Jay Sad Disappears & Show # 449

On February 19th 2013, Jay Sad released his full length album entitled Disappears. The album is an eleven track construction of songs ranging from genres such as lo-fi Indie Pop to Alternative and a variety of atmospheric sounding concoctions. Jay Sad has released several recordings starting in 2002.  A full length album was released in 2005 entitled High. It was his only commercially released album. All other releases since then have been on a more low key scale, mostly copies being passed around to friends and fellow musicians or being distributed online. It should also be noted that from approximately 2006-2012, Jay Sad (or Jason Sadlowski) owned and operated the Chemical Sound recording studio in Toronto along with another musician and friend Dean Marino (from the band Papermaps). The studio closed its doors after twenty years of operation in February 2012. Disappears is one of the last recordings to come from the beloved Toronto studio.

The band for this album was primarily Dean Pomeroy (drums, vibraphone), Rob MacDonald (guitar) and Jay Sad on vocals, guitar and a variety of other instrumentation. The album also features guest musicians from The Elwins (Mathew Sweeney), Dilly Dally (Katie Monk), and Drew Smith (The Bicycles). Disappears first seven tracks were recorded live to analog tape by Dean Marino who also helped to produce those tracks. The other four songs on the album were produced and recorded by Jay Sad. Given an internet-only release, Disappears starts off with the song “Three Floor’s/It’s Over”, which is the first of many architectural based song titles and structures found on this album. The song starts off on a heavy note with its dirty Alternative fuzzy sounding guitars and feedback as the drums keep a steady, yet sleazy pace in the background. "Good Health” follows next with its playful drumming, fuzzy bass and reverb drenched vocals. In addition to this, the song also features guest vocals from Katie Monks of Dilly Dally. The song is reflective, but caustic with lyrics such as “I was only trying to help/to keep us in good health for you”. “Only You” features Pop dynamics, it also portrays an almost Jazz trio vibe. As you listen to this song you can feel it as it was recorded, live to analog tape as the drums roll on, it is an almost rain sounding dynamic while bass, xylophone, guitar and vocals fill in the rest of this songs forecast.

“Home” is a slow paced yet melodic track seemingly about a relationship. The song captures the feeling of being away from home and feeling at home at the same time. With lyrics such as “This is home Toronto/For a while studio”, one can’t help but think of the connection to Chemical Sound that these lyrics evoke. “Shortwave In Spanish” is built up with a Spanish radio broadcast transmission as guitar arpeggios filter in and the song builds up to its late night feel while the lyrics “And in time I’m learning/And in time I’ll be fine” the songs lyrics and atmosphere build around the listener. Lyrically, the song portrays finding new forms of relevant communication in the modern world.

As the album wraps up, “Moving Day” calms the listener with its atmospheric Pop song grooves, acoustic guitars and distorted distant sounding drums. The final song on the album “Wood & Plaster” not only completes the album, but also the architectural building theme we were first introduced to with “Three Floor’s/It’s Over”. This song evokes experimental Musique Concrete influences as the background is filled with an intense distorted static landscape, while vocals and guitar fill in the rest of this nine minute piece. Lyrically the song is a reflection of the past and the present with lyrics such as “If you could go back you surely would/its something that you’ve thought of for a while/the memories that you have will all be gone”. The lyrics, as the title emphasizes, are about the making up of a structure whether physical or emotional. It poses the question of "if you were to take away the wood and plaster that makes up an important part of your past what would happen?" But as the song carries on we see that if you were to rebuild part of the past you would lose something. As Disappears ends we are reminded of the albums musical and lyrical structures that are built up around us. These songs suggest a growing or building, if you will, towards a new beginning, something different. Even if it means you have to disappear for a while from parts of your past that have been built up in order to get there.

The following questions were done between myself (Dave Konstantino of Revolution Rock) and Jay Sad of the band of the same name. We talk of the bands recording history and the making of Disappears:

RR: When was this album recorded and how long was the process? Who did you work on this album? For example producers, musicians?

JS: Seven of the eleven songs were recorded live by producer Dean Marino at Chemical Sound in 2 days; with Dean Pomeroy on drums and Rob MacDonald on guitar. He put us straight to tape: 2 guitars and drums. A few things were added here and there, but those 7 songs are pretty minimal / live.

The other 4 songs…

Three Floors and Good Health were done at Chemical by me.

Moving Day and Wood & Plaster were recorded at my place on my 4-track cassette deck.

Three Floors: Dean Marino played drums on this one, I added everything else. Originally this song had me playing 3 floor toms for the drum track, but then Marino did a really good job adding a real drum track.

Good Health: This is all me, except Katie Monks (Dilly Dally) sings in the last bit.

Home: Matthew Sweeney (The Elwins) added the some back-up singing in the verses.

Spirit Remover: Katie Monks (Dilly Dally) added vocals near the end of the song.

Can't Watch TV: Drew Smith (The Bicycles, Dr. Ew) added vocals to this one.

Shortwave in Spanish: Dean Marino added bass.

Moving Day: Matthew Sweeney (The Elwins) sings the chorus and added some piano.

Wood & Plaster: This was all me.

I got James Hicken to master the record for me. I also sent him a recording of an antique toy with instructions to play with the sound and put it in-between some songs at his discretion. The 7 band songs were recorded in 2 days in 2011. I don't know exactly when the other stuff done, around the same time though. Dean mixed the songs he recorded, but because it was hard to find the time it took us about a year to finish. And then I had other stuff to deal with so it was months later that I finally put it on the internet.

RR: How would you compare your new album 2013’s Disappears to 2012’s Demonstrations? Going back a bit further you had a full length album called High in 2005 how do the two differ?

JS: I hope that every record is better than the last. Technically (and sound-wise) the albums are different; but I'm always the same me.

The sound of "Disappears" is because of Chemical Sound.  While I was there I really wanted to try the live band thing because some of the best albums I've recorded at Chemical were live.  Working with Dean Marino pushes me to be more solid and accessible. Rob MacDonald and Dean Pomeroy are both trained musicians, so they also push me to be more precise with playing and structuring the songs.  They also add their own thing.  It's the most collaborative album I've done.

"Demonstrations" is a compilation of demos I did in the time between "Goes" and "Disappears".  Almost everything on "Demonstrations" is done in my apartment on a four track cassette machine.  I did it all by myself, and I guess that gives it a more personal feel than the studio stuff.  It's also more experimental. It was actually done with a very limited amount of gear; so I would do things like run an acoustic guitar through a broken mixer to get distortion, or record vocals in a stairwell to get reverb.  A lot of the time I would write the song right into the tape; verses the studio stuff where the songs are planned beforehand.  Also, a lot of the songs were taken from my contribution to a group I was in called "song club / song of the week".  This group was me and a few others musicians: members of The Elwins, The Bicycles… Every Monday we would send each other a new song. Since you had to do a new song every week, you ended up with some pretty wacky stuff.

"High" was the first and only album I actually manufactured and released. I sent copies to a few radio stations and reviewers, put it on CD baby, had a release show… "High" was done mostly by me alone.  Dean Marino helped, mixing a couple of songs, and adding drums to one song.  And drummer Silvana Bruni played on two of the songs. I also had an album between "High" and "Demonstrations" called "Goes".   "Goes" was recorded pretty much all by myself at Chemical. Dean Marino helped with some of it and Rob MacDonald played some guitar. I also had Krista Muir guest vocal on one of the songs.  I did it over the first couple years Dean Marino and I had Chemical. I never really officially released this record; I just made a handful of CDR copies.

There is also a series of CD's before "High" called "Spring 02", "Summer 02", "Fall 02", "Winter 02" [ie. I refer to them now as "02 demos"].  These were mini CD’s I made with hand screen printed cases.  Also, I made a few custom printed box sets. The "02 demos" were done by me alone on my 4-track cassette deck in 2002. These CDs are very lo-fi sounding.

Jay Sad Discography…

- Spring 02
- Summer 02
- Fall 02
- Winter 02
- High: 2005
- They Stole My Computer 2007
- Goes 2008
- Demonstrations 2012
- Disappears 2013

RR: What do you plan to do musically with Jay Sad in the future?

JS: I'm doing a "Jay Sad" show on April 17 at the Drake Hotel in Toronto.

Also, I'm writing and recording a new album with James Hicken (Wallscenery demos).  And I've started a new band with a female singer.

Listen to Jay Sad music here:



The Play List:

1. The Cave Singers – It’s A Crime
2. Twin Library – I Dare You To Leave
3. Neil Jarvis – Figure It Out
4. The Human Beings – An Inside Look
5. The Levis – Hear What I Say
6. The Bloody Five – (I Wanna Go To) New York City
7. Raised By Weeds – Fun And Games
8. Raised By Weeds – The Telephone
9. The Visible Targets – Just For Money
10. Pin Group – Ambivilance
11. Suuns – Edie’s Dream
12. Toy Love - Sheep (Live At The Gluepot 1980)
13. Link Wray – New Studio Blues (The Epic Sessions 1958-1961)
14. Legato Vipers – Angel Dust
15. The Bell Peppers – Bouddha
16. The Bell Peppers – 1959
17. Jay Sad – Three Floors/It’s Over
18. Jay Sad – Only For You
19. Jay Sad – Shortwave In Spanish
20. Diamond Rugs – I Took Note
21. Devo – Love Without Anger
22. Talking Heads – Electric Guitar
23. 999 – Emergency
24. The Clash – Radio Clash (Live Bonds Casino, NYC June 9th, 1981)

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

Reverse Shark Attack & Show # 448

 

“Life is a shotgun/It’s just gonna blow you away” is one of the lyrics in the title and final track on Ty Segall & Mikal Cronin’s album Reverse Shark Attack, the lyrics couldn’t be more potent and relevant to this album as a whole. The album was originally released in 2009 on the Kill Shaman record label on vinyl only. Reverse Shark Attack serves as a collaboration between two long time friends from Laguna Beach, California Ty Segall and Mikal Cronin. The two had previously been in numerous other bands before this point in 2009, Ty in The Epsilons, The Traditional Fools, Sic Alps, Mikal in Okie Dokie, The Moonhearts, Party Fowl they have both also recorded as solo artists. Mikal is also a member of Ty Segall’s live touring band the Ty Segall Band, playing bass and supplying back up vocals. The album is a mix of distorted lo-fi Garage, Psychedelic and Surf Rock influences, it also is overloaded with reverb drenched effects.

“I Wear Black” is the opener to this release, it is a short and powerful Garage/Stooges/Troggs influenced track with reverb drenched distorted vocals, guitars and feedback. It is executed in a way that is both lo-fi, yet psychedelic at the same time in terms of the effects. The next set of songs are short fast blasts of Rock and Roll with vocal harmonies such as “Drop Dead Baby”, “High School” which reflects a Garage Punk dynamic, and “Ramona” which is a drum heavy hyper Ramones influenced track,. “Bikini Babes” comes in as the third last track which switches up the pace on this sun baked, reverb filled album. “Take up Ty Stethoscope And Walk” is an almost note for note cover of the song of the same name from Pink Floyd’ Piper At The Gates of Dawn with added distortion of course. This Syd Barrett-era Pink Floyd track is an indication of where their Psychedelic influences come from, which has been later explored by both artists. Ty recently explored his Psychedelic influences in more detail on his collaboration with White Fence entitled Hair and also on his Goodbye Bread release in 2011.

The album ends with the ten minute opus “Reverse Shark Attack”, which when this album was originally released filled side B of the vinyl. The song is a mix of Beatles-esque Pop, Folk, Psychedelics, Garage and Surf all in one. As we reach the ending of the song it ends out in a distorted Surfy, Dick Dale sounding transmission. Lyrically the song tells a peculiar love story of sorts in which the narrator proclaims his love for someone, not wanting to ever let them go. But as she goes for a walk one day to clear her head on the beach, she never comes back. Assuming that she was attacked by a shark the narrator plots his revenge on the sharks for taking this love away from him, a reverse shark attack if you will. This is how the album ends, the lyrics “Life is a shotgun/It’s just gonna blow you away” come back to mind. When listening to this track that lyric with it’s loaded double meaning makes you think. With its ability to switch genres so seamlessly, this song is evidence of the developmental talent that both Ty Segall and Mikal Cronin possess.

When Reverse Shark Attack was originally released in 2009, it was put out on limited edition vinyl and it sold out very quickly. In The Red re-issued this album in January of 2013 along with another previous Ty Segall band/collaboration from his prolific past The Traditional Fools, a Surf/Garage group. Reverse Shark Attack proves to be a collaboration of two hyper prolific artists, this album sounds as if it were created after sitting in the sun too long resulting in a shambolic, yet fresh sounding collection of songs combining both Ty Segall and Mikal Cronin’s musical influences. Reverse Shark Attack grabs a hold of the listener and doesn’t let go even though its been four years since its original release. 

 

This Week's Play List:

1. Sam Coffey and The Iron Lungs – Have A 100
2. The Coastliners – I’ll Be Gone
3. Jan & Dean – Horace The Swinging School Bus Driver
4. The Reply – Better You
5. The Waldos – Busted
6. Alex Chilton – Just To See You
7. Steak House Mints – Don’t Mess With Me
8. Shotgun Jimmie – Growing Like A Garden
9. Wire – Love Bends
10. Boats – O Telescope
11. Papermaps – You Are My Gallows
12. The Evens – Sooner Or Later
13. Vice Creems – Won’t You Be My Girl
14. The Sonics – Maintaining My Cool
15. The Scenics – No Sleep
16. Travel Check – Tripping Waves
17. Carbonas – Butcher
18. The Adverts – Back From The Dead (BBC Session)
19. UK Subs – Tomorrow’s Girls (Single Version)
20. Undertones – Get Over You
21. Buzzcocks – I Don’t Mind
22. Paul Jacobs – Being Yourself
23. Paul Jacobs – Wrong Medication
24. Ty Segall & Mikal Cronin – High School
25. Ty Segall & Mikal Cronin – I Wear Black

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

The Painted Ship Will Hay Interview & Show # 447

Vancouver’s The Painted Ship sailed into the mid 60s with their own unique sound. Often described as Garage, the bands sound contained elements from the Psychedelic genres of the 60s, but also had an undeniable Punk chemistry which was supplied by their buckskin clad frontman, lead vocalist and songwriter Bill “The Captain” Hay. While the band did go through a few line up changes, Bill (or William) Hay stayed the only consistent member of the band.

The Painted Ship formed in 1965 and after playing around town for a bit, they signed a record deal with London/Mercury Records in 1966. The band produced two singles in 1966, the first being the Little White Lies/Frustration single. This single was recorded with the first line up of the group which featured Rob Rowden on guitar, Barry Rowden on drums, Ken Wain on Keyboards and of course William Hay on vocals. When recording the single, the song “Frustration” was initially intended to be the A-side, but this gritty organ driven track was flipped to the B-side after an odd situation where the band/management decided to change it without Hay’s knowledge. Ironically the title “Frustration” proved to be more accurate than expected when the single was released it became a regional hit in Vancouver going to #7 in the area on the singles charts. But it was not the A-Side “Little White Lies” that got airplay it was the B-side “Frustration” which was the originally intended A-side. The single also received some US airplay.

The bands second single, also released in 1966 was the And She Said Yes/Audience Reflections single. This single displayed the dynamicism of the band and emphasized Bill Hay’s intention of making music that was to be very different from the commercial R&B top forty that was overpopulating radio stations nation wide at the time. “And She Said Yes" is perhaps the bands rawest moment, the song starts with its marching like drum roll as the distorted guitar riff and Mr. Hay’s raw vocals which attack the listener. The song also features the bands intensifying organ parts that we first heard on the Little White Lies single. The vocals on this pre-Stooges romp are not unlike an early Iggy Pop. The B-side to this song is the “Audience Reflections” an organ, bass, drum and vocal driven track.  This song features no guitar, but hasplenty of psychedelic connotations and elements.

What happened next adds to the bands legend and mystery. Through a series of events a full length album was recorded and intended to get released through Polydor records, but the album was never seen or heard from again after being recorded. The band were told that the master tapes were lost in the mail while being sent. Since then people still wonder and probe this mystery as The Painted Ship has gone on to become a beloved band in Vancouver’s music history being placed alongside bands such as The Collectors and The Haunted. They hold a cult like status still being discovered to this day, and while it has been many years since The Painted Ship has set sail, the paint from The Painted Ship has still not peeled off. It is still intact as they are just as treasured today in Vancouver and other parts amongst Garage/Punk enthusiasts and fans as they were in 1966.

The following interview was done between myself (Dave Konstantino of Revolution Rock) and William Hay of The Painted Ship. We talk of the bands formation, their two singles, lost album and more:

RR: When did Painted Ship form and how did everyone meet?

WH: I was introduced to Rob (the first guitar player) by a mutual friend while we were both attending The University of British Columbia. The year is 1965. Over the weeks and months we talk when we bump into one another in the library. One day I tell him that I'm going to start a band. A very different kind of a band. I'd been writing a lot of poetry and I thought that it might be interesting to add some music (I'd played in a youth orchestra for 6 years) Rob played guitar in a club band that covered commercial R&B and his brother played the drums. We recruit, Ken on keyboards and the first incarnation of the band takes shape.

RR: What were some of the influences that brought the band together and how did you decide on your sound and band name?

WH: Sadly, the musical influences that each individual brought with them would soon tear this first line-up apart. These were very good musicians but they did not have any real liking for the wild and wonderful tunes that I heard in my head. What happened with the first single is a perfect example. When I brought the ideas for “Frustration” and “Little White Lies” to the band I stated that “Frustration” would be the a-side. Everyone agreed. But the other band members did not like this song. One of the guys went out of his way to tell everyone how much he hated it.

Without telling me, they tell our manager to get London to place “Frustration” on the b-side. I knew nothing about this until I was driving in my car and heard “Little White Lies” played as the a-side. Betrayal. I'm pissed. It was just not the right mix of people.

The name "The Painted Ship" must have been taken from the poem "The Rime of the Ancient Mariner". Not consciously, but as I've stated I was reading and writing a lot of poetry. But, this is not our first name. The first name that I gave the band was "The Wee Beasties". We never performed under this name, we'd already become The Painted Ship by the time we recorded and started to perform.

The sound? I take full responsibility for it. These are the sounds that I heard in my head. This is what I wanted to write and record. Guilty!

RR: Painted Ship signed to the London/Mercury label how did that come about?

WH: London had an office in Vancouver so we decided to give them a try. The Canadian division of the company was good to us but the U.S. and European branches refused to release our second single. They said it was "too primitive and too weird".

RR: Painted Ship released two singles Little White Lies b/w Frustration and And She Said Yes b/w Audience Reflections. What was the inspiration behind these songs and were they both recorded at the same session or separately?

WH: At this point it's important to note that there were many different line-ups of musicians over the years. I was the only constant.

The first single was recorded by the first line- up.

“Frustration”. I wanted to explore the essential but "frustrating" tension between the push of enculturation and the pull of individuation. All of us must adopt at least a minimum of the beliefs of our culture in order to function. Yet, at the same time, it's just as important that we discover and nourish our individuality. This is the theme I was exploring enculturation vs. individuation.

“Little White Lies”. This is my realization of how relationships really are much different from the ridiculous, inane, sappy love songs that populate the top 40 charts.
The second single was recorded with a new line-up of musicians. Only, Ken, the brilliant keyboard player, remains from the first band.

“And She Said Yes”. Now, this is my idea of a love song. That's right a real, damn, love song. Pure testosterone joy.

“Audience Reflections”. I've always been involved with esoteric studies. This is our attempt to capture a particular meditative experience.

RR: What do you remember of how and when these songs were recorded? Who did you work with for these songs (for example producer, engineers etc.)?

WH: We were very lucky, Robin Spurgin owned and operated the Vancouver Recording Studio. He told me that he didn't really understand the type of music that we were bringing him but his job was to work the boards and get the best possible sound. He was a good guy and very good at what he did. He never tried to impose his values on us or try to make us more commercial. Everything was recorded on simple 4-track equipment.


RR: Were there any other recordings made with Painted Ship during these sessions that you can recall? I read online that the band did make some recordings for an LP and that those recordings were lost. Is that true and if so what happened to those recordings?

WH: It is true. We recorded an album for the London, England office of Polydor. I guess I'd better start at the beginning.

The Who and Herman's Hermits came to see one of our shows after they'd done a concert together. We hung out and talked afterwards and John Alec Entwistle (R.I.P.), the bass player for The Who, gave me the name of an English producer. John told me that this producer worked for Polydor and he thought that he would like the kind of stuff that we were doing. Over the next few months the producer and I talked back and forth over the phone. At his request I sent him some rough tapes that we'd made during a practice session. They were very rough but he liked what he heard and arranged for Polydor to pay for an albums worth of songs. This particular line-up of the band had amassed a lot of original material so it didn't take us long to finish the project.

Several weeks later I got a call from the producer. He had "good news and bad news". He really liked the songs and wanted to work with us but he'd been told that North American acts had to be handled out of a North American office.

He offered me a tempting proposition. If I'd come to London on my own he'd set me up with first class musicians and produce us for Polydor. It was flattering of course but I just couldn't desert the Vancouver boys in the band. I had to decline. The producer was disappointed but he said he understood and he'd send the master to Chicago.

And the mystery began. We were told that the master had been lost. No one knew exactly by who or how. But it was gone. And there were no copies.

RR: The bands sound has often been cited as having elements of what was to become known as Punk Rock. Many people when talking of the band often use the word Garage Punk to describe the sound. Do you feel that is an accurate description of your sound and how would you describe the music of Painted Ship?

WH: This is an interesting question. One I get asked from time to time. First, let me say that we never labeled ourselves. We just thought of our stuff as Painted Ship songs.
If I had to attach a label to our sound I'd say we were a PUNK band with a few weird psyche moments (who me?) I don't see us as garage. To me, the garage sound has a more traditional element of R&B running through it. Our stuff does not. I say we are pure punk. I think the garage label is attached to us because some people think that punk didn't exist when we played. They think that punk evolved some time later so we couldn't be a punk band. If you accept this idea than you'd have to put us in with the garage folks, I don't accept the idea. We were a punk band. Punk began long before some people think it did.

RR: It has been many years since Painted Ship has released new music, yet people are still listening to you guys. What do you think it is about Painted Ships music that has survived in the digital age and keeps people listening?

WH: Before I answer, on behalf of the many musicians who crewed the Painted Ship, I send huge hugs to everyone who supports our music. It is appreciated more than you could know.

I think some people see and appreciate the fact that we did it our way. We didn't try to be the Canadian Rolling Stones or the Canadian Beatles or copy anyone's sound. And we didn't buckle under the pressure to vomit out some idiotic commercial bullshit. Like us or hate us ; you have to admit that we were true to ourselves. I think this resonates with folks.

RR: Speaking of the digital age, what is your preferred format for listening to music (vinyl, CD, mp3s/digital)?

WH: I'm old school, I still prefer vinyl. Everything about it is better from the packaging to the warmer sound (and of course the crackles and pops). Having said this I have to admit that I did not replace my record player when it stopped working a couple of years ago

RR: What did you do after your days with Painted Ship? And what have you been up to recently?

WH: A couple of years after the lost album incident I received an unexpected call from Polydor. They informed me that their world convention was going to be held in Montreal and asked if I'd like to attend. They said that it would be an interesting experience because all of the top execs from around the world be there. I thought it over and decided to go. I did meet some good people and I was offered a job with the company. But, there is a problem. And it is not a small one. The record labels at this time were accepting little or no alternative music. I just didn't want to spend my life promoting or producing commercial crap. I had to decline the offer. I returned to Vancouver and pursued interests outside of music. But do not sit so comfortably gently reader. This does not mean that eardrums are safe. I have written more songs. And I have received kind offers from musicians who've said that they'd like to work with me.

Captain Will may set sail once again. Earplugs, people!!

Finally, a big hug to everyone who's supported us with their kind thoughts and attentive ears. Thank you.

This Week's Play List:

1. Queens of the Stone Age – This Lullaby
2. Psychic Ills – I Get By
3. Dog Day – Nothing To Du
4. Dee Dee Ramone – Negative Creep
5. Thighs – Russ
6. Idols – Reajean
7. Wayouts – Red Rover
8. Big Harp – You Can’t Save’ Em All
9. Neil Young – Don’t Be Denied
10. Painted Ship – Little White Lies
11. Painted Ship – Frustration
12. Painted Ship – And She Said Yes
13. Painted Ship – Audience Reflections
14. The Standells – Why Did You Hurt Me?
15. The Future Primitives – Sea of Words
16. Ty Segall – Imaginary Person (Live in Brooklyn, NY 2013)
17. Zebra Hunt – Sun Drenched Island
18. The Real Kids – Rave On
19. Lou Reed – Nobody’s Business
20. Ramones – It’s Not My Place (In The 9 to 5 World)
21. The Saints –One Way Street
22. The Victims – T.V. Freak
23. The Hives – State Control
24. The Gruesomes - My Dad's A Ho-Dad (Live)
25. Young Rival – Night Song

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

Foxygen, The Stems & Show # 446

Foxygen is an American Indie Rock duo that recently has released their second full length album We Are the 21st Century Ambassadors of Peace & Magic on Jagjaguwar Records. The band initially started out in 2005 in Westlake Village located in California and their music is often called experimental. In the early days of the band they were labelled as very experimental, they released several EP’s from 2005 to 2011 many of which are now long out of print. The duo consists of Sam France (vocals) and Jonathon Radio (guitar/keys) and following the release of 2011’s Take The Kids Off Broadway, produced by American producer Richard Swift they were signed to Jagjaguwar Records. The bands sound mixes elements of 60s Psychedellia, Pop and Indie and draws influences from artists such as The Rolling Stones, The Kinks, Velvet Underground and David Bowie while adding an experimental twist. In 2012 Foxygen released their second full length album We Are the 21st Century Ambassadors of Peace & Magic, once again produced by Richard Swift and has received high acclaim following the release of its first single “Shruggie”.

The Stems are a Garage Rock band from Perth in Western Australia. They initially formed in 1983 drawing on 60s Garage and 70s Power Pop influences for a sound all their own. They released one full length album (At First Sight, Violets Are Blue in 1987) and an EP (Love Will Grow – Rosebud Volume 1 in 1986). The band also put out several singles, in 1985 they put out the Tears Me In Two/Can’t Resist single on Citadel Records. “Tears Me In Two” was initially recorded the sessions for their first single “She’s A Monster”. After interest developed in the band they signed to Citadel Records, released the “She’s A Monster” single and re-recorded the “Tears Me In Two” single which was produced by Rob Younger of Radio Birdman along with their Love Will Grow - Rosebud Volume 1 EP. The single apparently climbed the Australian Indie charts and reached number one in the late 80s. The song itself was a 60s fuzz driven Garage Punk explosion right down to the opening scream and authentic organ. The band split up in 1987, reuniting in 2003 and releasing a new full length album entitled Heads Up in 2007. The Stems are still currently active.

This week's play list:

1. Johnny Thunders & the Heartbreakers – Born To Lose
2. MC5 – Highschool
3. The Ramrods –Take Me Back To My Boots and Saddle
4. B-Girls – “B”Side
5. X-Ray Spex – Let’s Submerge (Live The Roxy London 1977)
6. The Unwanted – Freedom (Live The Roxy London 1977)
7. Craig Martinson – If I Had A Blame
8. Unknown Mortal Orchestra – From The Sun
9. Yo La Tengo – Ohm
10. A Volatile Mixture – Cinnamon Girl
11. Elliot Knapp – Instant Gratification
12. Smoke Faires – Three of Us
13. Adam and The Ants – Beat My Guest
14. Dishrags – Sold Out
15. Modernettes – Surf City Strangler (Live)
16. Lost Patrol – I’m Not The One
17. The Lyrics – They Can’t Hurt Me
18. The Canadian Rogues – Keep In Touch
19. Foxygen – Shuggie
20. The Damned – Born To Kill
21. Mystics – Bad Times
22. Paul Jacobs – You Got Soul (Demo)
23. Fruit Tones – One Foot Loose
24. The Stems - Tears Me In Two

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