Sunday, December 22, 2019

Joe Strummer Day 2019: London Calling 40 Years Later (Show # 807)

Prior to the release of London Calling in December of 1979 (and January of 1980 in the US), The Clash were moving into unknown territory. In 1978, after touring the US and putting out two full-length albums, The Clash parted ways with their manager Bernie Rhoades. They also were going through a spell of writers block. Without their manager, The Clash also no longer had a rehearsal space. Their roadies Johnny Green and The Baker helped them find a new space and an unconventional one at that. The place they found was located in a former factory that was turned into an auto repair shop in Pimlico. This place would be known as Vanilla Studios. It was here that the band, removed from their previous world created the songs for what would wind up on London Calling. Here the band worked on material away from their usual surroundings. Different influences crept in the songs such as reggae, ska, rockabilly, pop and jazz. Demos were made on 4 track tape machines that would become known as The Vanilla Tapes. They were mentioned as early as 1979 in an interview with Joe Strummer, but would not turn up for another 25 years until the 25th anniversary release of London Calling in 2004.

In August 1979, The Clash entered Wessex Studios to start recording London Calling. The producer on the album would be Guy Stevens, known for his strange producing methods. He had produced bands such as Spooky Tooth, Free and Traffic, he was also the manager for Mott The Hoople. Guy would often do things in the studio such as swing a ladder around, yell in people’s faces, and throw chairs to generate enthusiasm while The Clash recorded a take. Bill Price was also on board as engineer to capture all the chaos. London Calling opens with the title track. The track goes beyond the limitations of punk (which is something that was experimented with on London Calling), lyrically, the song generates an apocalyptic rant delving into a variety of political issues as well. Musically, “London Calling” opens the album like a siren call recalling the paranoia around us. With dashes of gallows humour and inspiration coming from reports that the Thames River may flood due to an incident at a Nuclear power plant in Pennsylvania, workers strikes, police brutality, and the band’s current situation, the song “London Calling”, like the album, drew a variety of issues and themes.

“Brand New Cadillac” is a cover of a song originally by Vince Taylor. The song was used as a warm up in the studio and the tape recorder was rolling. It became the first song recorded for London Calling. This revved up rockabilly cover about American cars delved into the myth of rock and roll in a cinematic fashion, which would populate the musical depths throughout the London Calling album. While the majority of the songs were worked out during the Vanilla Studios rehearsals, this unplanned track that speeds up in the last verse is also one of the many examples of what can make music so great, spontaneity and indisputable energy. “Jimmy Jazz” utilizes phaser guitar effects, acoustic guitars, horn sections and jazz elements. Lyrically with words such as “Satta Massagana for Jimmy Dread/Cut off his ears and chop off his head/Police come looking for Jimmy Jazz” and “What a relief/I feel like a soldier/Look like a thief/It's for the Jazz”, Strummer and The Clash weave a tale of an unground criminal on the run that can also be seen as an allegory for the punk music scene. “Hateful” brings in Bo Diddley influences with lyrics referencing the complexities of drug addicts and drug dealers with lyrics “It’s hateful/And It’s paid for and I’m so grateful to be nowhere”. “Rudie Can’t Fail” is a reggae, soul and horn driven track sung as a duet by Mick Jones and Joe Strummer. The song itself is inspired the rude boys in 1960s Jamaica who challenged their elders and about a young person that is being criticized for not acting like a responsible adult.

The Clash - Wessex Studios 1979 (Photo by Pennie Smith)
“Spanish Bombs” features many pop elements, the guitar work of jazz/blues guitarist Django Reinhardt also comes to mind, while lyrically it is more on the political side of things about rebellion and its consequences. Strummer’s lyrics juxtapose the Spanish Civil War to the IRA conflict at the time. The song was influenced by George Orwell’s 1938 memoir Homage to Catalonia and could be discussed at length for the themes that it produces, it has also been said to be part love ballad to Palmolive, Joe’s girlfriend at the time and member of The Slits. “The Right Profile” was inspired by a biography on 1950s Hollywood actor Montgomery Clift. The song delves into the tragic tale of the actor who was involved in a car accident and how he could only be filmed from the right side of his face following that incident. With lyrics such as “And everybody say, "Is he all right?"/And everybody say, "What's he like?"/And everybody say, "He sure looks funny"/That's Montgomery Clift, honey”, the song also dealt with Clift’s troubles with drugs and alcohol and drew parallels to producer Guy Stevens who was battling similar at demons at the time. Musically, the song features choppy guitars, Irish horn sections and impassioned vocals from Joe Strummer.

“Lost In The Supermarket” is a song that looks at a person lost in consumer culture that is trying to find some kind of connection with other people and only gets false offerings. Musically, the song takes on disco and pop influences and was sung by guitarist Mick Jones, despite being written by Joe Strummer. Another song that takes on consumer culture is the two-minute punk song “Koka Kola”, which appears later on London Calling and also addresses advertising, corporations, drug fuelled executives and the similarities that they have to each other. “Clampdown” is another rock song that starts with descending bass and guitar patterns, up-tempo drums from Topper Headon, organ and Joe Strummer’s opening rant. This song that would become a live favourite, builds on earlier songs like “Career Opportunities”, but delves even further. With lyrics such as “The men in the factory are old and cunning/You don't owe nothing, so boy get running!/It's the best years of your life they want to steal!”, “Clampdown” tackles a state of mind and situation that many people find themselves in when stuck at a dead end job, emphasizing that you can strive to do better for yourself. It also tackles racial stereotypes with an anti-establishment ethos.

“Guns of Brixton” a reggae song sung and written by bassist Paul Simonon reflecting the reggae gang culture in the film The Harder They Come while contrasting it to gangsters in Brixton, South London. This song, which would also become a live staple for The Clash, captures the alienation that was felt by many in Brixton that would eventually become a site of race riots in 1981 and 1985. “Wrong ‘Em Boyo” is a cover of a song by The Rulers that also digs into the American myth of Stagger Lee and contains part of the song “Stagger Lee” by Lloyd Price in the intro. This ska-influenced track has a skanking beat with horn sections, stop and start drum fills and many lyrical layers. On songs such as “Jimmy Jazz”, “Rudie Can’t Fail”, “The Card Cheat” and “Revolution Rock”, elements of the Stagger Lee story pop up in different ways.

“Death Or Glory” builds with acoustic guitar, electric guitar and a penetrating, soulful bassline. Throughout this composition, Joe Strummer sings of the complications of the responsibilities of adulthood. With words such as “In every dingy basement on every dingy street/Every dragging hand clap over every dragging beat/That's just the beat of time, beat that must go on/If you've been trying for years we already heard your song”, The Clash also draw on themes of the rock and roll lifestyle, selling out and not being complacent. “The Card Cheat” is a piano driven ballad sung by Mick Jones that tells the tale of a lonely, down and out gambler that brings up images and themes of American Western cinema, “Lover’s Rock” tackles safe sex advocacy, “Four Horsemen” brings more humour into the album as The Clash poke fun at themselves, comparing the band to the Four Horsemen of the apocalypse, while “I’m Not Down” with its Kinks-like chord progressions deals with a character down on their luck. With lyrics such as “If it's true a rich man leads a sad life/That's what they from day to day/Then what do all the poor do with their lives/On Judgment Day with nothing to say?” and “But I know there'll be some way/When I can swing everything back my way/Like skyscrapers rising up/Floor by floor, I'm not giving up”, this song sung by Jones drifts into themes of depression with a message of bettering yourself by pushing through the hard times and dealing with things more directly, despite your troubles.

“Revolution Rock” is the 18th track on London Calling. The song itself is a cover of an obscure reggae song originally by Danny Ray and the Revolutioneers that sampled “Get Up” by Jackie Edwards. Several lyrics were changed by Strummer, most notably the line referencing "Mack the Knife" by Bobby Darin (“Careful how you move, Mac, you dig me in me back/An' I'm so pilled up that I rattle/I have got the sharpest knife, so I cut the biggest slice/I got no time to do battle”) and changing the lyrics to “Everybody smash up your seats and rock to this/Brand new beat” to reflect something that occurred at punk shows. While the gangster theme does come up again in this song, along with many other themes, the result is a song that is a celebration of sorts, as opposed to several of the other songs found on London Calling with darker subject matter. Originally London Calling was going to end at this track, the artwork was even completed and ready to go, but one more song was added to the album at the last minute. The song would be “Train In Vain (Stand By Me)” written and sung by Mick Jones. Rumoured to be about Jones’ Split with Slits guitarist Viv Albertine, the song was written in one night and recorded the next day at the end of the recording sessions for London Calling. This song was originally supposed to be given away as a Flexi single with NME Magazine, however, it didn’t work out that way and this lovesick R&B pop song drives like a locomotive taking the listener to the end of their journey with London Calling.

On London Calling, The Clash created an album made up of many different musical styles. With drummer Topper Headon supplying the dynamic backbeat, a new versatility in The Clash became apparent as they branched out into the genres of reggae, ska, blues, jazz, rockabilly, punk and R&B to name a few. Throughout the album, the lyrical layers compliment the varying musical styles, pulling in literary influences from George Orwell, American culture, gangster films, that sometimes read like a story, sometimes like a classic film, but never beats you over the head with the obvious. It sounds organic, even today. With London Calling, The Clash smashed all preconceived notions of what punk was, releasing a double album of music that pressed on into a new terrain. London Calling was initially going to be called The Last Testament because it was said to stand as the “last rock n’ roll record”. While that changed, London Calling balanced a sense of unease in culture at the time with a sense of optimism. The music of London Calling is a testament however, to the power of rock and roll and the music of The Clash which continues to echo through to audiences, even decades after its initial release.

JSD 2019 Playlist (Originally Aired On September 22nd, 2019)(The 40th Anniversary of London Calling):

1. London Calling (London Calling: 25th Anniversary Edition - 2004)
2. Brand New Cadillac (London Calling - 1979)
3. Jimmy Jazz (London Calling - 1979)
4. Hateful (London Calling - 1979)
5. Rudie Can’t Fail (London Calling - 1979)
6. Spanish Bombs (London Calling - 1979)
7. The Right Profile (London Calling - 1979)
8. Lost in the Supermarket (London Calling - 1979)
9. Clampdown (Live)(Live At Shea Stadium - 20018)
10. Paul’s Tune (London Calling: 25th Anniversary Edition - 2004)
11. The Guns of Brixton (London Calling - 1979)
12. Lonesome Me (London Calling: 25th Anniversary Edition - 2004)
13. Up-Toon (London Calling: 25th Anniversary Edition - 2004)
14. Walking The Slidewalk (London Calling: 25th Anniversary Edition - 2004)
15. The Man In Me (London Calling: 25th Anniversary Edition - 2004)
16. Roadrunner (Live Palladium Soundcheck - 1979)
18. Wrong ‘Em Boyo (Live Palladium NYC 9.21.1979)
19. Death Or Glory (London Calling - 1979)
20. Koka Kola (London Calling - 1979)
21. The Card Cheat (London Calling - 1979)
22. Lover’s Rock (London Calling: 25th Anniversary Edition - 2004)
23. Four Horsemen (London Calling - 1979)
24. I’m Not Down (London Calling - 1979)
25. Revolution Rock (London Calling - 1979)
26. Train In Vain (Live at The Capitol Theater - Passaic, NJ 3.8.80)
27. Armagideon Time (London Calling/Armagideon Time single - 1979)

Download this episode here!

Saturday, December 21, 2019

2019 Album Highlights & Shows # 805 & 806

Instead of doing a top twenty or top ten album list year on Revolution Rock, Dave and Adam decided to just play a collection of albums over two episodes and not list any specific number ranking for them. What you will find here are six write-ups from some albums that were released in 2019, three written by Dave and three written by Adam. Following these words are playlists and download links to two episodes featuring music released in 2019.

2019 Album Highlights:
Written by Dave Konstantino

Fontaines D.C. - Dogrel

Dogrel is the debut full-length album by Fontaines D.C. from Dublin, Ireland. The band features Grian Chatten (vocals), Conor Curley (guitar), Carlos O’Connell (guitar), Conor Deegan (bass) and Tom Coll on drums. The band members met while at school in Dublin and bonded over their love of poetry. They collectively released two collections of poetry Vroom inspired by Beat poetry (such as Jack Kerouac and Allen Ginsberg) and Winding, which was inspired by Irish poets Patrick Kavanagh, James Joyce and W.B. Yeats. The music that they create is labeled as post punk, however, it pulls in influences from other areas such as fellow Irish band Girl Band, The Fall, Brit pop, a bit of garage and lyrically, Fontaines D.C. utilize their love of poetry.

“Big” starts off Dogrel with a bass and drum intro before garage and post punk guitars intermingle with Chatten’s vocals. This short opening song builds a picturesque image despite its length. With potent words “Dublin in the rain is mine/A pregnant city with a catholic mind” and a chorus of “My childhood was small/But I’m going to be big” that is weighed down by a history, which also blends with a duality of greed and ambitious overtones. There is a working class outlook throughout this album and it is tied in with Irish class economics and an overlooking worldview.

“Too Real” starts off with an intense guitar part before the bass, drums and vocals swoop in with a wave of emotion. Guitar slides bounce back and forth in the your speakers (apparently played with a beer bottle) as drums and bass add depth to the centre. Chatten’s vocals evoke a disdain and urgency at the same time as lyrics such as “None can revolution lead with selfish needs aside/As I cried, I'm about to make a lot of money” that brings forth images of working class Dublin, amongst the chaos of every day life. The Yeats and Joyce influence characterizes this song with little details as the chorus “Is it to real for ya?” is repeated over and over demanding an openness and honesty that also projects a cutting worldview. “Hurricane Laughter” rumbles and attacks in an ebb and flow. Clocking in at around four minutes and fifty seconds, the stream of consciousness lyrics combine a joycean/Lou Reed aesthetic that twists and bends with intensity, as lyrics such as “Hurricane laughter/Tearing down the plaster”, and “There is no connection available”, show a disconnect in the world of complexities that we get sucked into.

“The Boys In The Better Land” is an anthem of sorts that has been described as a British Invasion styled rave up. Inspired by an encounter with an Anglophobic cab driver in Dublin, “The Boys In The Better Land” draws on political themes, but also celebrates independent thought. “Dublin City Sky” ends Dogrel. This poignant album closer evokes a Shane MacGowan/Pogues aesthetic as lyrically this song reads like a love song, but it is a love song to a city that builds on something bigger. Throughout this album, Fontaines D.C. draw on poetry, embracing their Irish identities, but at the same time build on something from what has come before them. James Joyce once said that if Dublin disappeared his book Ulysses could be used to rebuild the city. While Dogrel isn’t a complex mind bending narrative, it does build on something. It uses the complexities and details of our modern times to search for identity and build meaning. There can also be comparison made to Dogrel with this quote that was once said: “Think you’re escaping and run into yourself. Longest way round is the shortest way home.”

Fruit Tones - Natural Selection

Natural Selection
 is the debut album by Manchester band Fruit Tones. The music that Fruit Tones play is no nonsense. There are no gimmicks here. It is just raw, primal and rough around the edges garage rock with pop sensibilities. This album follows a series of releases from Fruit Tones. The trio consists of Tom Walmsley (guitar/vocals), Tom Harrison (drums) and Chris Wood on bass. Dominic Oliver played on bass on the record. Recorded over three freezing cold days in December 2018 with Samuel Stacpool (Holiday Ghosts/The Black Tambourines), Natural Selection was released via Greenway Records in January 2019.

"I Know Where Love Comes From” opens Natural Selection. The song is a rush of grittiness ala the New York Dolls and The Stooges with dashes of 60s pop. As the song reaches the halfway point it attacks with its menacing guitar solo and stop and start build up. Released as the first single for Natural Selection with a video by Chris Wood featuring animations from Dominic Oliver, it isn’t hard to see how this fizzy garage punk track wins over listeners. “Invisible Ink” is a slow surf inflected number that also recalls an early Beatles/beat music influence. It tells the conflicted story a lovesick character that exits a relationship by leaving behind a note written in invisible ink. The song carries with it a certain mysteriousness with the lack of answers it provides. After hearing the song, we are left with a juxtaposition of invisible answers and complicated feelings. “Drunk At The Zoo” builds up with a loose, off kilter groove that gnaws and claws its way throughout the track. The song features rambunctious characters behaving badly while being drunk at various locations at the zoo.

On Natural Selection, Fruit Tones deliver an album that is ripe with multiple meanings about adjusting and surviving in the environments of our modern times despite the negative outliers that are all around us. With “the sass of The Dolls, the fizz of Four Loco, the Stones-esque looseness, juiced into 14 tracks”, on Natural Selection, Fruit Tones evoke a garage punk aesthetic with surf and 60s pop influences that evolves with the uncontrollable urge to have a good time.

Bloodshot Bill - Come Get Your Love Right Now

Released in February 2019, Come Get Your Love Right Now is the latest album by Montreal musician Bloodshot Bill. Although he has had over 35 releases on a variety of labels such as Norton Records, this album marks the first from Bloodshot Bill to be released via Goner Records. Last year saw the release of This Is It! an album featuring Bloodshot Bill and The Hick-Ups. Also in 2019, Bloodshot Bill put out a seven inch entitled My Little Muck Muck with legendary Japanese trio The’s, a new single Temple of Boom by The Tandoori Knights (with King Khan), and a surf EP called Hang Ten with Bloodshot BillCome Get Your Love Right Now follows the 2017 release Guitar Boy.

The album’s opening and title track, “Come Get Your Love Right Now” channels an early Sun Records aesthetic. With its acoustic guitar, reverb filled vocals, and guitar slides, this song sets the mood for the rest of the songs to come. “Take Me For A Ride” is a song that is part Trashmen vocals and propelling rockabilly rhythms. The catchy rockabilly riff of “Know Myself” hits the listener on another level. While not all of Bloodshot Bill’s vocals are clearly heard due to his use of reverb, this song, like many of Bloodshot Bill’s songs puts the listener into a certain state to feel the music rather than overthink it. “Hook Me" shuffles with an old fashioned R&B groove, while “Do What You Do” jumps and moves with an unmistakable early rock n’ roll feeling. “Just Because” slows the pace down a bit as it blends early blues, country and rockabilly.

Come Get Your Love Right Now ends with three songs. “I Don’t Mind At All” is a song that showcases 50’s rock and roll with its staccato guitar stabs, and more guitar riffs inspired by a rebellious rock n roll spirit, “One At A Time”, is a mid-tempo track that floats with surf inspired guitar riffs while “Honey Dolling” ends the album. With its early R&B rhythms and trademark Bloodshot Bill vocals, it ends the album after 35 minutes with sixteen songs, leaving the listener with a desire for more. With a multitude of releases under his belt, this album may be one of the strongest collections of material released by Bloodshot Bill. With Come Get Your Love Right Now, Bloodshot Bill strikes a chord with a certain immediacy as it mixes a selection of ballads and up-tempo rockabilly inspired tracks. Bloodshot Bill evokes a renegade spirit with a side of sophistication as he once again taps into a primitive rock and roll feeling.

More 2019 Album Highlights:
Written by Adam Peltier

Nick Cave & the Bad Seeds – Ghosteen

It's odd featuring an album that is so antithetical to the tropes of rock music on a show called Revolution Rock, but there is no denying the pull of the enveloping world Nick Cave and the Bad Seeds have crafted with Ghosteen. First, there is a certain audacity about the album that is truly amazing. One can look at the Jehovah's Witness brochure like painting for the album's (misleadingly) utopic cover art, the ambitious length of the album, but the most audacious element is the bareness of the record itself. After the stripped back recordings of Nick Cave's last release, the melancholic Skeleton Tree, it seemed like the Bad Seeds would not be able to reduce their sound to anything more fundamental, with only flowing synths, Warren Ellis's barely present loops and piano keeping the mournful affair afloat. With Ghosteen, the band proved just how much more there was to extract from their sound. The whole affair is an impressionist swath of synths and viola, without hardly any noticeable beats and no guitar (!) throughout the record's near 70 minute run time. Like I said, not much of a rock record at all.

Yet it works. The entirety of the album meshes together in a captivating way, coming across more as a series of musical landscapes and sonic poems than anything else. Indeed, Ghosteen's greatest comparison points are to Eno's ambient recordings, the celestial gothic orchestras of “This Mortal Coil”, and the brooding atmospheres of “Current 93”. Yet even these references are hardly representative of the overall mood and feeling evoked by Ghosteen. The ethereal nature of this sonic world has few concrete predecessors, and the entire affair is elevated by Nick Cave's soaring baritone vocals. It should be stated Cave has never sounded better as a singer than on this record: the ranges his voice crosses, the highs he reaches (just listen to the plaintive “Spinning Song” as an example) is unaccounted for in his preceding discography. Long gone is the vocalist many called a demonic Elvis, screeching and caterwauling post-punk laments of sex and violence. Instead, Cave here is mature and reflective, closer to vocalists like Scott Walker, Stuart Staples, or even Tim Buckley.

While the general misconception of Skeleton Tree was that the album was a response to the death of Cave's 15-year-old son Arthur, the majority of that record was written and recorded prior to this tragic event. Ghosteen is truly the first record fully written and completed after Arthur's passing, and this event seems to haunt every lyric, passage, and note of these compositions. The lyrics deal with death, loss, and the sobering acceptance of the world's indifference to our personal grief. On “Bright Horses,” the titular equines are initially presented as mythic animals, their manes “full of fire” which burn down the cities they run through. By the song's end the “horses are just horses” and the dynamic and dangerous beauty they once imbued to the city is replaced by the harsh realty in which “everyone is hidden, and everyone is cruel.”

Ghosteen is also, surprisingly, the Bad Seeds album most imbued with hope and empathy. Rather than the nihilism of Cave's earlier work, this album posits meaning in connection with other humans, such as a spiralling cascade of spirits in the title track, a torrent of lost souls Cave seeks to commune with. The album's most striking moment is saved for the end, the epic 14 minute closer “Hollywood.” During the final coda of the song, Cave recounts the Buddhist parable of Kisa Gotami who despaired after the illness and death of her child. Evoking the words of Buddha, Cave instructs Kisa to "Go to each house and collect a mustard seed/But only from a house where no one's died." When Kisa is unable to locate any household unaffected by the loss of someone, Cave reflects sagely, “Everybody's losing someone/It's a long way to find peace of mind, peace of mind.” This is an obvious reflection of a man who experienced his own loss of a young child, and may be the most exposed and honest we have heard the singer yet. As the song ends with Cave intoning, “I'm just waiting now for peace to come,” one can only hope he finds the solace and closure he seeks after such a tragic and personal loss.

Ghosteen may not exactly be a rock record, but it doesn't need to be. It is an arresting, powerful, and emotional journey through one man's (and in essence, everybody's) search for peace after facing life's cascade of losses and grief. It is the most potent and important reflection on grief that 21st century music has yet produced, and one of the Bad Seed's greatest records to date.

Purple Mountains - Purple Mountains

It seems we are enmeshed in an ever increasing age of cynicism. Detachment and disillusion are presented as social norms, the only available mechanisms to operate within the political and cultural tumult of daily life. Notions of empathy, vulnerability, and honesty are scoffed at in favour of ironic distance. Despite the apparent coldness of the world we inhabit, people still seek connection and understanding. Its our species' greatest paradox: the drive to be unaffected by the world around us, while also wanting human contact, to connect and compassion. Perhaps that is why audiences find themselves in awe when an artist refuses to play into the cold critical paradigm of ironic-detachment, and create work that (for lack of better words) allows us to “feel.”

Throughout his career David Berman has maintained an emotional immediateness in his art, whether it be his poetry or his work with longtime band the Silver Jews. After an extended period away from songwriting, Berman returned in 2019 with a new band, Purple Mountains, and his first collection of songs in over a decade. Prompted by the death of his mother and the separation from his wife of twenty years, it’s easy to see why the resulting album is so emotionally vulnerable.

There are no filters on Purple Mountains. Backed by members of the Ohio folk band Woods, Berman plunged headfirst into subject matter most people actively try to avoid dealing with: battles with depression, suicidal ideation, insecurity, and the pain of a parent's death. The album lays out its tone on the very first track, “That's Just the Way that I Feel.” The misleadingly jaunty instrumentation juxtaposes Berman's musing over the impermanence of security and love, finally intoning: “The end of all wanting is all I've been wanting.” This mood is echoed in the self-explanatory “All My Happiness is Gone” and “Darkness and Cold.” Hearing Berman croon on the latter track that “The light of my life is going out tonight and she don't look too depressed,” becomes a spine-tingling confession of the indifference of others to his (and really, every individual's) personal pain.

Other tracks point to more specific instances of heartbreak and ennui. There is the poignant “I Miss Being My Mother's Son,” Berman's heartbreaking declaration of sorrow over the loss of his mother. “She's Making Friends, I'm Turning Stranger” reflects on the separation from his wife, the singer lamenting his insecurities and seeming inability to connect with others, stating: “I want to be a warm and friendly person, but I don't know how to do it.” Then there is “Margaritas at the Mall,” the closest the album concedes to offering a pop song, but one which explores society's obsession with commerce. By the song's end people are seen as no more than reflections of the products they purchase, their individuality sapped by their obsession with material goods.

Purple Mountains is not a light listen. Its honest exploration of pain and anxiety, made all the more heartrending by Berman's suicide weeks after the album's release. Lyrics like “The dead know what they're doing when they leave this world behind,” offer few comforts to those seeking solace from this record. Purple Mountains is one of the most profound and heartbreaking albums of the artist's career, and a clear indication that the greatest of art is not that which is suffused by irony and detachment, but that which engages with honesty and emotion.

Big Thief - UFOF and Two Hands

Like winter and summer, day and night, earth and sky, this pair of albums provides a mirrored offering of Big Thief's sound, both complimentary and distinct from one another. The ethereal UFOF contrasts to the grounded earthiness of Two Hands. The summery plucked strings of “Cattails” and late-afternoon haze of “Jenni” contrasts to the electric feedback of “Not” and the rocky buildup of “Shoulders.” It's fitting that both albums were released this year, as the records offer a surprising unity despite their opposing sounds, like opposite sides of the same coin.

Propelled by Adrianne Lenker's distinct high register croon and Buck Meek's shimmering guitar work, what both albums offer is a sense of longing, like the drive to recapture a barely recalled memory. In fact, the most recurring lyrical theme between UFOF and Two Hands is the recollection of long ago love. The confessional “Orange” ends with the recounting of a long passed partner: “Crying little rivers in her forearm/Fragile is that I mourn her death/As our limbs are twisting in her bedroom.” On “Forgotten Eyes” Lenker recalls being “Hollow-eyed on Eddie Street, no sirens to hear/Just trash and soiled needles clawing the veneer,” ending the song with the mantra that the “forgotten tongue is the language of love.” Both albums are beautiful, boldly elliptical, and eerily moving. Rooted in grandstanding powerful folk rock, much in the vein of Bill Callahan or Wilco, Big Thief offer a twin-set of incredible records that not so much stay with the listener, but carry them away into another world.

Show 806 (Originally Aired ON December 21st, 2019)(Albums of 2019 Part Two):

1. Shotgun Jimmie - Ablutions (Transistor Sister 2 - You've Changed Records - 2019)
2. Shotgun Jimmie - Fountain (Transistor Sister 2 - You've Changed Records - 2019)
3. Orville Peck - Dead of Night (Pony - Sub Pop - 2019)
4. Bloodshot Bill - Only Girl (Come Get Your Love Right Now - Goner Records - 2019)
5. (Sandy) Alex G – In My Arms (House of Sugar - Domino Recording Co Ltd. - 2019)
6. Big Thief – UFOF (UFOF - 4AD - 2019)
7. Big Thief – Forgotten Eyes (Two Hands - 4AD - 2019)
8. Feet – Outer Rim (What's Inside is More than Just Ham - Clapped Records - 2019)
9. Dumb - Club Nites (Club Nites - Mint Records - 2019)
10. Julia Jacklin – Pressure to Party (Crushing - Polyvinyl Record Co - 2019)
11. Angel Olsen – What It Is (All Mirrors - Jagjaguwar - 2019)
12. Sharon Van Etten – Seventeen (Remind Me Tomorrow - Jagjaguwar - 2019)
13. Brittany Howard – He Loves Me (Jaime - ATO Records - 2019)
14. Fontaines DC - Hurricane Laughter (Dogrel - Partisan Records - 2019)
15. Fruit Tones - Igloo (Natural Selection - Greenway Records - 2019)
16. Pottery - Spell (No.1 - Partisan Records - 2019)
17. Psychic Void - Alley Dweller (Skeleton Paradise - Vanilla Box Records - 2019)
18. Otaboki Beaver – Datsu.Hikage no onna (Itekoma Hits - Damnably - 2019)
19. Shana Cleveland - Night of the Worm Moon (Night of the Worm Moon - Hardly Art - 2019)
20. Bill Callahan – Angela (Shepherd in a Sheepskin Vest - Drag City - 2019)
21. Leonard Cohen – Torn (Thanks for the Dance - Columbia Legacy - 2019)
22. Nick Cave & the Bad Seeds – Fireflies (Ghosteen - Bad Seed Ltd - 2019)
23. Mount Eerie & Julie Dorian – Real Lost Wisdom (Lost Wisdom Pt. 2 - P.W. Elverum & Sun - 2019)
24. Priests - Control Freak (The Seduction of Kansas - Sister Polygon - 2019)
25. Light Bulb Alley - Problems (Lights And Shades - Self Released - 2019)
26. Necking - Spare Me (Cut Your Teeth - Mint Records - 2019)
27. Mannequin Pussy – Cream (Patience - Epitaph Records - 2019)
28. LTD - Spicy Chicken (Stop Und Fick Dich - In The Red Recordings - 2019)
29. Cellos - Head to Stone (Cellos/Not of Split EP - No List Records/Harbour House - 2019)
30. Purple Mountains – Margaritas At The Mall (Purple Mountains - Drag City - 2019)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for December 21.

Show 805 (Originally Aired On December 14th, 2019)(Albums of 2019 Part One):

1. Iggy Pop - Loves Missing (Free - Caroline International/Loma Vista Recordings - 2019)
2. BA Johnston - Discount Bacon (The Skid is Hot Tonight - Transistor 66 - 2019)
3. Foggy Tapes - Fly In My Head (Cogito Ergo Fog - Howlin' Banana Records - 2019)
4. The Jackets - Be Myself (Queen of the Pill - Voodoo Rhythm Records - 2019)
5. Electric Cows – Stampede! (Wheatfield Fuzz - Dub Ditch Panic - 2019)
6. Vivian Girls – Something to Do (Memory - Polyvinyl Record Co. - 2019)
7. Jose Contreras - At 45 (At The Slaughterhouse - Headless Owl Records - 2019)
8. Bonnie Prince Billy – Squid Eye (I Made a Place - Domino Recording Company - 2019)
9. Cass McCombs – Estrella (Tip of the Sphere - ANTI- 2019)
10. Smokey & The Feeelings - Fields of Bored (Smokey & The Feeelings - Mangled Tapes - 2019)
11. Middle Sister - Ballad For A Broken Engine (The Hot And Hungry Reaches of the Sun - Self Released - 2019)
12. Sprinters - Missing (Struck Gold - Meritorio Records - 2019)
13. Deerhunter – What Happens to People? (Why Hasn't Everything Already Disappeared? - 4AD - 2019)
14. Cate le Bon – Mother's Mother's Magazines (Reward - Mexican Summer - 2019)
15. Black Midi – Reggae (Schagenheim - Rough Trade - 2019)
16. Old Time Relijun – I Know I'm Alive (See Now and Know - K Records - 2019)
17. 3ft – Evening Song (21st Century Drone - Naive Sound - 2019)
18. White Fence - Neighbourhood Light (I Have To Feed Larry’s Hawk  - Drag City - 2019)
19. Ty Segall - Taste (First Taste - Drag City - 2019)
20. Mike Krol - Nothing To Yell About (Power Chords - Merge Records - 2019)
21. Wolfmanhattan Project - Smells Like You (Blue Gene Stew - In The Red Recordings - 2019)
22. Feels – Car (Post Earth - Wichita Recordings - 2019)
23. Skye Wallace – Coal in Your Window (Skye Wallace - Kingfisher Bluez - 2019)
24. Kiwi Jr – Salary Man (Football Money - Mint Records - 2019)
25. Guided by Voices – Street Party (Sweating The Plague - GBV Inc. - 2019)
26. Pixies – St. Nazaire (Beneath the Eyrie - BMG/Infectious - 2019)
27. Les Robots - The Remote Control Stomp (The Fascinating World of - Spazz Records - 2019)
28. Kim Gray - Handful Of Problems (Plastic Memory - Buzz Records - 2019)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for December 14.

Saturday, December 07, 2019

Sprinters Struck Gold: An Interview with Neil Jarvis & Show # 804

Sprinters are an indie rock band from Manchester. Fronted by songwriter Neil Jarvis, the band features Neil Jarvis (guitar/vocals), Jason Hughes (guitar), Jon Hodson (bass) and Sam Almond on drums/vocals. The band put out their debut full-length Sprinters in 2017 on Icecapades Records and a mini album prior to that called Float Along in 2015 released through On The Grind Records. Prior to performing as Sprinters, Jarvis simply released music as Neil Jarvis. Two lo-fi and sometimes experimental releases emerged from this time period, Weekends in 2012 and Halloween Summer in 2014. They were both recorded to 4-track tape. Sprinters doesn’t lose any of the nostalgic melodies that Jarvis has been known for, they only enhance them. Struck Gold is second full-length album from Sprinters and was recorded by Sam Almond at Abbey Mill Studios in Chorley, Lancashire. It was released in November 2019 via Meritorio Records. On Struck Gold, the band pulls in the same elements of surf, dream pop and indie guitar pop while also adding a new rock edge and layers of shoegaze to the mix.

The opening track, “Struck Gold” sets the tone. A short instrumental that drifts like clouds that break at dawn, it contains the same melancholic feeling that is omnipresent in Jarvis’ songs, but one that is more upbeat and promising. “3’s & 4’s” comes in seamlessly as the second track on Struck Gold. With its unraveling guitar leads and percussive rhythm that has a biting jangle, this song floats in between surf and dream pop. When the chorus hits Jarvis sings “It is what it is/There’s no escaping it” and the listener gets hooked within this beautiful, yet sad tale about trying to understand and accept an awful situation that is juxtaposed with more upbeat pop musical elements. “Missing” is more brash. The song is raw sounding, featuring distorted, jangly guitar leads that fester with a blistering intensity in between the unconventional, driving drumbeats that lock in with the deep bass grooves. When the reverb layered vocals combine with these musical elements, it also ventures into shoegaze territory. Lyrically, the song addresses an absence, a void of feeling that can exist even if you seem present. “The Light” is a ballad that revels in melancholy and glitters with its pop wonders.

“Ending” is another of the gems on Struck Gold. Clocking in at about four and a half minutes, the song flickers and drones with an edge not present in previous Sprinters recordings. Elements of shoegaze can be found here, but also guitar pop and primal drums that combine with the melodic bass and vocals. As the song drones in the chorus, the listener descends with the melody that lingers poignantly with the words “Far out/We’re going way down”. Around the 2:20 mark the band brings in a coda that builds with guitar distortion, psychedelic guitar lead lines that drone sharply and an unwavering bass and drum groove before fading out. “Demolition” has a more upbeat, lax groove. As the drums and bass float, guitar intertwines as hazy vocals hover over it all. The atmosphere here completely surrounds the listener as the words “We can’t go back to how it was”, “In the haze of a dream/We couldn't see the night through the blinds” and the repetitive chorus “It’s happening/It’s happening again” grabs hold. “It’s Gone” is raucous guitar pop. Surf guitar finds its way throughout the steady, calming drum grooves and mellow bass lines as lyrically Jarvis weaves a tale of innocence and desire. “Scream 2” is a reworking of an instrumental track from Neil Jarvis’ Halloween Summer. Here more noise is brought to the fore as the band really plays in the pocket.

“Virtue” brings down the pace a bit as it questions certain morals that people are supposed to have as the words in the chorus “You’re just virtue signalling/They said it” creates a haunting effect. “Undone” is a song with a shoegaze haze and has guitar pop that blends with acoustic guitar. Lyrically, it seems to entwine itself around a situation that involves a missed connection that was never fully realized the way that it could have been. A shorter, more experimental version of the album’s opening track ends Struck Gold that sounds as if it were recorded on a 4-track tape machine and slowed down. Throughout Struck Gold, Sprinters combine a certain melancholy that is often juxtaposed with more upbeat poppy and indie rock oriented music. This creates an album that is contemplative and one that also lingers with hidden lyrical and musical layers. On Struck Gold, Sprinters avoid a dull sophomore slump. They dig deeper on this record with a cohesiveness that creates an incandescent, lasting effect.

Listen to Revolution Rock's interview with Neil Jarvis (of Sprinters) here:

Show 804 (Originally Aired On December 7th, 2019)(Neil Jarvis of Sprinters Interview, Tom Waits 70th Birthday, Marshmallow Overcoat, John Lennon):

1. Marshmallow Overcoat - Groovy Little Trip
2. John Lennon - I Found Out
3. The Beatles - And Your Bird Can Sing
4. Psychic Void - Denim Daddy
5. Trophy Knife - Headspace Saver
6. The Constant Supervision - Wiggly Jiggly
7. Sprinters - It's Gone


8. Sprinters - Ending
9. Neil Jarvis - Shred Met
10. Shotgun Jimmie - Ablutions
11. Bill Callahan - Shepherd's Welcome
12. Tom Waits - Intro
13. Tom Waits - Whistlin's Past the Graveyard
14. Tom Waits - Chicago
15. Tom Waits - Big in Japan
16. Tom Waits - Goin' Out West
17. Tom Waits - Rain Dogs
18. Meltones - Surfing Natasha
19. Run Coyote - The Chase
20. Bobby Tenderloin Universe - I Need a Lickin'
21. Bloodshot Bill - Stumble
22. Leonard Cohen - Puppets
23. U.S. Girls - 28 Days
24. Nov3l - Natural
25. Pop Group - Words Disobey Me
26. Motorists - Instant Replay
27. Tom Waits - Underground

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for December 7.

Show 803 was a repeat of an episode of the program that originally aired last November. It featured an alternate version of Bob Dylan's Blood On The Tracks compiled by selections from More Blood More Tracks Bootleg Series box set. You can download/stream this episode here and find the playlist here.

Saturday, November 23, 2019

Natural Selection with The Fruit Tones & Show # 801

Natural Selection is the debut album by Manchester band Fruit Tones. The music that Fruit Tones play is no nonsense. There are no gimmicks here. It is just raw, primal and rough around the edges garage rock with pop sensibilities. This album follows a series of releases from Fruit Tones. The trio consists of Tom Walmsley (guitar/vocals), Tom Harrison (drums) and Chris Wood on bass. Dominic Oliver played on bass on the record. In 2014 they released the Some Strange Voodoo EP on Stolen Body Records, a split cassette called Summer Slammin’ in 2016 and the Ripe & Ready EP in 2017 on Greenway Records. Recorded over three freezing cold days in December 2018 with Samuel Stacpool (Holiday Ghosts/The Black Tambourines), Natural Selection was released via Greenway Records in January 2019.

“I Know Where Love Comes From” opens Natural Selection. The song is a rush of grittiness ala the New York Dolls and The Stooges with dashes of 60s pop. As the song reaches the halfway point it attacks with its menacing guitar solo and stop and start build up. Released as the first single for Natural Selection with a video by Chris Wood featuring animations from Dominic Oliver, it isn’t hard to see how this fizzy garage punk track wins over listeners. “21st Century Boy” brings in surf guitar, garage punk dynamics and extremely catchy choruses. With lyrics such as “Life brings little joy/For a 21st century boy” the song searches for good times in a troubled world, “Frontline” slows things down a bit with rolling basslines, acoustic guitar and 60s garage catchiness. With lyrics “Make what I want when I feel like I should/I’m always holding you down/Strong when I’m bold and I’m tough like a bull/I’m always holding you down” and “Gonna take what I need from you/Gonna push my way to the front of the queue/Dress myself when the daylight shines/Gonna push my way to the front of the line” the song emphasizes the need to push forward from moments that hold you back with an undeniable looseness and melancholy. “Igloo” chisels away with intensity, shivering with influences of The Clash, Ramones and Nobunny, as Walmsley sings about someone frigid and closed off with the lyrics “You’ve got frostbite and it shows/Your loves like the arctic snows/I’m gonna break down the walls to your igloo heart”.

“A Bag For Life” carves in deep with its fuzzy guitar riffs as it addresses cheapskate shoppers in the grocery store, in “I’m Allergic” on edge lyrics find their way through this song about being allergic by distancing yourself to everything, “Invisible Ink” is a slow surf inflected number that also recalls an early Beatles/beat music influence. It tells the conflicted story a lovesick character that exits a relationship by leaving behind a note written in invisible ink. The song carries with it a certain mysteriousness with the lack of answers it provides. After hearing the song, we are left with a juxtaposition of invisible answers and complicated feelings. “Drunk At The Zoo” builds up with a loose, off kilter groove that gnaws and claws its way throughout the track. The song features rambunctious characters behaving badly while being drunk at various locations at the zoo. “Cross Pollination” features stop and start riffs that combine as the chorus collides into a Rolling Stones meets Ventures atmosphere. “Casual Boy” delivers a Link Wray-like delinquency contrasted with lyrics about a character that is “living loose and feeling free” that doesn’t give away too much.

“Jay Walking” is an up tempo R&B punk rave up track with lyrics “I don’t need an indication/I just got a revelation/I’m jay walking” that delivers a message of making your own path, not waiting for others to tell you what to do along with a helping of impatience, determination and rowdiness. “Conscientious Objector” brings in an Undertones meets Johnny Thunders guitar style in between the soulful drum fills from Harrison and in the pocket bass playing of Oliver as Walmsley sings of rejecting the daily chaos in the society and world around him, “Woke Up In Paradise” is a slower, mid tempo rock song that features catchy harmonies recalling surf, 60s pop and 50s rock and roll. With lyrics "If I dreaming/I don’t wanna wake up” and “When life gives me lemons and I’m feeling blue/I just juice that yellow into something new” the song delves into finding some kind of happiness in the real world by taking a different look at things when life goes sour. “Pop My Clogs” ends Natural Selection with full garage punk enthusiasm and catchy 60s pop vocals. “Pop My Clogs” is a 70s UK slang that usually means to die, but in the context of this song it may mean something else altogether. The listener is left to decide this as the character in this song ducks and dodges through the verses, choruses and dredges of monotonous everyday life, seeming to be more interested in having a dangerously good time at all costs.

On Natural Selection, Fruit Tones deliver an album that is ripe with multiple meanings about adjusting and surviving in the environments of our modern times despite the negative outliers that are all around us. With “the sass of The Dolls, the fizz of Four Loco, the Stones-esque looseness, juiced into 14 tracks”, on Natural Selection, Fruit Tones evoke a garage punk aesthetic with surf and 60s pop influences that evolves with the uncontrollable urge to have a good time.

Show 801 (Originally Aired on November 16th, 2019)(Richard Berry & The Pharoahs, Bob Dylan & Johnny Cash, Fruit Tones):

1. Richard Berry & The Pharoahs - Louie, Louie
2. Takeshi Terauchi - South Pier
3. The Wailers - Shanghied
4. Feet - Petty Thieving
5. Guided by Voices - Heavy Like the World
6. Mikal Cronin - Caravan
7. Ron Leary - The Ancient Seeds of Ojibway
8. Leonard Cohen - Happens to the Heart
9. Bonnie "Prince" Billy - The Devil's Throat
10. Bob Dyan & Johnny Cash - I Still Miss Someone (Take 5)
11. Bob Dyan & Johnny Cash - Big River (Take 1)
12. The High Dials - Work of Fiction
13. Mount Eerie & Julie Dorian - Widows
14. Dead Ghosts - Drugstore Supplies
15. Dusty Mush - Not Wild
16. Oblivions - Can't Last Another Night
17. Needs - Walk, Cycle, or Take Transit Like Jehu
18. Little Girls - Tambourine
19. The Presence - Disease
20. Juliana Hatfield - Can't Stand Losing You
21. The Hold Steady Star - 18
22. The Replacements - Anywhere's Better Than Here (Live University of Wisconsin - 6/2/1989)
23. Fruit Tones - Casual Boy
24. Fruit Tones - Jay Walking
25. Corridor - Goldie
26. Sprinters - 3's & 4's
27. Steve & James O-L - Country State of Mind
28. Jose Contreras - Grand Central Station

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for November 16.

Show 802 was a repeat of an all James Brown episode of the program that originally aired in February. You can download/stream this episode here and find the playlist here.

Saturday, November 09, 2019

CJAM 2019 Fall Fundraiser & Shows # 797, 798, 800

This week marks CJAM FM’s fall fundraiser. Every year CJAM holds a pledge drive in which they raise funds to keep providing the unique programming that they offer every day. CJAM FM is a non-profit campus/community based radio station that provides music and spoken word programming to different parts of the Windsor/Detroit areas through 99.1 FM and online through downloads/streaming and archives at

Earlier this year the Ontario Government announced a new change in university tuition fees giving student the ability to opt-out of any fees deemed non-essential under the Student Choice Initiative, which included campus radio. With no consultation or warning before the announcement, CJAM FM staff and volunteers were left scrambling to raise funds in the few months before the fall semester began to ensure financial stability. At the University of Windsor, CJAM FM has seen a 29% opt-out rate for the 2019 fall semester. This represents a decrease in the student levy fund of about $15,700 for the station. If the opt-out percentage remains the same for upcoming the winter semester, the station will lose roughly $31,400 this school year. “The fall fundraiser is extremely important for us because it represents a significant portion of our annual budget. While effectively combatting the loss in fees makes us optimistic, the fundraiser has always represented approximately 30% of our annual budget and is essential in maintaining our ability to broadcast.”  Station Manager Brady Holek stated in a recent press release.

For over 35 years now CJAM FM has continued to provide quality programming in the Windsor/Detroit areas often highlighting many events and issues while providing a different outlook from the usual mainstream media outlets. We also have a strong online audience that listens through our archives and live stream that is listened to worldwide. As I stated last year “CJAM provides the listener with something you won’t find anywhere else. A program like Revolution Rock would not exist anywhere else if it were not for a place like CJAM FM. If you listen to CJAM, regardless of how, consider making a donation to help the station continue to grow in the world of the broadcast arts that it provides on a daily basis."

CJAM is currently in the midst of their fall fundraiser and could use your support. If you would like to show your support for CJAM FM you can donate, here are the ways.

We also offer incentives as a thank you for your support.

Any Amount – CJAM sticker
$10 – CJAM Enamel Pin
$10-20 – Music Prize Pack (CDs/vinyl/cassettes)
$50 – CJAM 2019 T-Shirt (Designed by Greg Maxwell)
$100 – CJAM Prize Pack (including 2017 t-shirt and gift certificates)

Individuals looking to donate can call in during Pledge Drive week at 519-971-3630 (Windsor) // 1-855-344-2526 (toll free from Detroit and around the world). Donations are also accepted via a secure online at or through my individual page for the pledge drive at

Below you can find some playlists to recent episodes of Revolution Rock and an example of the type of programming that we offer.

Show # 800 (Originally Aired On November 9th, 2019) (All Canadian 2019 Pledge Drive Playlist):

1. Middle Sister - Dear Weatherman
2. Whoop-Szo - Homemade Candles
3. Jose Contreras - At the Slaughterhouse
4. Shotgun Jimmie - Suddenly Submarine
5. Chocolat - L'Album
6. Dumb - Content Jungle
7. Duotang - Nostalgia's a Vice
8. Wine Lips - Fly Swatter
9. The Electric Cows - Porkpie Hats & You That Yes Feeling Theme
10. LTD - Chief Sleeps in the Park
11. Ancient Shapes - Piss Coloured Glasses
12. Orville Peck - Take You Back
13. The Sadies - Violet and Jeffrey Lee
14. Daniel Romano - What’s To Become of the Meaning of Love
15. Walrus - Bored to Death
16. Pottery - Smooth Operator
17. Paul Jacobs - Coffee
18. Paul Jacobs - Life Lessons II
19. Peach Kelli Pop - Hello Kitty Knife
20. Female Hands - Divided by Three
21. Science is Fiction - Getting Late
22. Terra - Couldn't Save This
23. Tire Swing Co. - I'd Name You Aubrey
24. Cellos - Head to Stone

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for November 9.

Show 798 (Originally Aired On October 26th, 2019) (Halloween Themed Episode):

1. The's - Highschool Witch
2. The Mummies - That Things From Venus
3. The Sadies - The Creepy Butler
4. The Gruesomes - El Diablo
5. Deja Voodoo - Three Men, One Coffin
6. The Ketamines - Evil Intentions
7. The Cinch - Mystery Train
8. Frankie & Jimmy - Hellhound On My Trail
9. Junior Wells - Two headed Woman
10. Bo Diddley - Bo Meets The Monster
11. Billy Riley - Flying Saucer Rock & Roll
12. Ernest Carter & The Hymn Trio - Ain't No Grave
13. Ernest Tubb - Saturday Satan, Sunday Saint
14. Zamboni Drivers - Skatin' Ghost
15. Screaming Lord Sutch - Dracula's Daughter
16. Kid Congo & The Pink Monkey Birds - Spider Baby
17. The Cramps - I Was A Teenage Werewolf
18. Johnny Thunders - In Cold Blood (Alternate Version)
19. Thee Oh Sees - Ghost In The Trees
20. Flesh Rag - One Foot In The Grave
21. TV Freaks - Snake
22. The King Khan & BBQ Show - Killing The Wolfman
23. The Ventures - Exploration In Terror
24. C & C Surf Factory - Cobra Basket
25. Atomic 7 - Phantom 101
26. The Scientists - Swampland
27. Sam Coffey & The Iron Lungs - Season Of The Witch
28. The Epsilons - Fever To Kill
29. Thee Tsunamis - Psycho
30. Wand - Floating Head
31. Johnny West - Zombies On Parade
32. XTC - Science Friction

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for October 26.

Show 797 (Originally Aired October 19th)(Ginger Baker Tribute, The Black Lips, Dead Ghosts):

1. Cream - NSU (Live BBC Light Programme 1967)
2. Cream - Swlabr
3. Graham Bond Organization - Harmonica
4. Mudhoney - Pokin' Around
5. Dr. John - Danse Fambeaux
6. Middle Sister - Garden by the Bay
7. Big Thief - Not
8. Angel Olsen - Spring
9. Foggy Tapes - Dark Haired Queen
10. Donovan - Sunshine Superman
11. Silver Jews - How to Rent a Room
12. The Black Lips - Odelia
13. Kid Congo & The Pink Monkey Birds - Lurch
14. Dead Ghosts - Thunderbird ESQ
15. Dead Ghosts - I Want Your Love
16. The Stolen Minks - Rip It Up
17. Code Pie - The Room
18. Oromocto Diamond - Black Feelings
19. Leather Uppers - On the Mic
20. Terminal Licks - Hot Today
21. Pretty Matty - I'm Fine
22. The Danks - Shifty
23. Rats On Rafts - Meggy
24. Paul Jacobs - Life Lessons II
25. Japandroids - For the Love of Ivy
26. Futureheads - Hounds of Love
27. Les Robots - Ode To Yull Brynner
28. Takeshi Terauchi & The Bunnys - Test Driver

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for October 19.

For those keeping track, Show # 799 which aired on November 2nd, 2019 was a repeat of a previous episode that aired in August (episode #790). You can download/stream that episode here and find the playlist here.

Saturday, October 12, 2019

Mudhoney Digital Garbage and Mark Arm interview & Show # 796

In September 2018, Mudhoney released their 10th full-length studio album titled Digital Garbage. The album is ripe with a political slant on the current state of the world attacking, questioning and addressing the perils of everything from social media to alt-right politics. Underneath all of this, Digital Garbage simmers with garage, punk and post punk influences that help to sharpen the message being delivered here. Recorded with longtime collaborator Johnny Sangster at Litho studio in Seattle, Digital Garbage follows 2013’s Vanishing Point, a series of singles and 2018’s live album LIE.

“Nerve Attack” opens Digital Garbage. With its stop and start guitar and bass riffs, Mark Arm and Mudhoney open this album placing the listener into a certain state with lyrics such as “All my atoms are vibrating faster/Don’t you touch/Because I will shatter” and “My skin is cracking and so is my brain/Can’t catch my breath/Get outta my way/I think I’m under a nerve attack” that empathize an uneasy, anxiety driven outlook. “Paranoid Core” drives even further with its dark, sarcastic lyrics mixed with punk dynamics. Released as the first single from Digital Garbage, “Paranoid Core” is one of the strongest songs on this record. “Please Mr. Gunman” has lyrics that were inspired by a TV news response to a 2017 church shooting, addressing consumerism, education and religion with an aggressive musical approach, “Kill Yourself Live” is a song that balances a Devo “Gut Feeling” influence with Mudhoney’s garage dynamics, lyrically the song is festering with lyrics that are so tongue-in-cheek about the like-culture that has generated itself in our modern times that the tongue cuts like a razor blade. At the end of the song, the lyrics state “And you’ll live on in digital garbage/Lest we forget” as the music levitates with a 60’s/? and the Mysterians inspired organ with freighting effect. “Night and Fog” comes in slowly with a post punk inspired bassline played by Guy Madison as Dan Peters drifts in with drum rolls and crashes, all of this builds with Steve Turner and Mark Arm’s guitar, feedback and Arm’s vocals. Near the end of the song, a Mark Arm wail brings us into a storm of feedback and heavy guitar, bass and drums ala Black Sabbath.

“21s Century Pharisees” features different time signatures in the verses with woozy, sweeping synthesizer parts played by Guy Madison. “21st Century Pharisees” and the psychedelically acoustic “Messiah’s Lament” take on Christian conservatism. “Hey Neanderfuck” features scuzzy guitar riffs and the lyrics “Thanks for inflicting your misery/On the rest of us” and “All the oxycontin in the world/Won’t make your pain go away” that focus on a society created by certain types of people in power and the mess we have to deal with. The song’s title originates from a skit on a 70’s National Lampoon comedy album. “Prosperity Gospel” pours into a compelling intensity with its staccato guitar parts and punk energy that pinpoints onto the worship of the rich in America, while “Next Mass Extinction” is a slow blues dirge, featuring harmonica (played by Steve Turner), as lyrically the song states that “Nothing will replace us/In the next mass extinction”. The song offers no answers, but throws the listener into the void of the present and the unknown with its bleak criticism. “Oh Yeah” ends Digital Garbage with a short punk blast bringing in a form of optimism. With lyrics such as “I want to carve/I want to glide/I want to get in the ocean and clear my mind”, “Oh Yeah” celebrates with an escapism from all the toxic digital mass that collects in our brains in our daily lives encouraging skateboarding, surfing and riding your bike instead.

For some, hearing that band is doing an album that is politically charged can be dissuading. Mudhoney vents, and questions many themes that are troubling at this point in time, but they aren’t riding their high horse and being preachy on this album. Despite all the bleakness that we face and have to deal with, Mudhoney produce an album that is impassioned with some of their strongest lyrics and music to date. Many reviewers have stated that Mudhoney always sounds the same, but they must not be listening close enough. Yes, Mudhoney sounds like Mudhoney, but they do explore other musical landscapes here. On Digital Garbage, Mudhoney deliver a sound and a fury that rivals their best records.

Listen to Revolution Rock's interview with Mark Arm of Mudhoney here:

Show 796 (Mark Arm Interview):

1. Patti Smith - So You Want to Be (A Rock n' Roll Star)
2. Science is Fiction - Getting Late
3. Fruit Tones - A Bag for Life
4. The Sweater Girls - Pavement
5. Sweet Toothe - Ware
6. Repo Man - May I Interject
7. The Muffs - Red Eyed Troll
8. Mudhoney - Touch Me I'm Sick
9. Mudhoney - Chain That Door


10. The Monkeywrench - Look Back
11. Mudhoney - Nerve Attack
12. Mudhoney - One Bad Actor


13. Mudhoney - Suck You Dry
14. Mudhoney - Poisoned Water
15. Big Thief - Shoulders
16. Saba Lou - Telepathetic
17. The Sylvia Platters - Boseelagerstrasse
18. Shadowy Men on a Shadowy Planet - Rover and Rusty
19. The Vondells - El Duello
20. Shotgun Jimmie - The New Sincerity
21. Paul Jacobs - Easy (Warmer Weather)
22. Paul Jacobs - Picture in the Paper
23. Dream Cars - Without a Name
24. John Coltrane - Village Blues (Take 3)
25. Mudhoney - I Like it Small
26. Mudhoney - Editions of You (BBC Session)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for October 12.

Saturday, October 05, 2019

Wolfmanhattan Project and An Interview With Kid Congo Powers & Show # 795

Wolfmanhattan Project is a band made up of Mick Collins (The Gories, The Dirtbombs), Kid Congo Powers (The Cramps, Nick Cave & The Bad Seeds, Gun Club and The Pink Monkey Birds) and drummer Bob Bert (Sonic Youth, Pussy Galore, Lydia Lunch’s Retrovirus) that first had a single out in in 2015. The single which featured the song “Smells Like You” backed with “You Are My Glue”, was described on In The Red Records website as “trashy, swampy, sleazy, damaged music you'd expect from the gentlemen involved." In April of 2019, a full-length album was released from this group entitled Blue Gene Stew. This long awaited debut album creates its own musical atmosphere with elements of garage, punk and no wave. Lyrically, the music often ventures into sci-fi obsessions, conspiracy theories and a psychedelic trippiness.

Blue Gene Stew starts off with “Delay Is The Deadliest”. Sung by Bob Bert, the song features off kilter guitar riffs travelling into punk and no wave territory while lyrically Bert rants over top. “Now Now Now” digs into a deeper psychedelic groove. Kid Congo Powers vocals levitate above the dual guitar attack that he and Collins deliver with the words “What you say is what you do now/Cause what you say is what you do now now now” that repeat themselves in a hallucinogenic fashion. “Braid of Smoke” floats into the listener’s subconscious with a gritty, R&B psych style as Collins sings visual, abstract lyrics. The song ends in an explosion of drums and distorted guitar solos. “I Feel You” features sci-fi sounding effects with cowbell and primal drums throughout this rockabilly rave-up with raunchily poetic lyrics supplied by Powers, “Sticky” is a sleazy garage song with lyrics projecting a modern day paranoia, “Jar in a Suitcase” revels in its strangeness. Featuring Lydia Lunch, the song portrays an experimental spooky, sci-fi funky aesthetic as Lunch and Collins trade off vocals, while “Silver Sun” deflects a grimy garage aesthetic.

“Toynbee Tiles” unwinds itself with the tale of the mystery of the Toynbee Tiles. These tiles began appearing mysteriously in US major cities in the 1980’s and 1990’s. Although their origin is still unknown, these tiles were found embedded in the asphalt in the streets of about two dozen US major cities and places in South America. They bore the message “Toynbee idea/In 2001 movie/Resurrect the dead/On planet Jupiter.” This message appears throughout this song in different variations, sung by Bob Bert in a chant-like way between complex samba rhythms, strange Doppler sound effects and pitch altered vocals that move with a beat poetry make up putting the listener into a trance-like state. The song explores a futuristic, yet surrealist sonic soundscape that could easily apply itself to our modern day outlook of the world. “Last Train to Babylon” ends Blue Gene Stew. This song brings forth a sort of distracted blues with psychedelic sounding guitar effects as the drums hold down the centre. Lyrically, Collins sings, “Flying saucers landing now/Deliver us the newborn king,” and “The towers of Babylon are burning/Board the train and seal the deal” stressing the need for something new among the ongoing chaos and destruction.

Recorded over several sessions, Blue Gene Stew features baritone guitars. This type of guitar differs from a standard guitar. It is a deeper sounding guitar with a longer scale length. The album also features standard guitar, along with drums and other instruments that all add to the overall sound of Blue Gene Stew. While their previous musical foundations still permeate the music on this album, Blue Gene Stew is not exactly what you might expect from Mick Collins, Kid Congo Powers and Bob Bert. With Blue Gene Stew, Wolfmanhattan Project explores a different musical landscape. It is one weird, wild trip that you won’t be able to forget you took.

Listen to Revolution Rock's Interview with Kid Congo Powers here:

Show 795 (Kid Congo Powers Interview):

1. Wilco - Everyone Hides
2. Surf Curse - River's Edge
3. Angel Olsen - What It Is
4. Kurt Vile (Featuring The Sadies) - Baby's Arms
5. Nick Cave & the Bad Seeds - Ghosteen Speaks
6. Kid Congo & The Pink Monkey Birds - Rare as the Yeti


7. Gun Club - Eternity Is Here
8. The Cramps - Rockin' Bones
9. Nick Cave & the Bad Seeds - City of Refuge


10. Wolfmanhattan Project - Now Now Now
11. Teenanger - Bank Account
12. Psychic Void - Dirty Hands (CJAM Session)
13. The Leather Uppers - 1000 Lashes
14. Orville Peck - Winds Change
15. Bloodshot Bill - Be My Own
16. Light Bulb Alley - Roads Must Part
17. Wax Mannequin - Chance to Dance
18. Women - Locust Valley
19. The Cramps - Thee Most Exalted Potentate of Love (Live)
20. Kid Congo & The Pink Monkey Birds - La Arana

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for October 5.

Saturday, September 28, 2019

Saba Lou Novum Ovum: An Interview & Show # 794

Novum Ovum is the second full-length album by Saba Lou. Saba Lou is the daughter of garage rock icon King Khan and will release Novum Ovum on the Ernest Jenning Record Co. label in October 2019. This album takes on a different musical approach than its predecessor. While there are some of the same influences, her first album Planet Enigma released in 2017, was more of an acoustic based record mixing elements of folk and 60s rock. What Novum Ovum brings is full band arrangements that mix an early R&B soul influence and elements of jazz and blues.

“Primrose Diner” begins the album with smooth guitar lines, soulful basslines and a laidback groove. Saba Lou sings of a waitress working in a diner and the revolving cast of characters that drift through. The song reveals a character that is willing to do anything to spend some time with the waitress she admires and has fallen for, but is ultimately intimidated by. The chorus takes off with the lines “Please let me take you away/Just for the night if I may” as the song launches into a feeling that casts shadows of romanticism and hope. “Primrose Diner” evokes an Etta James aesthetic mixed in with a bit of garage rock for good measure. The title track is more up tempo with jangly guitar parts and drums and bass that hide behind the beat as Saba Lou sings over top. The song is based on a poem that she wrote after a painful ovulation on stage due to/because of her Endometriosis. Lyrically, the song calls for victory over a personal struggle. “Dirty Blonde” is the third track found on Novum Ovum. With lyrics such as “White blonde/Platinum/Honeycomb you stuck me in/Stay goddamn dirty blonde/We all know where you’re coming from/What you’re running from”, the song portrays a character that seems to be running from themselves by the constant change in their hair colour, while at the same time emphasizing the need to not pretend to be someone that you’re not. “Penny Roll” moves in with its garage/soul dynamics, as “On The Fields” delivers more of a jazz beat, mixed with blues and soul.

“Telepathetic” was the first video released for Novum Ovum. The video features Saba Lou and the band (Osaka Wald guitar, Amit Alcalai-Duvnjak on bass/keyboards and Omri Gondor on drums), in a dimly lit room performing as a spotlight flashes back and forth in a film noir fashion. The song is awash in soulful guitar, bass and keyboards, as Saba Lou croons about two people that fail to read and connect with each other. “Silver Pill” features acoustic guitar, staccato lead guitar lines, descending keyboard patterns and a chorus that hooks the listener in with the lyrics “You got nothing to prove/That you were there on the scene/And I got nothing to say/Drink your silver pill/With more morphine”. “Violet” comes in with a surf influence that floats between the jazz drum beats, with vivid lyrics courtesy of Saba Lou, “Cherie Sherabou” dances with a jazz and blues makeup, featuring finger snaps and lyrics contrasting glamour and sleaze, while “Humpback In Time” ends Novum Ovum. This song was written from the perspective of Gracie, the pregnant whale from Star Trek IV: The Voyage Home. The song travels with an unease and intensity that is portrayed in the building guitar patterns before the other instrumentation swims through in an R&B rave up fashion sounding like a form of futuristic Morse code in the choruses. Despite the lyrical influence of the song, it portrays a destructive world, uncertainty and a need for understanding. All themes of which parallel the ongoing events of our time.

In some reviews of the album comparisons have been made to Nancy Sinatra and Holly Golightly, but there is so much more found in the music. Other influences such as Nina Simone, Etta James, some 60s garage and many others all add to the world that is created within the music and lyrics of Novum Ovum. Throughout Novum Ovum, the listener is sucked into a world that creates a mood and an atmosphere that is filled with visual and at times visceral images that depict multiple meanings. Novum Ovum means “new egg” in Latin. With Novum Ovum, Saba Lou shows a musical and artistic rebirth revealing something new that captivates with each listen.

Continue reading for a Q&A Revolution Rock did with Saba Lou:

RR: You have a new album coming out called Novum Ovum. What is the significance behind the album’s title and when did you first begin working on the songs for this album?

SL: The meaning of the title is connected to a very personal struggle of mine. Novum Ovum means 'a new egg' in Latin and is based on this furious poem I wrote after a very very painful ovulation on stage. Endometriosis - patches of uterean lining that have gone astray between my uterus' muscle tissue - causes extreme cramping during periods and ovulations. I'm much better now, in treatment and under a strict diet, but for a while there it was extremely difficult to cope. This song is one way I worked through it creatively. I don't remember which song was the first or exactly when, but it must have been somewhere around late 2017. I don't really strive towards 'finishing albums' but just see how and when an idea comes to me, then sometimes I explode and write three in one night. That happened twice for Novum Ovum.

RR: The first single made available online was “Primrose Diner”. Your lyrics are very visual, what inspires you lyrically and where did you draw inspiration for this song?

SL: Primrose Diner is one of my more direct 'odes'. I sort of feel like all of my songs are meant to celebrate something and in this I thought about many friends - one lovely lady, Karen Thompson of GYM Tonic, in specific (I don't think I ever told her...) - who work in cafés, bars and restaurants, something many can relate to. It's not based on a real situation where I've sat at the window trying to muster up the courage to ask a dame out, it's a poetic expression of an admiration I have for those who work in that kind of service. Blended with the romanticized image of the fifties diner waitress. Always on their feet, rushing around, all-smiles in the job description, it's really tough.

Usually it's impressions that inspire me, the feeling left behind after an encounter with someone, a place, anything really. Things that peak my interest that way automatically become something I could write about, lyrics, poems or creative writing alike. With this song especially I felt like I could have gone on forever, written a hundred verses.

Maybe someday I will.

RR: How would you compare the music on Novum Ovum to your first album, Planet Enigma and what do you feel the similarities or differences are between them?

SL: Planet Enigma was a very different phase, the first songs I ever wrote. I'm glad it exists as a witness of time, I will never write or sound like that again. Lyrically I feel much more free on Novum Ovum while I was sort of 'trying things out' with the first. A natural development. And then there's the most obvious difference, the band. I enjoy the versatility of the set, the ability to play solo gives it an acoustic, soft charm, the duo with an added interaction between us two and the band unfolds a whole new level, a grandeur only one, couldn't achieve. I intend on recording a stripped down version of Novum Ovum in the style of the first, solo, as well, to keep it all versatile and not make it seem like the band was the 'improvement'. It's an alternative, enhanced in many ways, but I do still value the other approaches equally.

I guess a similarity would be that both albums document the adolescence of the same person thus completing and complimenting each other, two branches of the same tree.

RR: Who currently plays in your live band and do the same people play on Novum Ovum? Are there any special guests as on Planet Enigma?

SL: The three of them, Oska Wald of Chuckamuck on lead guitar and back up vocals, Amit Alcalai-Duvnjak of the Gondors and Chuckamuck on synth-bass and keys and Omri Gondor of the Gondors on drums, they add so very much to all of it. We are all friends with many connections. Everybody's known each other for several years, I met Oska for the first time when he was fourteen and I was five. We got to know each other about ten years later and are very close friends now. The other two, Amit and Omri, go way back, they started off in the Tel-Aviv jazz scene in their teens. As you can see above, everyone plays with everyone else in many combinations, which gives us all a very comfortable, familiar feeling. When you have good relationships with your bandmates any stage will feel like home.

They are the special addition to Novum Ovum, and what an egg we've all hatched.

RR: What is the typical songwriting process like for you and what would you say some of your musical influences are for your music?

SL: It really depends, sometimes I write a poem and leave it be for a while, rediscover it and add music (I have bags and piles of scrap paper all over my apartment). Sometimes I note chord progressions first, but mostly I do both at the same time. I sing the line, find the chord and progress little by little. I feel very inspired by many types of music, usually I go through phases of a few similar songs and listen to them on repeat for weeks. Then the next song I write is usually connected to that style. I don't want to say that my music is in any way similar, but just to name a few of my favourites, just things that I really enjoy listening to: early Nina Simone, early Eartha Kitt, early Marvin Gaye, Astrud Gilberto (not so much her English singing), Dolly Parton, Asha Bhosle, Ennio Morricone.

And to add some modern stuff: I love The Frowning Clouds from Australia, I want to shout out to them whenever I can. I hope they record some more... I'm a big Flight of the Conchords fan. Also my very dear friend Jeff Clarke and all of his past, present and future projects melt me (Demon's Claws, Hellshovel, Milk Lines, Strawberry Sun). One song on the new album is (secretly) dedicated to him and another inspired by his hair.

RR: Growing up as the daughter of King Khan must have been a unique experience. What is one of your earliest musical memories and what types of music was present when you were growing up?

SL: You could say that, haha, though I've never been anyone else's child and lack the comparison.

My earliest memory is a yellow Buddy Holly Greatest Hits record, that I ADORED as a baby. It still does and always will touch my heart in the place that still drools and wears diapers. The thing I am most grateful for in terms of the artistic exposure my parents gave me (my mother was just as much an important influence, since their shared love of the same things gave birth to what we now call 'The Vortex', our family apARTment) is the love for the history of music and the discovery of new things. We listened to mostly fifties to seventies stuff when we were small, Chuck Berry, Ike and Tina, Bo Diddley, The Miracles, The Ronettes, The Beatles, Screaming Lord Sutch, Nuggets, Pebbles, 60s Bollywood soundtracks, etc. That taught us to understand how these things influenced my father and his friends. The ability to spot commonalities is ultimately what will teach you how to understand musical history and how to approach creation without fear, because it's all connections, references.

My dad played me GG Allin's 'Drink, Fight and Fuck' for the first time when I was eleven. I hated it and I was mad at how amusing he found my torture. Then, when I started to get into it a few years later I was surprised and glad I could reconstruct that development within myself. So in the long run I was taught to understand change and always stay curious.

I don't listen to stuff like that at all now. I've actually been getting into a lot of traditional Japanese koto music, Nanae Yoshimura and Kimio Eto for example, and also a bunch of Indian classical like Ustad Vilayaat Khan. It gives me a wonderful foundation of peace and meditative calm on which to base my thoughts. Who knows what I might write next...

RR: Your first release was a 7 inch EP released when you were only 6 years old. What do you remember of making these recordings that wound up on the First Day of School EP?

SL: I do not remember anything, but wearing very large headphones, that I had to hold onto constantly. Memories from that time are very vague. I know we were always playing with instruments, the best toy in the world if you ask me, Papa was always showing us stuff and let us play with everything. A little off-topic, but I do remember clearly how my little sister Amabelle and I would construct complicated space crafts on the living room floor using the fourtrack, theremin and all other devices around with buttons and nobs to play space travel. (I might note that I'm the deepest trekkie and these instruments may have paved the way there.)

RR: What’s next for you musically?

SL: At the moment I really want to take it easy, I'm focusing more on visual art and creative writing, I just finished a short story I might be printing soon. I love music, but I don't plan on it being the main focus of my life, I'm very attracted to the sciences.

So for now there are now grand plans aside from this alternate version of Novum Ovum.

I will let whatever comes come. Let me finish with a tiny little dream I've been cultivating in the very back corner of my mind: fifties/sixties sci-fi soundtrack meets Ennio Morricone meets Jackson Five.

Get a copy of Saba Lou's Novum Ovum here.

Show 794 (Originally Aired On September 28th, 2019)(Saba Lou, The Replacements, The Mummies):

1. Mudhoney - Creeps Are Everywhere
2. Vivian Girls - Memory
3. Girl Band - Couch Combover
4. Not Of - Truck
5. Cellos - Head to Stone
6. Psychic Void - Drug Surface
7. Psychic Void - Day Dreamer
8. Trout - Laika (CJAM Session)
9. The Replacements - Achin’ To Be (Matt Wallace Mix)
10. The Replacements - Portland (Alternate Mix)(Bearsville Version)
11. Randy Newman - Mama Told Me Not to Come
12. Eamon Mcgrath - Guts
13. Jom Comyn - Mountain
14. Scott Walker - Amsterdam
15. Belle and Sebastian - Get Me Away from Here I'm Dying
16. Julie Dorian - Lovers of the World
17. Patti Smith - Space Monkey
18. Brittany Howard - 13th Century Metal
19. Mount Eerie & Jule Dorian - Who?
20. Saba Lou - Waiting for the Bus
21. Saba Lou - Primrose Diner
22. The New Pornographers - The Surprise Knock
23. Matana Roberts - Fit to be Tied
24. The Mummies - Land of 1000 Dances
25. The Mummies - Victim of Circumstances
26. The Mummies - Justine
27. TV Freaks - Knife
28. Uncontrollable Urge - Pep Talk
29. Chunder Buffet - Goosebumps
30. Fugazi - Nice New Outfit

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for September 28.