Flying Nun Tuatara & Show # 611

A Tuatara is a reptile that is exclusive to parts of New Zealand. This particular reptile is one of a kind and is the only surviving member of its species that became extinct over 200 million years ago. This particular reptile was also chosen as the name of the very first compilation released by the New Zealand independent record label Flying Nun Records. The label was founded and started by Roger Shepherd in 1981. It was started primarily to document the music of the local scene in New Zealand in places such as Christchurch, but quickly spread outward to cover other parts of New Zealand. The music of Flying Nun covered their punk and post-music scenes and also the Dunedin sound. This was a particular style of music that was strongly influenced by the jangly pop sounds of The Velvet Underground, lo-fi experimentation, industrial, elements of noise rock and rock/electronic sounds.

Tuatara starts off with an instrumental track by The Clean called “Fish”. This song swims with groove, from the jangly guitar sounds to the loud crashing drums and driving bass. The second track on this compilation is “Coalminers Song” by The Gordons, which verges into noise rock territory. Other tracks of note on this compilation are the jangly pop/post-punk sounds of The Verlaines “Death And The Maiden” a song that was inspired by a 19th century French poet and a painting of the same name by Egon Schiele, the haunting melancholy of “Pink Frost” by The Chills which features 80s indie rock and post-punk sounds and the Sneaky Feelings “Throwing Stones”. This track along with quite a few others share similarities in the above mentioned Dunedin sound, but at the same time sounds different from say The Clean or The Verlaines. The Great Unwashed is a band that was formed by The Kilgour brothers of The Clean. Their name is a punny reference to their earlier band, The Clean. “Neck Of The Woods” from The Singles EP is featured on this compilation album.

In addition to these above mentioned tracks Tuatara compiled tracks from other New Zealand bands such as The Bats and Tall Dwafs, which was a band featuring Chris Knox. Knox is a New Zealand musician, songwriter and producer. It is fitting that the last track on this album is by Tall Dwarfs. Although the song shares its name with a 1962 sci-fi horror movie, it was Knox, who used his 4-track recorder to record most of the early Flying Nun singles. He also provided artwork for the label. Since this release hit the US in 1986, Flying Nun has become more diverse and has expanded. Flying Nun has housed artists such as The D4, The Mint Chicks, Pavement, David Kilgour, Street Chat, Tiny Ruins and numerous others since their beginnings in 1981. Most recently in 2013, they joined forces with US label Captured Tracks and re-issued several classic Flying Nun albums. At first thought many people may have thought that the music from Flying Nun was like the lizard that is featured on the front cover of the Tuatara compilation. But, there wasn’t a lizard on the front cover. It was a different species, a different kind of reptile. Flying Nun set out to do something different and like the stoic reptile that is on the cover of the Tuatara compilation album, Flying Nun has survived and still walks proud today





Saturday Night Playlist:

1. Sneaky Feelings - Throwing Stones
2. The Great Unwashed - Neck Of The Woods
3. The Dandy Warhols - The Catcher In The Rye
4. The Last Shadow Puppets - Aviation
5. The Soles - Newest Revelation
6. Dead Broke - Miles Away
7. Electric Eels - Agitated
8. No Exit - Nothing New
9. Mo-Dettes - Norman (He’s No Rebel)
10. Sloan - Learn To Play Dead (One Chord To Another Outtake)
11. Marbles - Red Lights
12. Chris Stamey - The Summer Sun
13. Erasers - It Was So Funny (The Song They Sung)
14. Alice Cooper - Caught In A Dream
15. The Tonettes - I Gotta Know
16. The Commands - Must Be Alright
17. Deja Voodoo - Things With You
18. Jerry Jerry & The Sons Of Rhythm Orchestra - Color TV
19. The Locusts Have No King - Rye Whiskey (CJAM Session 2008)
20. James O-L & The Villains - The Other Side
21. The 427’s - Night Of The Living Surf
22. Kid Congo & The Pink Monkeybirds - Coyote Conundrum
23. John Doe & The Sadies - Detroit City
24. Trout - Spineless
25. TV Freaks - Don’t Read The News
26. The Famines - The State Of Music
27. The D4 - Exit To The City
28. The Vibrators - Petrol
29. The Adverts - One Chord Wonders
30. Parquet Courts - Two Dead Cops

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

Ork Records New York, New York & Show # 610

Ork Records was originally started in 1975 to release Television’s first single “Little Johnny Jewel”. The song, said to be about Iggy Pop was a longer track and had to be split into two parts to fit onto a 45 single. This rough early version of Television before they would release their cleaner and wonderfully crafted Marquee Moon is an example of what you would find on Ork Records. Ork documented a scene with sounds that at the time were not defined and featured bands that you may not have even heard of. It documented the early New York new wave and punk scene.

Terry Ork, which the label would be named after, first arrived in New York in the 1960s and became, according to the Numero Group’s website “fugitive of Andy Warhol’s Factory”. He didn’t make a connection with the New York underground CBGB’s scene until he started working as a manager at Cinemabilla, a bookstore with a film literature slant. Here he met Richard Hell and Richard Lloyd and would eventually become the manager of Television. Charles Ball would also help guide the label and help to acquire the likes of Alex Chilton, who would release several singles for Ork. The label also captured music from other bands such as The Feelies, Cheetah Chrome, Lester Bangs and lesser-known bands such as Marbles, Chris Stamey and the dBs, The Idols and numerous others. Ork Records would stop in 1980, but not before they released a collection of bands that documented the New York CBGB’s scene, an alternative to the music released by Ramones, Television and Blondie.

Rob Sevier and Ken Shipley of The Numero Group set about collecting all the known releases by Ork Records and would eventually release Ork Records: New York, New York. This is the complete discography of all the singles/music released by Ork Records and features a 190-page book in addition to several songs that were intended to be released by Ork, but never were due to financial constraints. The set was released in a variety of formats in October 2015. In the lyrics to Television’s “Little Johnny Jewel” Tom Verlaine sings “He’s just trying to tell a vision/Some Thought this was sad/Others thought it mad”. This can be applied to the Ork Records philosophy. Said to be the first punk label, Ork never really made a lot of money, but was a very influential label. They set out showing a different side of music in 1975. Whether the music was rough sounding, or in the realm of punk, new wave or power pop, the label and the music had something different to say. The songs were energetic, sometimes on the more literate side and sometimes strange, but this is what drew people to the music of Ork and that time period. And for many people, it still does.

Numero Group Website: Ork Records: New York, New York



Playlist For Episode 600:

1. The Coathangers - Perfume
2. Art Bergmann - Mirage
3. Babeours - Shoelace
4. Sightlines - Idea Of The North
5. Ramones - I Don't Wanna Go Down To The Basement
6. Pow Wows - No Thirteen
7. The Gruesomes - Hey!
8. The Gories - Telepathic
9. The Painted Ship - And She Said Yes
10. This Machine Kills Robots - Sea Fairies
11. Cellos - Sea Legs
12. Mike & The Melvins - Annalisa
13. Prince - Partyman
14. Sharon Jones & The Dap-Kings - Take Me With U
15. Patti Smith - When Doves Cry
16. The Jesus And Mary Chain - Alphabet Street
17. Richard Hell - (I Belong To The) Blank Generation
18. The Feelies - Fa Ce La
19. Alex Chilton - Take Me Home
20. Minutemen - Bob Dylan Wrote Propaganda Songs
21. Minutemen - One Chapter In The Book
22. Teenanger - Dawn (Demo)
23. The Scenics - I Killed Marx
24. Magazine - Touch And Go
25. Buzzcocks - What Do I Get (Demo)
26. Siouxsie And The Banshees - Hong Kong Garden
27. Johnny Thunders - Endless Party
28. The Waldos - Golden Days

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

Parquet Courts Human Performance & Show # 609

There’s a certain feeling one gets when late at night you look out into the city. In these late night hours people often have a mixture of emotions, deep thought and abstract thought. It is these things that people think about as their minds drift that Parquet Courts draws inspiration from for their newest album, Human Performance. The band has stated that Human Performance was inspired by “The unavoidable noise of NYC that can be maddening, the kind of the impossible struggle against clutter, whether it’s physical or mental or social”. With musical comparisons to bands such as The Velvet Underground, Pavement, The Modern Lovers and Wire, Parquet Courts have built their own blend of music that combines punk, post-punk, garage and sometimes-psychedelic influences. Lyrically, the band operates at a different level.

“Dust” opens the album with the sounds of an early city morning before a sinewy, scratchy rhythm drifts in with repetitive lyrics. The lyrics and cloudy atmosphere displayed here are combined with the words “Dust is everywhere/Sweep”, which could be in reference to an old city stuck in its own mess or a train of human thought that needs investigating. This is something that Parquet Courts delve into throughout Human Performance’s 13 tracks. “Dust” ends with what sounds like a subway train speeding up really fast before we hear the familiar sounds of busy city traffic. “Human Performance” grooves with mellow, modulating bass melodies, scratchy guitar rhythms and lyrics that are soulful and reflect on the promise of love, forgiveness, and how haunting it can be without it. These heavy lyrics show us a different type of Parquet Courts, where they are often known for their intellectual, witty lyrics, “Human Performance” has lyrics that are emotionally critical. “Outside” sung by Andrew Savage deals with his existence and mortality. This short track is further example of the band’s variety in lyrical content, while musically the song is a quick garage pop gem. It glows with a beaming, yet confused charm.

“Paraphrased” balances between heavy guitar chord structures and more mellow subdued, catchy elements. In this song Savage sings at one point “Sometimes I can’t be repeated/Sometimes I can’t be paraphrased”, he seems to be commenting on the band’s output as of late and perhaps even their craft for their music. Parquet Courts released an EP last year Monastic Living, and two albums in 2014 Sunbathing Animal and Content Nausea, under the name Parkay Quarts. With all of these releases, critics have tried to pin down the band’s sound as punk, indie rock or as the band being slackers, however, with each release the band has revealed something different. “Captive Of The Sun” reveals a more introspective outlook, as musically it reflects the bands garage influence at a simmering, mid-tempo pace. “Steady On My Mind” sung by Austin Brown showcases a slow, hazy, sound, “One Man, One City” features an off-kilter approach with bongos, while “Berlin Got Blurry” features a dusty, western styled guitar riff.

Released as one of the early singles for Human Performance, “Berlin Got Blurry” shows off the bands post-punk influences and scruffy garage dynamics with bouncy, soulful bass riffs. The song itself seems to tell disillusioned tales of human experiences ranging from frustrations with cell phone service to street food. The song taps into a feeling of humour and disgust. “Keep It Even” brings forth a country/folk approach and features guitar contribution from Wilco’s Jeff Tweedy, as does the albums opening track “Dust”. A short punk blast comes in with the track “Two Dead Cops”, while “Pathos Prairie” is a song that questions self-doubt, worry and calls for a personal change amongst its raunchy stop and start garage riffs. “It’s Gonna Happen” ends Human Performance unlike any song in the band’s catalogue. Written by bassist Sean Yeaton, this song features a waltz-like beat as sweeping sounds drift in the background. This sound takes over as the album ends with a chilling nighttime air feeling. Drawing comparisons to Lou Reed and sung in a Leonard Cohen drawl, Yeaton seems to question conventions in Human Performance’s closing track.

Throughout Human Performance, Parquet Courts draw their lyrical inspirations from urban decay, human emotion and critical thoughts of self-doubt. It is here where the band achieves what people love about them the most. Their highly critical and intellectual lyrics are on par with bands such as Wire, Swells Maps, Pere Ubu, The Modern Lovers, and The Fall, among others. The music found on Human Performance also makes connections to the songs and sounds found on 2013’s Light Up Gold. It is also the complete opposite of 2015’s Monastic Living. This noisy/experimental release featured only one song with lyrics. As Parquet Courts gaze away from their thoughts that reflect a look out in New York City, they make broader strokes, finding a larger scope within their lyrical and musical grasp. With Human Performance, Parquet Courts achieve their most realized effort to date.

Saturday Night Playlist:

1. The Panasonics - Panpede
2. Crossfires - Fiberglass Jungle
3. Violent Femmes - Holy Ghost
4. Shotgun Jimmie - Triple Letter Score
5. Notta Comet - Slipstream
6. John Cale & Friends - Ghost Story (Live at the Ocean Club 1976)
7. Prehistoric Cavestrokers - Cavebangin’
8. The Real Kids - Shake Outta Control
9. Sam Coffey & The Iron Lungs - Born 2 Be Abused
10. Strange Attractor - Nature Man
11. Esther Grey - Fried Blood
12. Protomartyr - Dope Cloud
13. Ramones - Ramona
14. Frank Black - I Heard Ramona Sing
15. Metros - In With The Crowd
16. Elvis Costello & The Attractions - This Year’s Girl (Alternate Eden Studios Version)
17. Tacocat - I Hate The Weekend
18. Pylon - Gravity
19. Pylon - Yo-Yo
20. B-Sides - Underground Radio Stars
21. Lounge Lizards - My Clown’s On Fire
22. Operators - Rome
23. The Radiation Flowers - Wall Of Gold
24. Bob Mould - Pray For Rain
25. DIIV - Out Of Mind
26. Young Rival - Let Me Go On
27. Parquet Courts - Paraphrased
28. Parquet Courts - Human Performance

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

Iggy Pop Post-Pop Depression & Show # 608

Recorded in secret, Iggy Pop’s Post-Pop Depression started with a text message in March of 2014. Iggy contacted Josh Homme about collaborating together and shortly after the process began. The intention was to create not a heavy record, but a content heavy record. It was to be self funded by both Pop and Homme to avoid outside influences. The two exchanged ideas and Pop even provided Homme with a song-by-song breakdown of his 1977 album Lust For Life. The two brought unfinished ideas to each other and they began working as a two-piece then the remainder of the band was brought in. Hand selected by Josh Homme, Royal Oak, Michigan native Dean Fertita (of The Dead Weather, Queens Of The Stone Age) was brought in and contributed guitar, piano, bass and synthesizer to the album and English drummer Matt Helders (of Arctic Monkeys) contributed drums, percussion and backing vocals.

Post-Pop Depression was recorded in approximately three weeks. The recordings were produced by Josh Homme in Rancho De La Luna in Joshua Tree, California and at Pink Duck studios in Burbank, California. “Break Into Your Heart” starts off the album. This dirty garage blues romp was apparently inspired by the path that Iggy Pop set beginning with The Stooges up to 1977’s Lust For Life and can be seen musically as having ties to early Stooges material and some of his more soulful solo offerings. “Gardenia” is a song features rotating synthesizers and a heavy bassline that sounds like it could be a combination of elements from songs found on 1977’s The Idiot and Lust For Life. It sounds like a meeting point of the two, while lyrically the song revolves around an experience that Iggy Pop had in San Francisco that involved an exotic dancer of the same name and Allan Ginsberg. Being the first single released from Post-Pop Depression, “Gardenia” is a perfect example of this album’s content heavy intentions. The lyrics of the song weave in and out of the music like someone reciting a short story from memory after a few drinks. “American Valhalla” begins with xylophone before a sludgy bassline creeps its way in, as lyrically Pop seems to be questioning his own mortality and legacy. This song has quickly skyrocketed up the list of their favourite all time tracks recorded by Iggy Pop.

“In The Lobby” shuffles with the same visceral guitar lines as the ones found on “Sister Midnight” while the bass and drums fill in the background space. Lyrically, Pop talks of “Following his shadow/And It led me here” as he questions temptations, and what seems to be a battle between Iggy Pop and Jim Osterburg. “Sunday” comes in with a Bowian disco groove. The song ends in an orchestral chorus complete with female vocalists and an atmosphere like it could have been lifted from a black and white foreign language film. “Vulture” features acoustic guitar from Mr. Pop and a build up of Western styled instrumentation reminiscent of something from an Enino Morricone soundtrack. ‘German Days” features one of the best intros on this album. A combination of stop and start guitar riffs before descending into hazier rhythms. The song itself seems to be a reflection of a mid 70s period in Berlin as the song drives along with rich, dark textures.

“Chocolate Drops” dips into a soulful groove. Lyrically, the song displays a sense of hopefulness. The character in the story delves into loneliness and passion with a certain intensity. “Paraguay” ends Post-Pop Depression at track number nine. Pop sings of getting away from it all and going to Paraguay for a simpler lifestyle. The song has been discussed in many reviews as it weighs down at the end of the album in a number of ways. Pop has recently stated that this may very well be his last album. And at 17 albums in and being now 68 years old that is understandable. As the music picks up pace with the ending rant, Post Pop-Depression ends with a middle finger, similarly to the way he started with The Stooges. Post-Pop Depression weaves in and out with lyrical content loaded with metaphors, double meanings and musical landscapes that drift between 1877’s The Idiot, Lust For Life and his early solo output. Post-Pop Depression was recorded in the desert in Joshua Tree, California. Perhaps Pop has entered the very same “burning sands” once described in The Stooges “I Wanna Be Your Dog” or maybe it’s just a mirage. With Post-Pop Depression, Iggy Pop engages the listener and redefines what it means to be a musician and an artist on his own terms.






Saturday Night Playlist:

1. The Teardrops - Seeing Double
2. The Regulators - Cat Eyes
3. Minutemen - Dr. Wu
4. Minutemen - Corona
5. Trout - Burning Fire, The House
6. Kim Gray - Perfume Ghost
7. Iggy Pop - American Valhalla
8. Iggy Pop - Don't Look Down
9. Iggy Pop - Tonight
10. Iggy Pop - Sister Midnight
11. Psychedelic Furs - Flowers
12. Julie Doiron - Soon, Coming Closer
13. Julie Doiron - Taller Beauty
14. Merle Haggard - Someone Told My Story
15. Merle Haggard - No Reason To Quit
16. The Magnificent Bastards - She Won't Do It Anymore
17. Johnny West - Sun Comes Up, It's A One-Legged Segal
18. Johnny West - If At First You Don't Suceed, Redefine Success
19. Benowa - Blue Girl
20. Black Mountain - Florian Saucer Attack
21. Parquet Courts - Berlin Got Blurry
22. Iggy Pop - German Days
23. Iggy Pop - The Horse Song
24. Iggy Pop - Ambition
25. Iggy Pop - Kill City
26. Dead Ghosts - Good Love (Is Not Free)
27. Link Wray - Comanche
28. Captain Beefheart And His Magic Band - Here I Am Here I Always Am
29. David Bowie - Breaking Glass (Live)
30. Eric's Trip - Lightly Feeling
31. Eric's Trip - Nevergrow

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

Ty Segall Emotional Mugger, Middle Sister Shows # 606 & # 607

Ty Segall’s latest release Emotional Mugger differs from all the albums in his catalogue. Being his eighth full-length album Emotional Mugger slides into a seedy world of temptations, desires, addictions and reactions to the world that is instant social media. The accompanying music video for Emotional Mugger is actually a 14-minute short film. In the film Ty Segall wanders through Los Angeles and as he experiences the less than honest characters in the story, he begins to decay and become physically more grotesque looking as the video comes to an end. On the album Emotional Mugger, Ty Segall explores a similar world within the songs he creates that at times are like little short stories themselves. Musically, this album blends elements of garage, hard rock and noise rock. Synthesizers buzz in and out throughout the album’s eleven-song landscape. Additionally, the album and context presented throughout this creative eleven song venture resemble the elements of Devo’s theory of De-evolution. As we jump further into technology people seem to be digressing.

“Squealer” flirts with seductive keyboard sounds, fuzzy bass octaves and synthy guitar sounds as Ty Segall sings in both his normal tone and a deeper, creepier vocal style. The first two songs are a bit slower paced and less heavy and provide more ominous undertones of what is to come. “Californian Hills” lyrically seems to be a commentary on the typical image of the nuclear family in a modern context. As the song picks up with a frantic pace we are taken into the title track “Emotional Mugger/Leopard Priestess”. The song bends with distorted guitar solos, mechanical sounding keyboards, drums and bass drones. This song with lyrics such as “Shotgun, sugar and spice”, “I am emotional mugger/Like a bag of candy” and several others that are delivered on this track, exemplify the frustrations and complications of instantaneous social media based relationships where “people are victims of their emotional purpose”, as stated in one of the promotional videos released prior to this album. As the album progresses, it gets more aggressive with its explorations in fuzz, distortion and noise. “Breakfast Eggs” is loaded with double entendre and is the first track that the wall of noise begins to intensify.

“Diversion” is a song featuring Dale Crover of The Melvins on Drums and bass from fellow Segall collaborator Mikal Cronin. The song is almost unrecognizable as a cover song. It is actually a cover of The Equals song of the same name. The song’s lyrics seem to portray a miss-step in life choices that eventually brings two people back together again. Although the original is a blend of soulful glam rock and fuzzy guitars, Segall’s noised up version of this song is rather fitting in Emotional Muggers orbit. “Big Baby Man (I Want A Mommy)” musically is a song that provides the listener with an overall unsettling tone. “Mandy Cream” is a bit funky featuring drumming by Charles Mootheart and features additional vocals provided by King Tuff. “Candy Sam” is another noisy, yet catchy track. Segall returns to a fuzzy, funky groove with “Squealer Two”, while “The Magazine” ends the album.

“The Magazine” features dominant futuristic and pulsating sounding basslines, handclaps, distant sounding guitars and vocals displaying Segall’s vocal range. The lyrics “You don’t need a reason/It’s all in the magazine” are loaded with several potential meanings. Emotional Mugger is a step in a noisier, more creative direction from Ty Segall. While it does share some of the very same glam rock and more accessible elements that presented themselves on 2014’s Manipulator, this album has the ability to be seen both as a conceptual album and it doesn’t. If you care to look closely into the lyrics that lurk beneath the heavy sounds on Emotional Mugger’s surface you will find a world of characters and meanings inspired by the frustrations of modern society. If not, the album stands on its own as something different, yet provoking within Segall’s catalogue musically. Unlike the character at the end of the 14-minute “Emotional Mugger” video, Segall doesn’t fall flat here. Emotional Mugger builds itself up with the negative energy from which it draws inspiration and is less accessible in many ways than 2014’s Manipulator. With Emotional Mugger Ty Segall steals from his surroundings and showcases a new noisy depth.

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Additionally, this week’s episode of Revolution Rock featured a recording from a CJAM Session done with Windsor’s folk rock group Middle Sister. This is the first in what I plan to be a series of videos featuring live off the floor recordings from bands in Windsor and other parts that come to the area. Check out the video below.



Show 607 Playlist:

1. Parquet Courts - Dear Ramona
2. Meat Puppets - Animal Kingdom
3. Meat Puppets - I Can’t Be Counted On
4. Holding Hands - A Tree Without Its Leaves
5. The Pastels - Up For A Bit
6. Courtney Barnett - David
7. Jerry Jerry & The Sons Of Rhythm Orchestra - Yap Yap
8. South River Slim - Blind Lemon Girl
9. Teenage Geese - Howler
10. Middle Sister - I Want To Be The Man (Alternate Take)(CJAM Session January 2016)
11. The Jesus & Mary Chain - Girlfriend
12. Odonis Odonis - Are We Friends
13. The Dirty Nil - Violent Hands
14. The Cramps - People Ain’t No Good
15. Peanuts Wilson - Cast Iron Arm
16. Bruce Springsteen - State Trooper
17. Shotgun Jimmie - Walkman Battery Bleed
16. Five More - Avalanche
18. Special Edisons - Windingo Psychosis
19. Holy Wave - Night Tripper
20. No Age - C'mon Stimmung
21. Iggy Pop - Break Into Your Heart
22. Teenanger - Big Spirit Payback
23. Noble Savages - She’s So Serious
24. Newtown Neurotics - No Sanctuary
25. The Beat - Rock ’N’ Roll Girl
26. Pointed Sticks - It's O.K.
27. Ty Segall - Californian Hills
28. Ty Segall - Candy Sam

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

Show 606 Playlist:

1. Combomatix - Another Shakin’
2. The Malibus - Cry
3. The Hard Times - I Can’t Wait Till Friday Comes
4. Roxy Music - The Thrill Of It All
5. The Pixies - Broken Face
6. The Yips - Orbit
7. Century Palm - Reasons
8. Pavement - Jackals, False Grails: The Lonesome Era
9. Telegram - Rule Number One
10. The Chills - Silver Bullets
11. The Radiation Flowers - Psychic Attack
12. Safeword - Underwater
13. Trout - Salty Waves
14. Tea Leaves - Bipolar Skies
15. Beck - I Just Started Hating Some People Today
16. Mission Of Burma - Academy Fight Song
17. The Undertones - Mars Bar
18. Pere Ubu - I. Will Wait
19. Randy Rampage - Cheap Tragedies
20. Wire - Too True
21. Wire - Just Don’t Care
22. The Hives - Abra Cadaver
23. Ramones - Endless Vacation
24. Ramones - Howling At The Moon (Sha-La-La)
25. The Scenics - Wild Trout
26. Pylon - Recent Title
27. Milk Toast - Ears Around You
28. The Ronald Reagan Story - Revolutionary Girl
29. The Ronald Reagan Story - Just Another Warning

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.