Thursday, October 28, 2010

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 and donating through your credit card or paypal account
- Dropping me an email at
- 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.

Revolution Rock

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:

Tuesday, October 26, 2010

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.

Wednesday, October 20, 2010

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

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

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.

Tuesday, October 12, 2010

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.

Tuesday, October 05, 2010

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

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.