third full length album Unpersons. The band originates from Vancouver and features Becky Black on guitar/vocals, and Maya Miller on drums. The bands first full length album Tin Type was self released in April of 2007, and then re-released when the group were signed to Mint Records. A second full length followed quickly titled Funeral Mixtape also in 2008, which showed the band broadening their sound. Tin Type their first album featured seventeen Blues Rock songs that also contained elements of Garage Rock and Punk Rock. Songs such as “Gold Rush” and “All Damn Day Long” reflected their raw Garage/Blues inflections, which along with the rest of the album generated strong reviews and acclaim.

The band has toured heavily behind their albums and gained the reputation as being an explosive live act. In 2010, The Pack A.D. released the album We Kill Computers, an album which took two years to make, but one that was recorded live to analog tape in under two weeks, it was also the longest gap between releases for the band. But this does not deter or take away from the album, one that was essentially born on the road and one that focused more on the bands Garage and Punk influences and it reflects that. The album featured songs such as “Deer’, “B.C. Is On Fire”, and “Catch” all add to the overall heavier Rock dynamics of We Kill Computers.

In September 2011, The Pack A.D released Unpersons. This album further displays the bands evolving sound and adds different elements into the mix. Unpersons elevates the Pack A.D’s sound making them sound bigger most likely due to Detroit producer Jim Diamond, who adds edge to the bands sound. On this album the band truly have evolved at a sound that is both different and as fascinating as their past. The albums title originates from the novel 1984, which is a form of “newspeak” meaning someone who has been stripped of rights, identity or humanity. While The Pack A.D have not been stripped of their musical identity, they do venture into new and different music territory and lyrically the songs reflect a dystopian view and plays into the titles meaning. Unpersons finds the band exploring the very elements of their sound, reconstructing themselves with their brand of raw Blues, Garage and Punk which have made them a Mint Records artist to watch. The Pack A.D. play the Phog Lounge again on Wednesday October 19th, with The Locusts Have No King.

This Week's Play List:

1. Elvis Costello & The Attractions - Luxembourg
2. The Drums - Book of Revelations
3. The Stranglers - Sometimes
4. Ringo Deathstarr - Some Kind of Sad
5. Norbiton Surfers - Ivor The Engine
6. Public Image Limited - Lou Reed Pt.2
7. The Rings - I Wanna Be Free
8. The Spy's - Been Through The Mill
9. The Pack AD - Seasick
10. The Pack AD - 8
11. Canadian VIPs - I Know
12. Big Town Boys - August 32nd
13. Missing Links - Don't Give Me No Friction
14. Thee Oh Sees - Corprophagist
15. Les Jaguars - Shake
16. The Centurions - Surfin' at Mazatland
17. Eddie Angel - Casbah
18. Link Wray - 5 and 10
19. Wydle Rattz - Hollow
20. The Androids - Roller Derby Queen
21. Mix - Break Up, Shake Up
22. The Paperboys - Looking For Sharon
23. Sloan - Oh Dear Diary
24. The Boys - First Time
25. The Ettes - The Pendulum
26. The Sonics - Strychnine

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for September 27. Or subscribe to Revolution Rock as a Podcast.

I Wear White Jeans Fill In

On Friday I filled in for the I Wear White Jeans program which usually airs every Friday night from 6:30 to 8 PM on CJAM FM. with host Jan Blondin.  The program can be downloaded below.

The Play List:

1. The Rezillos - Mystery Action
2. Johnny Thunders & The Heartbreakers - Baby Talk
3. The Pack AD - Sirens
4. The Polymorphines - Anna Lee
5. Invasions - Atlantic Blvd
6. The Nightcrawlers - Little Black Egg
7. Thee Dueces - You've Gotta Try
8. Blitzen Trapper - Might Find It Cheap
9. The Living Kills - My Gun's A Fist
10. Disband - One Man Army
11. The Government - Flat Tire
12. The Verdix - Lookin' Around
13. Dee Dee Ramone & the Chinese Dragons - What About Me?
14. Bok Bok - Come Back To Me
15. The Fall - Stepping Out
16. Terrorways - Never Been To Borstal
17. The Primmers - You're Gonna Get Done
18. Wreckless Eric - Reconnez Cherie
19. The Beachnuts - Cycle Annie
20. Dik Van Dykes - Garage Sale
21. The Stomach Mouths - Wild Trip
22. Painted Ship - And She Said Yes
23. Brazilian Money - Give Up That Dog
24. Thee Oh Sees - I Need Seed
25. The Hentchmen - Yesterday's Trash

The show can be downloaded here.

AK79 & Show # 370

The UK Punk scene of the late seventies inspired numerous bands all around the world to pick up their instruments and create their own music playing into the attitude and DIY ethic. One such place that is perhaps not always mentioned is the New Zealand Punk scene of the late seventies, specifically the Auckland, New Zealand Punk scene. There were numerous bands that popped up, many short lived that would only last what seemed like a second before moving onto different bands and expanding into different genres. A compilation album was compiled of this scene by Bryan Staff and released on Ripper Records in 1979. The compilation which was tilted AK79, was released just in time for Christmas of 1980, but as the New Year approached and the compilation was released the local Punk scene was evolving and changing thus having AK79 serve as a document of the New Zealand scene that lasted from roughly 1977 to 1980.

The compilation had its birth when Bryan Staff, a local Auckland radio DJ started developing a growing interest in the local scene at the time. Since there was hardly a recording industry in New Zealand then, Staff came up with the idea of compiling an album of these acts and releasing it. Bands were encouraged to bring in their own recordings and several recorded at radio NZ, Bryan would form his own label Ripper Records. The albums cover was designed by Terence Hogan and the picture on the cover is a close up shot of one of the members of the band Terrorways. The album was initially pressed in a limited 500 edition run. The albums sold quickly and as a result AK79 moved its distribution to CBS in 1981 where it was re-pressed on vinyl and cassette. By 1983 the album went out of print, following this point the album became greatly sought after and copies sold for a considerable value. In 1994 the album was re-issued and re-mastered by Simon Grigg (of Suburban Reptiles) with an expanded track listing and was released via Flying Nun and Propeller Records.

The result of the album is a collection of bands such as The Scavengers, The Swingers, Terrorways, Proud Scum, The Primmers, The Features and Toy Love. The expanded re-issue featured additional tracks from these group including previously unreleased tracks from bands such as Suburban Reptiles, The Scavengers and Toy Love. Several of the bands on this compilation would go onto form other groups one example is The Scavengers who are featured in two incarnations on this album first as The Scavengers and then as Marching Girls. When the band moved to Australia in 1980 they renamed themselves Marching Girls. One of the band members Brendan Perry would also briefly play with Nick Cave's The Birthday Party before forming Dead Can Dance, which was quite different from his previous groups. While many of the bands from this short Auckland, New Zealand era from about 1977 to 1980 would move on along with the scene, AK79 serves as a document of a interesting and short lived time in Auckland’s music history. The album features songs such as "Mysterex" a song about working in the nine to five world, the anthemic Reggae/Punk of The Primmers "You're Gonna Get Done" a song addressing street violence in New Zealand, music from The Spelling Mistakes, Toy Love and more that are worthy of being all time Punk classics. A reunion gig was held on November 21st and 22nd of 2008 that reunited several of the bands found on the AK79 compliation, many of which hadn't played together since 1980. A special two LP limited edition of AK79 was sold at the shows featuring additional unreleased tracks. More info on the album and the bands featured on the album can be found at http://www.simongrigg.info/AK79.htm

This Week's Play List:

1. The Litter - Action Woman
2. The Magicians - An Invitation To Cry
3. Cold Coffee & Salty Boots - Lost In Material
4. The Last Assassins - Bad Crystal
5. White Cats - Second Time Around
6. The Demics - I Won't See You No More
7. The Hi Fi's - I Don't Know Why (You Love Me)
8. The Nocturnals - Because You're Gone
9. Magic Hall of Mirrors - Helicopter (Live Phog Phest 2010)
10. Witnesss Inc. - Not You Girl
11. The Horrors - I Can See Through You
12. The Features - Content
13. Suburban Reptiles - Saturday Night, Stay At Home
14. The Scavengers - Mysterex
15. The Primmers - Funny Stories
16. Dik Van Dykes - Curling
17. Wire - I Am The Fly
18. Gang of Four - To Hell With Poverty (BBC Session)
19. The Teardrops - Colours
20. Nothing At All - Busted
21. Dirty Pretty Things - Last of the Small Town Playboys
22. Johnny Thunders & The Heartbreakers - Can't Keep My Eyes On You
23. Ed Kuepper - Told Myself
24. Bob Dylan - Visions of Johanna (Alternate Take)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for September 20. Or subscribe to Revolution Rock as a Podcast.

Pearl Jam's No Code & Show # 369

The recording of Pearl Jam's No Code took place at a strange time in the bands career. After a tour for their 1994 release Vitalogy, Pearl Jam headed into the studio amongst other factors that all added to what was become the album No Code. At the time the band were going through difficulties due to the constant touring, arguments in the creative process and an on going battle with Ticketmaster.  To further add to matters the albums recording sessions first began in the infamous 1995 Chicago heat wave, during a break in the bands touring schedule. Tensions would build amongst the band and as a result many of the songs began as jams according to Pearl Jam guitarist Mike McCready. The rest of the album would be recorded over the course of six weeks in 1996 in New Orleans, Louisiana, Seattle, Washington, and Atlanta, Georgia. No Code which would be Pearl Jam’s fourth full length album, was recorded with producer Brendan O’Brien

When No Code was finally released in 1996, it went to number one on the Billboard 200 album charts (it would be the last Pearl Jam album to go to number one until 2009's Backspacer), but despite this it alienated several Pearl Jam fans. While the record did not initially sell as well as their previous studio efforts No Code would be one of the first of many albums in which the band ventured on in a different direction separate from their early heavier “Grunge” associated sounds. The songs on the album incorporated elements of Garage Rock, Worldbeat and elements of experimentation that resulted in a truly unique album from Pearl Jam. The album contained hard hitting Rock songs such as “Hail, Hail”, “Habit”, “Lukin”, as well as other tracks such as “Sometimes”, “Who You Are?”, “Present Tense”, “I’m Open”, “Mankind” and “Around the Bend”, which initially started out as a lullaby written by Eddie Vedder for new Pearl Jam drummer Jack Irons’ son, all of which jumped into different territories musically. The album was panned by several critics, despite its good sales people reacted negatively to No Code.

Some people were perplexed by the different direction that Pearl Jam ventured into on this album, but was it really that different? The songs seem to be a reflection of the times and the bands ongoing tensions during the recording process and that point in their career, but it is still a Rock album. It is ironic that the album was titled No Code and packaged with photograph based artwork symbolizing its lack of adherence to the typical codes of music at the time. The truth is for Pearl Jam No Code had no rules or no “codes” for lack of a better term and while there was a lot of tension and turmoil that began during that first heat wave of July of 1995 in Chicago where the album began its life, the result was a strong original release from the band and the beginnings of Pearl Jam’s long career in music. As vocalist Eddie Vedder has stated “Making No Code was all about gaining perspective”, the trouble that initially surrounded the sessions in the long run produced out a stronger band.  It was during the period follwing this albums release that Pearl Jam stepped out of the mainstream spotlight so to speak and the albums leading up to recent 2009 release Backspacer where Pearl Jam found a new voice for their music and a devout and die-hard fan base that remains strong to this day.

Recently Pearl Jam is the subject of a documentary titled Pearl Jam 20, which is about Pearl Jam, it also marks thier 20th anniversary. A soundtrack also accompanies the film and you can download a new Pearl Jam song called "Ole" via http://www.pearljam.com/

This Week's Play List:

1. Magnificent Bastards - Famous When I Die
2. Luke & The Apostles - Been Burnt
3. The Coasts - Handshakers
4. Deja Voodoo - Lonely Motel
5. Neon Boys - High Heeled Wheels
6. Boy With A Fish - I Wish I Had A Plan
7. Ry Cooder - Quick Sand
8. James OL & The Villains - Both To Blame
9. Orphan Choir - Untitled
10. The Polymorphines - Poor Sicko
11. Crocodiles - Summer of Hate
12. Fire Engines - Hungry Beat
13. Pointed Sticks - The Witch
14. Mudhoney - Into Yer Shtik
15. The Wipers - Is This Real?
16. Pearl Jam - Lukin
17. Limes - Into A Tree
18. Young Rival - Another Nobody
19. Talking Heads - Stay Hungry (1975 CBS Demo)
20. Subway Sect - Nobody's Scared
21. Undertones - Smarter Than You
22. Ramones - Do You Remember Rock and Roll Radio (Live US Festival 1982)
23. Motorhead - No Class
24. Private School - Rock & Roll Radio
25. The D4 - North Shore Bitch

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for September 13. Or subscribe to Revolution Rock as a Podcast.

Fire of Love ... The Gun Club & Show # 368

The Gun Club were a very unique band that blended elements of Roots Rock, Blues, Country, Rockabilly and Punk for a style completely their own. Starting out in 1980 in LA, the band was formed by singer/guitarist Jeffery Lee Pierce, Brian Tristan on Lead Guitar, Don Snowden on bass and Brad Dunning on drums. The band initially started out as The Cyclones with Pleasant Gehman on vocals and played Rockabilly, but the singer left after one show and the group continued on as The Creeping Ritual. It was around this time during the bands early beginnings where Don Snowden and Brad Dunning left the group, they would be replaced by Rob Ritter (bass) and Terry Graham (drums) from the band The Bags. After growing tired of their band name they changed it to The Gun Club upon suggestion from Keith Morris of Black Flag/Circle Jerks. The bands first album came out in 1981 and it was titled Fire of Love, but before it came out there yet another line up change. Brian Tristan would leave the group to join The Cramps where he would remain for three years and gain the new name Kid Congo Powers. Following his time with The Cramps he rejoined The Gun Club, but when his first departed Ward Dotson replaced him on guitar.

When the band headed into the studio to record Fire of Love, what was captured on tape was a stripped down primal, original classic album that redefined a genre of Punk. Fire of Love was recorded with Chris D of The Flesh Eaters and Tito Larriva who applied a stripped down, live sounding production style to the songs that made up Fire of Love. The album mixed a haunting voodoo like intensity of American Roots, Blues and Country with Punk Rock for something completely original. The Gun Club is captured in top from the upbeat opener “Sex Beat” to the album closer “Goodbye Johnny”. The album features reworked versions of “Preaching the Blues” a song originally by Robert Johnson, that at howls and roars with the haunting vocals and the energetic guitar bursts of Dotson, while “Cool Drink of Water” is a soulful reworking of a Delta Blues song originally by Tommy Johnson. The album is also fuelled by the addictive Punk-Blues classic “She’s Like Heroin To Me”, the terrifying “Ghost On The Highway”, and “For The Love of Ivy” a song co-written with original Gun Club guitarist Kid Congo Powers. All of the eleven tracks on this album contribute to its atmosphere, whether you refer to "Sex Beat" or the steam engine driving drums and vocals of "Black Train". 

Fire of Love was the debut album of a band that helped rejuvenate the LA Rock music scene and an album that stands on its own as an underground classic. The music has been called a number of things such as Punk Rock Blues, Tribal Psychobilly Blues and many other things falling into a number of subgenres. The album has also been said to have been fuelled not only by the sum of its parts, but by the soulful tormented voice of its wild man lead singer Jeffery Lee Pierce which cannot be avoided. The band would continue to make albums until the mid 90s, until lead singer Jeffery Lee Pierce passed away at the age of 37 in 1996. The album and bands spirit live on and Fire of Love continues to burn with a gritty intensity that was first ignited when it was originally released in 1981. 

This Weeks Play List:

1. Jacuzzi Boys - Cool Vapors
2. The Hentchmen - Some Other Guy
3. Supergrass - What Went Wrong (In Your Head)
4. Richard Hawley - Tonight The Streets Are Ours
5. Richard Hell & The Voidoids - I'm Your Man
6. Iceage - Collapse
7. Rotten Tropics - The Commissioner of Sewers
8. Anagram - Those Were The Days
9. The Government - Following You
10. The Ted Clark Five - No Respect To Lose
11. Johnny Cash - Big River
12. Lonesome Lefty - Texas Blues
13. Locusts Have No King - Anna's Smoke
14. Box Car Guitars - My Love Is Blue
15. Free Boat Rentals - Fourth Thrice
16. Indian Wars - 20,000 Cans
17. Iggy Pop & James Williamson - Lucky Monkeys 
18. Sex Pistols - Did You No Wrong 
19. Radio Birdman - What Gives?
20. Lip Service - Jimmy Brown
21. The True Lovers - Masters Apprentice
22. The Gun Club - Sex Beat 
23. The Gun Club - For The Love of Ivy
24. The Gun Club - Fire Spirit

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for September 6. Or subscribe to Revolution Rock as a Podcast.

Interview with Henry Priestman & Show # 367

Henry Priestman first appeared in the UK New Wave/Power Pop act Yachts.  The band released two full length albums and a collection of singles before splitting up in 1981. The band is perhaps best known for their song "Suffice To Say", following Yachts Priestman co-founded the group It's Immaterial. He then went on to play with the group The Christians. In 2008 he released his first solo album Chronicles of Modern Life on Stiff Records, which received great critical acclaim in the UK and was then picked up by Island Records for a major label re-release. He is currently working on a follow up to Chronicles.

The following interview was done between myself Dave Konstantino (host of Revolution Rock) and musician Henry Priestman. In the interview Henry discusses his time with Yachts, his post-Yachts bands and his current musical projects.

RR: What was it that inspired you to start making music? Were there any artists in particular and what are some of your favourite albums?

HP: Ever since hearing The Beatles, Stones, Kinks, Tamla, Stax etc as a kid I knew I wanted to do something to do with music...my mates were buying comics and I was buying Disc & Music Echo, and NME..I thought I would probably end up working in a record shop (remember them?). Started playing guitar aged 14, then when I left school I decide to go to Art School (as all the bands I loved seem to have an Art School link - again Beatles, Who, Kinks etc), thought it would help me get into a band. Which is what Yachts were: the archetypal Art School band, all 4 of us were in the same year at Liverpool Art College (John Lennon’s old Art College).

Clive Langer, who was in the 3rd year at college when I was in 1st & in a Warners band called Deaf School, was the first person to say to me, “why don’t you write your own songs?”...Clive would go on to be a very successful producer on both side of the Atlantic, with number ones with Madness, Dexys, Bush etc. So I suppose he, and Roger Eagle who ran a very influential punk/New Wave club in Liverpool “Eric’s” are the ones I credit for getting me into this biz.

With Yachts we were listening to all those Nuggets bands, and scouring the remainder bins for obscure 60’s psych and garage albums, then trying to write in the same style (musically) and occasionally covering obscure 60’s bands (Look back in Love Not In Anger was originally by Bay State band Teddy and the Pandas). Lyrically we tried to make it very English, which ironically possibly worked against us in UK, but had the opposite effect in US.

RR: Before you were called Yachts, various members of the band played in Albert Dock, even opening for Sex Pistols at one gig. What prompted the name change and where did the name Yachts come from?

HP: Well, Albert Dock was a bit of a crazy, quite theatrical Art School band with around 8 members, mostly doing obscure covers...then we decided we should perhaps take it a bit more seriously, slim down the band, write our own stuff and therefore a name change seemed to be the next step....Yachts just seemed to fit the image, visually and lyrically, that we’d decided on.

RR: How did the band come up with "Suffice To Say"? Did the music or lyrics come first and why do you think people respond to that song so well?

HP: I think it was the first or second song I EVER wrote, and I actually wrote it on holiday in France in summer 1976, for my then girlfriend, and 33 years on she’s my wife, and we’re still together (ahhhh!); probably music came before the lyric (nicked the chords off an old Zappa track!)...then, despite the lyric stating “I never wrote a middle 8”, John Campbell (the original singer) came up with a great middle 8, and hence his name is in the brackets too!

Don’t know why people still like it...it gets called “quirky”, and “charming”, and the “cheesey” organ always gets mentioned..I still do it in my solo set (and there’s a new version as a secret track on my “Chronicles of Modern Life” album)

RR: The band always seemed to have a unique lyrical style, how did you decide on using lyrics? Such as on songs like "Suffice To Say", "Mantovani's Hits”, "Yachting Types", "Box 202" etc.?

HP: As mentioned above, we were deliberately trying to write very English lyrics, and ones that really nobody in their right mind would put in a pop song!..when I heard a word like “Tantamount”, I thought, oo that’s a good word to get into a title...but also as mentioned above, it slightly backfired over here in Britain...perhaps people thought we didn’t RAWWWKKK enough!..that said, the live shows were much more raw than the recorded versions (and probably better for it).

RR: What do you remember from recording Yachts first two albums? What was it like working with Martin Rushent as a producer on Without Radar (1980)?

HP: First album was recorded in 2 weeks at Radio City in New York, with Richard Gottehrer (writer of Hang On Sloopy, and producer of Blondie’s first album), so that was just so exciting for 4 lads from the North of England, who’d never really travelled much before...picked up at JFK by a limo, we thought we were “it”!

With hindsight, I think we lost the plot a bit on second album..not Martin Rushent’s fault, he was a joy to work with..songs weren’t as good, I think we were taking ourselves a bit too seriously on that record.

RR: What are some of the bands/projects you worked on following the split of Yachts up until now for example I know that you were with another band called The Christians?

HP: I left Yachts because this “hobby band” I was in, “It’s Immaterial” (re-united with original Yachts singer John Campbell) started being more fun, and more interesting musically than Yachts (even tho’ I wasn’t involved in the writing)...”Itsy” went on to record 2 albums for Warners, and had top 20 single chart success in UK...meanwhile I’d started to learn how to engineer in a small studio in Liverpool: we used this singing troop of 5 brothers (with surname Christian) to sing harmonies on an It’s Immaterial song “Ed’s Funky Diner”, and I plucked up courage at the session to ask them if they’d like to hear some of my songs – 2 couldn’t be bothered, 3 stayed around, and we worked on demos for the next year, and signed to Island records in 1986. By then I was over 30, and had never tasted any chart success, so it was quite a surprise when the first Christians album went straight in to the UK charts at #2, and went triple platinum!

The Christians recorded 3 albums for Island...remind me never to join a band with brothers in it!...by 1994 we’d all had enough...I’d started branching out into music for BBC TV (wildlife documentaries), and also doing sessions/tours with the likes of Echo and The Bunnymen, Ian McNabb, Ian Broudie’s Lightening seeds etc...and also got more into co-writing/production...then in 1999 we, The Christians, reformed for an acoustic tour (and an album) and managed to stay together till 2006 until once again the rot set in (the same with any band..)

RR: How did you come to record Chronicles of Modern Life? Who did you work with on this album (musicians/producers, etc.)?

HP: After leaving The Christians I suddenly thought “what the hell am I going to do now?”...so threw myself into writing and producing mostly acoustic-y singer-songwriter artists in my small studio set-up. On one of these writing occasions I worked with writer Tom Gilbert (who’s around the same age as me) and we just sat around musing on the ageing process (I was then 53) and came up with a song “Old”, which we thought we might try to get to Nashville.

Now, I hadn’t sung since 1981 (Yachts) and had assumed Tom would sing, but as he’s bigger than me, he bullied me into doing it, so the only way I could get through it, was to affect this “bad Bob Dylan”-type voice. Next morning we woke up listened to the track, and suddenly thought “Hang on, this great..this is me singing about my life”..and came up with another 10 songs in a similar slightly world-weary yet still poignant vein.

RR: Where/how was it recorded and why do you think it has got such a good response in the UK?

HP: I produced/engineered and basically played everything on the album, quickly, in my own tiny studio, with a few friends helping out on the tricky stuff (like strings/cello, or a slide guitar solo etc) and the odd backing vocal. This probably helped it sound like “an album of rough-hewn charm” as The Sunday Times called it... I think people liked the honesty of the album, musically and lyrically...and also it seemed to appeal to people “of a certain age”...and it was lucky that some of those people were producers and DJ’s on BBC’s national (and most-listened to station) Radio 2.

RR: Your current music has been described as “music for grumpy old men” by BBC Radio 2. Do you feel that is accurate? How would you describe your music?

HP: Yes, one of the aforementioned DJ’s came up with that phrase...”Grumpy Old Men” was a very successful light-hearted, wry documentary series here in the UK (about the trials and tribulations of getting older), featuring actors, comedians and even well respected DJ the late John Peel, so I didn’t really mind people saying it, if it helped them give me a genre...but I wouldn’t necessarily agree..there’s a lot of hope in the record.

RR: What are you currently up to musically? Is there a planned follow to Chronicles of Modern Life in the works? If so how will it sound as compared to Chronicles?

HP: I’m always writing with/for other people, and have continued to do that, and managed to get a few cuts on albums this year. I actually started on the follow up to Chronicles last year, but what with losing my Mum and a few other things, I downed-tools on the project, but am now ready to pick up the gauntlet again...I think if I’d have finished it last year it would have sounded more like Chronicles...now I want to make it a bit different..I don’t want to bore people with the same stuff again...nobody’s exactly waiting for it, so I may as well make it as good as poss..in the meantime I’ve discovered the joys of live performance (just me, a guitar and a uke) and am loving it!

These days the 'net has opened up things recording -wise so much, and on the forthcoming album (probably due in spring 2012), I've got Probyn Gregory from Brian Wilson's band playing French Horn, and trombone...I never met him, just sent him the tracks and two days later his brass parts came back over the 'net...it's amazing isn't it?...otherwise it's mainly me playing the usual guitar, bass, keys and drums stuff.

This Week's Play List:

1. The Pack AD - Rid of Me
2. The Milkshakes - Jaguar and Thunderbird
3. Modern Lovers - I'm Straight
4. Verdix - Looking Around
5. The Calling - The World
6. The Unusuals - Hit and Run
7. The Singles - T.V. Deceives
8. It's Immaterial - Driving Away From Home
9. Yachts - Yachting Types
10. The Videodromes - Steve Mcqueen
11. Klark Kent - Don't Care
12. Wreckless Eric - Semaphore Signals
13. The Clash - Overpowered By Funk
14. Magazine - Look What Fears Done To My Body (Peel Session)
15. Siskiyou - Keep Away The Dead
16. Elliot Brood - West End Shy
17. Henry Priestman - Grey's The New Blonde
18. Henry Priestman - It's Called A Heart
19. Them - I Can Only Give You Everything
20. The Ugly Ducklings - Girl Out of Time
21. The Kinks - Come On Now (Alternate Vocal Version)
22. Harlem - Spray Paint
23. The Rezillos - I Can't Stand My Baby
24. The Damned - Fan Club

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

Luger Boa Jimmy Christmas Interview & Show # 366

In November of 2008, New Zealand Rock band Luger Boa released their first full length album titled Mutate or Die! The album and band was formed out of the ashes of New Zealand Garage Rock band The D4 and following the release of this album, the band toured extensively playing festivals and all over New Zealand. The album even charted here in Canada in January of 2009 on CJAM’s Earshot! Charts at number ten on the top 30 album charts. Luger Boa received a positive critical acclaim locally in New Zealand even winning an award for the Best Local Rock song in 2009 for the song “On My Mind”. The new album was released in May of 2011 and was entitled New Hot Nights.  It loosely revolves around the concept of an extreme night out of drinking and the repercussions there of. New Hot Nights still maintains the Hard Rock/Glam Rock influence that the band first built upon, while at the same time adding more Pop and other elements into the mix for a unique sound.

Recently I was fortunate enough to get an interview with front man Jimmy Christmas to talk about the band.  The following interview was done between myself (Dave Konstantino of Revolution Rock) and Jimmy Christmas (of Luger Boa). He touches on the recording of New Hot Nights, the current band line up, his favourite albums, and more.

RR: Luger Boa's first album, Mutate or Die! was released in 2008. How has the band changed since then and how has the support been for the band in New Zealand?

JC: Support for Luger Boa has been incredible in NZ, we seem to attract a really diehard following who, once committed, are unrelenting (and sometimes unsettling!) in their dedication to the cause. Which is great. Live shows therefore tend to be very intense, high energy, and unpredictable. I really love that.

RR: The band line up has changed a few times, who is in the current line up of Luger Boa?
 JC: Luger Boa is Jimmy Xmas - Vox/Guitar, Sam Lockley - Guitar, Simon Nicholls - Bass, Joe Mac - Drums, Johnny Lyon - Guitar. Johnny is the newest addition to a line-up that has been pretty solid for the past 2 years and the core of which played on the latest album. His arrival seems to have injected us with even more energy and the whole machine has picked up ferocity and pace. It's feeling really good right now.

RR: Mutate or Die! had a Glam Rock and Pop influence, what influences did you draw from when making New Hot Nights?

JC: I think we are still working the Glam influence, Bowie, Iggy, a touch of the Sweet perhaps? I've always been a sucker for injecting small fragments of War of The Worlds here and there, and of course there's all the garage, punk, and rock n roll that makes us who we are. I think we even might of had a few Cars and Talking Heads moments from time to time, but again, as with then first album, the goal was always to build a Frankenstein’s monster made of all those twisted little flavors we love.

RR: Where was New Hot Nights recorded and when did the recording process begin?

JC: The bulk of the album was tracked at a residential studio in the countryside, in an old converted sheep barn. That sells it a bit short though cos all the equipment had come from one of the countries world standard studios, so the place felt and sounded incredible. There was even a bar in the main recording room, which suited us just fine! We tracked the core of it over a ten day period, then I took it all back to a secret laboratory in Melbourne where we twisted it up, turned it on its head, and tied the stories to the music, and vice versa.

RR: Who did you work with when making this album (ie: Producers, engineers, etc.)?

JC: We were joined once again by the incomparable Barry Palmer, wearing his snug fitting Producers cap. This time however, it was he that suffered the now obligatory physical damage, in the form of a broken nose and black eye. Last record I got glassed on the forehead and wear a little smiley faced scar to this day. The album was engineered by Andy Baldwin, resident of NYC and a man of culture and refinement. He's the type who always travels with a bottle of Tabasco sauce in his pocket, and is a mad genius when it comes to twiddling knobs and getting sweet sounds.

RR: What type of gear did you use when recording this record? (ie: guitars/amps, etc.)

JC: We had access to an amazing array of amplification on this album, and used a whole myriad of sounds depending on what we were after. Ryan Thomas, long time member and electronic wizard, runs a business where he imports boutique valve amps, so the options where many. My favourite though was probably a little 2 watt valve head he made himself. Its sounds like a cornered Tasmanian devil, so it fit in perfectly. Between the band members we have a pretty sweet array of old fender and Gibson guitars, the odd musicman, and a crazy 70's lawsuit series Ibanez I found abandoned on the street one night.

RR: You have described New Hot Nights as "12 deliciously twisted tales from the concrete jungle" and I have also read that is loosely based around a concept. Could you elaborate on this?

JC: During the creative period for the album, I was spending a lot of time in a bar on Auckland infamous red lights strip, known locally as K'Rd. Smoking cigarettes and talking on the street outside the bar meant I was a witness to a whole mass of humanity passing each other by, feeling each other up, and crashing into one another at strange hours of the night. It got me thinking about all the stories and characters that were inhabiting that small corner of the world, and how diverse and intense it was at those hours. So I guess the lyrical ideas were drawn from observations of the people on the street, and are attempts to inhabit the minds of a whole mess of characters at various stages of one long night out. Loosely anyway. Heh. We had a great time with the artwork too, photographing the street, then re-editing the layout and shop names to create our own fictional environment, which we then populated with the creatures from the stories. The whole process involved a lot of crazy nights in, on, around and beneath K'Rd. We loved every minute.

RR: Has the song writing process changed at all as opposed to the last album or recordings that you have made in the past?

JC: Not really, it still pretty much involves a lot of alcohol, volume, and damn good times!

RR: What are some of your all time favourite albums and what are some other bands that you are currently listening to?

JC: The Sonics - Here Are The Sonics, The Litter - Distortions, The Stooges - Fun House, David Bowie - The Rise & Fall Of Ziggy Stardust & the Spiders from Mars, The Buzzcocks - Singles Going Steady, Iron Maiden - The Number of The Beast, ACDC - If You Want Blood (or to be honest, any Bon Scott era album), Radio Birdman - Radios Appear, and that’s just today heh.

Right now though, I'm listening to a lot of T- Bone Walker & early Ike & Tina. I also just rediscovered a live version of Al Green singing Belle, which is probably one of the best things I've seen on the interweb lately. Oh, and some great footage of Kiss playing at Winterland in 1975. Rock n fucking roll.

RR: What are your plans for the future musically?

JC: Right now, we are focussed on getting this beast offshore. We have done great here, but with no forward momentum there is no future, and I really believe we have something a certain kind of person is gonna wanna see, so we feel a responsibility to bring it to them.

This Week's Play List:

1. White Stripes - Girl, You Have No Faith In Medicine
2. The Cliques - She Ain't No Good
3. The Stomach Mouths - Don't Put Me Down
4. The Speaking Tongues - Looking In Your Window (Live Third Floor Session)
5. The Express & Co. - Montreal
6. John Jenkins' Small Town Revival - Small Town Revival
7. The Schomburg Fair - Some Things Never Change
8. The Pagans - Yeah Yeah
9. The Cosmonauts - Little Honda
10. XX Teens - Onkawara
11. The Rapture - Whoo! Alright Yeah ... Uh Huh
12. The Killermeters - Twisted Wheel 
13. The Purple Hearts - My Life's A Jigsaw
14. Elvis Costello & The Attractions - Crawling To The USA 
15. The Only Ones - Me And My Shadow
16. The Braineaters - Rock Rock
17. 222's - Always Around
18. The Squad - Millionaire
19. Young Canadians - No Escape
20. Luger Boa - 1000 Hooks 
21. Luger Boa - Lazy
22. Albert Hammond Jr. - Everyone Gets A Star
23. Queens of The Stone Age - Into The Hollow
24. Joe Strummer & The Mescaleros - Johnny Appleseed (Live Acton Town Hall 2002)


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