Saturday, December 26, 2020

Revolution Rock: The 2020 Interviews & Show # 862

This year on Revolution Rock, we’ve done more interviews than in any other year of the program. In 2020 the program featured ten different interviews, six audio based interviews that aired on the show and four that were done via email specifically for this website. On this episode we featured highlights (or clips) from each of the audio interviews and music from each of the artists that were interviewed, whether it was for the radio program specifically or for this website. Below you will find some info about these interviews plus the playlist and download links to the episode.

An Interview with Bloodshot Bill (February 2020):

In February 2020 as part of Revolution Rock’s Theme Month based programming we spoke with Montreal musician Bloodshot Bill. Bloodshot Bill plays his own brand of wild rockabilly and 50s rock influenced music. Sometimes operating as a one-man band live and sometimes performing with others, Bloodshot Bill releases music at a prolific pace. In this interview we discussed some of the collaborations that he has done throughout his career with other artists, leather jackets, his guitar, some of the strangest shows he has played, comic books and more. In April 2020, he released Get Loose Or Get Lost on Goner Records and several EPs (Spit On My Rubber (with The Televisionaires), Lost Gems From The Studio Vault Vol 1, Trick & Treat Vol 2, Outta My Head Vol 1 & 2). He also released a Halloween themed song with Mark Sultan as part of The Ding-Dong’s called Blood! Blood! Blood!, is featured on recordings put out by King Khan in 2020, released a rap album by G-Fine, and a compilation album of hard to find European singles called Tattletale Vol 1.

Listen to the full interview here:

Find the original post here.

An Interview with Dale & Dom D’Amore of The Nelsons (May 2020):

The Nelsons were a band from Windsor, Ontario. They are often considered the first supergroup in Windsor as they were made up of two parts of the Windsor band The Spy’s (guitarist Dale D’Amore & bassist Joe Desrameux) and two parts of The Hardtops (bassist/vocalist Dom D’Amore & drummer Dave Garrant). The band went through many lineup changes throughout their existence and played live shows frequently in Windsor, London and Detroit, but never officially released any recordings. This exclusive interview was done through Q&A for this website and covers their entire history. One of their unreleased songs “Cub’s Boogie” is featured on the radio show in this post (download/streaming links are below the playlist).

An Interview with Nigel Chapman of Nap Eyes (May 2020):

Halifax band Nap Eyes released their fourth full-length album, Snapshot of a Beginner in March 2020. We spoke with vocalist/guitarist/songwriter Nigel Chapman. Introspection is ever present in the music of Nap Eyes. The music and lyrics of Nap Eyes have a way of identifying with the listener in a personal way, as if the songs are about them. Musically, Nap Eyes have drawn comparisons to bands such as The Velvet Underground, Television, The Clean, Leonard Cohen, this one comes into its own also adding elements of bands such as early Walkmen, Yo La Tengo, and the music of David Berman. Production wise, Snapshot of a Beginner was produced by James Elkington and Jonathan Low at The National’s Long Pond Studio. For most of the band’s recorded output they have recorded live off the floor with minimal to no overdubs. This album differs in that aspect adding additional layers to the production of the Nap Eyes sound. Nap Eyes also released a digital single in 2020 called Snake Oil/Child's Romance.  In this interview Nigel discusses releasing an album in the pandemic, how Nap Eyes formed, and songwriting processes.

Listen to the full interview here:

Find the original post here.

An Interview with Dale D’Amore & Frank Carlone of The Spy’s (June 2020):

The Spy’s first and only single “Underground/Machine Shop” was originally released in 1980 and has since become somewhat legendary. Even after the bands split in 1980, it is still sought after. In the decades that followed, interest in The Spy’s has only grown. They were featured on the Smash The State Volume 2 compilation album in 1994, along with a collection of other early Canadian punk acts. In 2001, a compilation album entitled Original Punk Rock From Canada 1979-1980 was issued on the Incognito label. The album features demos that the band did of six songs in 1979 that were regular features of their live shows, the 1980 single and some live recordings of new songs from the 90s reunion show. Out of print for decades, Ugly Pop Records reissued The Spy’s “Underground/Machine Shop” single in 2012. In November 2020, The Spy’s released their single digitally for the first time on streaming services such as Spotify and Apple Music. The collection also includes six previously unreleased recordings. Guitarist Dale D’Amore and vocalist Frank Carlone did an exclusive Q&A interview for this website that covers their entire history.

Read the full interview/post here.

An Interview with Chris Murdoch (Writer, Musician and Drummer in Souvenir)(July 2020):

Chris Murdoch has been involved in numerous bands in and around the Halifax music scene. Some of his credits include being in Outtacontroller, Word On The Street and Botfly to name a few. Recently Murdoch has been playing drums and writing songs with Souvenir. This band just released an EP entitled Beating Into Dust in February 2020. In June 2020, Montreal based label Pentagon Black released the first of their Pentagon Black Pamphlet Information Series. Black Dots: An Afropunk Primer is an eight-page essay written by Halifax musician, DJ and writer Chris Murdoch. The eight-page essay is somewhere in between a zine and pamphlet that also includes exclusive illustrations done by graphic designer/musician Raymond Biesinger. Inside over the course of 2800 words, Chris Murdoch covers his own experiences being a musician and attending shows in Halifax along with information about when Black first met punk in the UK and US. During the first initial days of the release, orders came in and numbers quickly surpassed the 500 mark. Over 1601 copies of Black Dots: An Afropunk Primer have sold with over $3000 donated to Black Lives Matter Solidarity Fund Nova Scotia. You can still get a copy over at the Pentagon Black website. This exclusive interview was done through Q&A for this website and covers Murdoch’s growing up in Halifax, writing Black Dots: An Afropunk Primer, bands that he has been a part, recorded with and a lot more. Several recordings from bands he has been in are featured on the radio show in this post (download/streaming links are below the playlist).

Read the full interview/post here.

An interview with Jarrett Sampson of Tough Age (September 2020):

Toronto’s Tough Age released their fourth full-length album Which Way Am I? on Mint Records in August 2020. Originally from Vancouver, but located in Toronto since 2015, Tough Age have released what many feel is their strongest album to date. Tough Age is made up of singer/guitarist Jarrett Samson, Penny Clark on bass/vocals and Jesse Locke on drums. Musically the album draws from the sonic textures of indie bands such as The Clean, The Chills, The Bats and other early New Zealand bands on the Flying Nun record label. Recorded once again with producer Peter Woodford (TOPS, Moss Lime, Homeshake, Tess Roby) at The Bottle Garden in Montreal and mixed by Jay Arner, Which Way Am I? is just one of those albums that you can’t really describe why it affects you so much. In this interview Jarrett discusses the recording of Which Way Am I?, comic books, releasing a zine of poems/lyrics, the band Cub and more. Several recordings from this critically acclaimed album and one album outtake (“Waiting Here”) are featured on the radio show in this post (download/streaming links are below the playlist).

Listen to the full interview here:

Find the original post here.

An Interview with Steve Sidoli of Teenanger (October 2020):

Teenanger released their sixth studio album titled Good Time on October 2nd. Put out through Telephone Explosion Records, Good Time is a lean record that wields a large burst of creative energy. The band finds a deeper groove on this record as they lock in on each of the eight tracks that make up Good Time and further expand the post punk wavelengths that they explored on 2017’s Teenager. They do this while still keeping their thought provoking and subversive lyrical subject matter in tact. Produced by drummer Steve Sidoli in their newfound rehearsal space/functional studio named Studio Z and mixed by Sandro Perri, the title of the album may be tongue-in-cheek, it may not. Teenanger’s lyrical subversion and irreverent humour shine through as they harness their creative energies to create a new post punk aesthetic for themselves. In this interview with drummer Steve Sidoli, he discusses the recording of Good Time, how Teenanger has evolved, Nick Cage and Jeff Goldblum movies, the music video for “Romance For Rent” and more.

Listen to the full interview here:

Find the original post here.

A Live Performance and Interview with Johnny West (November 2020):

Johnny West has been making music in Windsor for some time. Usually recording in his home studio, Johnny West has released a prolific amount of music. West releases his music independently, usually on CD and often discusses it through his website.  Some of his critically acclaimed albums include 2008’s Chicken Angel Woman With A Triangle, 2009’s Love Songs For Nihilists, and 2011’s Gift For A Spider to name a few. Johnny West released Year of the Sleepwalk, a 48-song uncompromising, genre bending double album in early 2020. Year of the Sleepwalk spans a wide breadth of eclectic musical genres (folk, blues, jazz, blue grass, bossa nova, shoe gaze) and features several guest/cameo musicians. To coincide with this release, Revolution Rock did a lengthy Q&A for this website covering the album’s history and some of Johnny’s as well. In addition to all of this, Johnny filmed a live performance in his studio that was also shared on this site. This radio show in this post featured two recordings from Year of the Sleepwalk (download/streaming links are below the playlist).

Read the full interview/post here. You will also find the live studio performance here.

An Interview with Michael Lachowski & Vanessa Briscoe Hay of Pylon (November 2020):

Forming in the late 1970s in Athens, Georgia, Pylon were made up of four art students from the University of Georgia. Featuring guitarist Randy Bewley, bassist Michael Lachowski, drummer Curtis Crowe and singer Vanessa Briscoe Hay, Pylon took their brand of danceable post-punk to amazing heights in their initial run from 1979-1983. The original premise of the band was to play a live show in New York once, be featured in New York Rocker magazine and then break up. Fortunately, they stuck around longer than that. In November 2020, New West Records released Pylon Box, comprising the band’s first two albums, a demo tape and selected outtakes, singles and live recordings. Throughout the years, interest in the band has continued. Revolution Rock spoke with bassist Michael Lachowski and vocalist Vanessa Briscoe Hay discussing their recent box set Pylon Box. They also reflect in detail on some moments in the band’s career such as the developments between their albums Gyrate and Chomp, touring with Gang Of Four, how their background in art school influenced the music that they created and more. The radio show in this post features two songs from Pylon Box (download/streaming links are below the playlist).

Listen to the full interview here:

Find the original post here.

An Interview with King Khan (December 2020):

Originally from Montreal, but now residing in Berlin, King Khan has been known for his garage/punk music in bands such as The King Khan & BBQ Show, The Spaceshits, LTD, leading the R&B/soul inspired King Khan & The Shrines and collaborating with many others. Yet another prolific artist interviewed for Revolution Rock in 2020, King Khan released his first ever jazz album, Infinite Ones, at the end of October 2020. The album draws influences from composers such as Alice Coltrane, Rahsaan Roland Kirk, Philip Kelan Cohran, Bernard Herrmann, Ennio Morricone, Miles Davis, Sun Ra, John Carpenter and Quincy Jones. It also takes on influences from film noir and old Bollywood films. It also features contributions from members of the Sun Ra Arkestra and Calexico. In this interview King Khan discusses his jazz album, Infinite Ones, he also discusses his current activism causes, creating the Black Power Tarot and how he first met the Sun Ra Arkestra. This episode featured two selections from Infinite Ones and one new song from an upcoming punk album featuring a new band with Khan called The King Khan Unlimited.

Listen to the full interview here:

Show #862:  The 2020 Interviews Playlist:

1.  Bloodshot Bill - Don't Let Go (Get Loose Or Get Lost - Goner Records - 2020)
2.  Bloodshot Bill - A Cheat (Get Loose Or Get Lost - Goner Records - 2020)


3.  Bloodshot Bill - Straight To The Moon (Get Loose Or Get Lost - Goner Records - 2020)
4.  The Nelsons - Cubs Boogie (Unreleased)
5.  Nap Eyes - If You Were In Prison (Snapshot of a Beginner - Royal Mountain Records/Jagjaguwar - 2020)


6.  Nap Eyes - Snake Oil (Snake Oil/Childs Romance - Jagjaguwar - 2020)
7.  Nap Eyes - Dark Link (Snapshot of a Beginner - Royal Mountain Records/Jagjaguwar - 2020)
8.  The Spy's - Underground (Underground/Machine Shop Single - 2020 Remaster)
9.  Souvenir - Promises (Beating Into Dust EP - 2020)
10. Outtacontroller - Mutations (Television Zombies - P. Trash Records/Young Modern/Southpaw Records - 2015)
11. Tough Age - My Life's A Joke & I'm Throwing It Away (Which Way Am I? - Mint Records - 2020)
12. Tough Age - Anti-Anxiety Exercises (Which Way Am I? - Mint Records - 2020)


13. Tough Age - Waiting Here (Waiting Here Single - 2020)
14. Teenanger - Good Time (Good Time - Telephone Explosion - 2020)


15. Teenanger - Touching Glass (Good Time - Telephone Explosion - 2020)
16. Johnny West - Vector (Year of the Sleepwalk - Tosteestosta Music - 2020)
17. Johnny West - Firecrackers (Year of the Sleepwalk - Tosteestosta Music - 2020)
18. Pylon - Volume (Gyrate - DB Records/New West Records- 1980/2020)


19. Pylon - Reptiles (Channel One Version) (Pylon Box - New West Records - 2020)
20. King Khan - The World Will Never Know (Infinite Ones - Ernest Jenning Record Co./Khannibalism - 2020)


21. King Khan - A Hard Rain's Gotta Fall  (Infinite Ones - Ernest Jenning Record Co./Khannibalism - 2020)
22. King Khan Unlimited - Pigment Of Your Imagination (Opiate Them Asses - Ernest Jenning Record Co./Khannibalism - 2021)

To hear this program, visit CJAM's schedule page for Revolution Rock and click the December 26 file to download/stream the episode.

Tuesday, December 22, 2020

Joe Strummer Day 2020: Revolution Clash! Retrospective and Rare Selections From Joe Strummer & The Clash (Show #861)

For the last several years, CJAM FM has held an annual Joe Strummer Day Marathon on their airwaves. Every year at this time, we focus on issues of homelessness and poverty in the Windsor/Detroit area and wrap them around the music of Joe Strummer and The Clash to help raise awareness and to address these issues. Revolution Rock did a music program this year, in addition to providing some information on resources for poverty/homelessness in the Windsor/Detroit area. For this year’s contribution to Joe Strummer Day, Dave & Adam of Revolution Rock did a retrospective of Joe Strummer and The Clash. It has differed from past specials. We decided to play a selection of some of our favourites from The Clash and Strummer’s catalogue. On the episode there is rare live Clash material, selections from The Mescaleros, the Joe Strummer 001 Box Set and more. View the playlist and download/stream link to the episode below. 

In Other Clash News:

On December 11th, a new music video appeared for The Clash’s 1980 single “The Magnificent Seven". It has been 40 years since The Clash released Sandinista! their fourth album, which was actually a triple album. The song is also found on this album. “The Magnificent Seven” featured a funk influence, but also the influence of 80s New York hip hop. This was also the first rap record by a rock group. The album Sandinista! delves into a wide variety of genres and exposed many listeners to different sounds that they may not have discovered otherwise.

To celebrate the 40th anniversary of Sandinista! filmmaker Don Letts put together a new music video for "The Magnificent Seven". Letts has directed numerous music videos for bands such as Public Image Limited, The Clash, The Pretenders, Elvis Costello, Eddy Grant and Bob Marley to name a few. He also released the award winning documentary Westway To The World in 2000 and Punk: Attitude in 2005. The video for “The Magnificent Seven” compiles footage from The Clash in that time period, featuring footage from when the band appeared on The Tom Synder Show and previously unseen footage from when The Clash played a 17-night residency at the Bond’s International Casino in 1981. This was a surprise for many Clash fans due to the fact that much of this footage was said to have been lost years ago. 

Letts, who was also a frequent collaborator with The Clash (having done all their music videos) had this to say of the band: “They were always ahead of the game,” Letts said of The Clash. “‘Sandinista!’ signposted the multi-cultural way music was going and the elements that make The Clash great are still a currency that’s recognised by youth in the 21st century.” 


JSD 2020 Playlist (Originally Aired On December 22nd, 2020)(The Clash & Joe Strummer Retrospective):

1.  Joe Strummer & The Mescaleros - Gamma Ray (Global A Go-Go - 2001)
2.  Pearl Harbour - 2 Bullets (Joe Strummer 001- 2018)
3.  Joe Strummer & The Latino Rockabilly War - Love of the Common People (Live) (Live The Fridge Brixton, South London 1988)
4.  The Clash - Good Times Roll (Rude Boy - The Director's Cut - 2003)
5.  The Clash - Garageland (Demo) (Rude Boy - The Director's Cut - 2003)
6.  The 101ers - Silent Telephone (Elgin Avenue Breakdown Revisited - 2005)
7.  Joe Strummer - Tropic of No Return (Walker Soundtrack - 1987)
8.  Johnny Cash (With Joe Strummer) - Redemption Song (Unearthed - 2003)
9.  Strummer, Simonon & Howard - Pouring Rain (Joe Strummer 001 - 2018)
10. The Clash - Rockers Galore/Bankrobber (Live)  (Live at Brixton Fair Deal 1982)
11. The Clash - Charlie Don't Surf (Live) (Live at Brixton Fair Deal 1982)
12. The Clash - Capital Radio (Live) (Live At The Lyceum - January 3rd, 1979)
13. The Clash - The Gates of The West (Cost of Living EP - 1979)
14. The Clash - The Leader (Sandinista! - 1980)
15. The Clash - City of the Dead (Super Black Market Clash  - 2000)
16. The Clash - Idle In Kangaroo Court (Combat Rock Outtake) (Sound System - 2013)
17. Joe Strummer & The Mescaleros - X-Ray Style (Rock Art & The X-Ray Style - 1999)
18. Joe Strummer & The Mescaleros - Time and Tide (Yalla Yalla - 1999)
19. Joe Strummer & The Mescaleros - Coma Girl (Streetcore - 2003)
20. Joe Strummer & The Mescaleros - Global A Go-Go (Global A Go-Go - 2001)
21. Joe Strummer - Dum Dum Club (Sid And Nancy: Love Kills (Music From The Motion Picture Soundtrack) - 1986)
22. Joe Strummer & The Latino Rockabilly War - Nothin' Bout Nothin' (Permanent Record - Music From The Original Motion Picture Soundtrack - 1988)
23. Joe Strummer & The Long Beach Dub Allstars - The Harder They Come (Free The West Memphis 3 - 2000)
24. The Clash - The Magnificent Seven (Sandinista! - 1980)

Saturday, December 19, 2020

2020 Album Highlights & Shows # 860, 859

Last year, instead of doing a top twenty or top ten album list 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. We've continued this method for the albums of 2020 this year.  What you will find here are six write-ups from some albums that were released in 2020, three written by Dave and three written by Adam. Following these words are playlists and download links to two episodes featuring music released in 2020.

2020 Album Highlights:
Written by Dave Konstantino

Tough Age – Which Way Am I?

Describing their music as “culmination rock" fusing elements of surf, garage, punk and indie pop, Toronto’s Tough Age released their fourth full-length album Which Way Am I? on Mint Records in August 2020.  Tough Age is made up of singer/guitarist Jarrett Samson, Penny Clark on bass/vocals and Jesse Locke on drums. Musically the album draws from the sonic textures of indie bands such as The Clean, The Chills, The Bats and other early New Zealand bands on the Flying Nun record label. In addition to this there are other musical signifiers such as Sonic Youth, Television and The Feelies. Lyrically, the songs are very introspective, that often question and contradict at the same time. “Self-Confidence” opens Which Way Am I? With scratchy guitars, driving bass and steady, yet explosive drum patterns, this song opens with the question many people in the arts find themselves in “Here we are back on track/Anyone still looking?” The song questions being a band in the modern age of Internet streaming with Samson’s own sense of wit and humour.  “Penny Current Suppression Ring” comes in as track two on Which Way Am I? Sung by bassist Penny Clark, this song with lyrics that poke fun at Samson’s obsession with New Zealand Flying Nun bands. The song thrives with energy and influences of bands such as Eddy Current Suppression Ring (who are from Australia, not New Zealand). Like many of the songs on this album, more than one thought runs through it. This song also poses the question what success would mean in order to be happy.  Which Way Am I? is just one of those albums that you can’t really describe why it affects you so much. The way that this three piece plays together on this album projects an energy and mesmerizing cohesion. Maybe that’s it? Whatever it is, Which Way Am I? creates its own sonic landscape that swirls with different lyrical and musical textures that are intense at times, but also thrilling and addictive. 

Recommended Tracks:  “Self-Confidence”, “Penny Current Suppression Ring”, “Consequences”

Teenanger – Good Time

Put out through Telephone Explosion Records, Good Time is a lean record that wields a large burst of creative energy. “Beige” starts off Good Time. With its watery guitar, bass that treads with strong melodies, intense feedback and drums that provide a resilient backbeat, “Beige” brings forth lyrical images with words such as “I’m stuck in a strange wave/Everything starts to feel beige/Can’t walk in a straight line/Can’t stay in time” and “It’s the safest shade/Everything is beige”. Within the opening moments of the album, Teenanger leave plenty for the listener to contemplate.  “Touching Glass” mixes new wave/post punk sounds with pop. Sung by bassist Melissa Ball, “Touching Glass” arrives with a seemingly laid back approach, but digs in as the chorus “You’re touching glass/We’re fading fast” hits and cutting guitar and drums break through. This song delves into the frustration of being absorbed by our phones all day.  As the song reaches its close, the band moves into a funkier groove with sweeping synthesizers and polyrhythms that would make fans of Talking Heads or even Tom Tom Club move their feet.  With Good Time, Teenanger breaks free from the rut of repeating themselves. Produced by drummer Steve Sidoli in their newfound rehearsal space/functional studio named Studio Z and mixed by Sandro Perri, the title of the album may be tongue-in-cheek, it may not. Teenanger’s lyrical subversion and irreverent humour shine through as they harness their creative energies to create a new post punk aesthetic for themselves.  This proves to anyone who listens that despite the challenges and negativity that can surround us it is not impossible to have a good time.

Recommended Tracks:  “Romance For Rent”, “Good Time”, “Touching Glass”

Shadow Show - Silhouettes

Detroit’s Shadow Show combines elements of 60s psychedelia and garage rock.  The band features guitarist/vocalist Ava East, bassist Kate Derringer and drummer Kerrigan Pearce.  Recorded and mixed by bassist Kate Derringer in Ann Arbor, Michigan and mastered by Jim Diamond, Silhouettes, their debut full-length album contains ten tracks that cast infectious melodies and a mysterious energy.  “Charades” features a 1966-era Beatles psychedelia with its marching drumbeats, apregiated guitars, bouncing basslines and lyrics “I could be you/You could be me/I could be anything I see/But that’s part of the dream” that start off the album with a range of thoughts and sentiments.  As the song picks up and it drifts into the surfy breakdown, it moves back into undeniable grooves that make you move as lyrics such as “Now the mystique is to be known/its light as curious as shadow/cause that’s part of the show you know” provide further depth in the opening moments of Silhouettes.  “Contessa” is a garage rock track with lush vocal harmonies and lyrics about deception, “The Alchemist” deals with psychedelic elements and features lyrics such as “You seek the place/I seek the center of your mind/watch it closing in on you”.  “Trapeze Act” sways back and forth on the edge with its steadying drums, dizzying guitar riffs and basslines.  With Silhouettes, Shadow Show deliver a strong debut album with a range and depth featuring psychedelic grooves and catchy harmonies that is also rooted in the raw, uncompromising Detroit sound.  Silhouettes outlines a sound and vision that is all their own.  

Recommended Tracks:  “Charades”, “Contessa”, “Silhouette”

More 2020 Album Highlights:
Written by Adam Peltier

Fiona Apple - Fetch the Bolt Cutters

If punk is not a sound as much as an attitude, nobody made a more punk record this year than Fiona Apple. Fetch the Bolt Cutters is an uncompromising collection of piano and experimental percussion that completely subverts any expectations of listeners still wanting to hear another “Criminal” out of the artist. Beyond the abrasive and experimental sounds of the record, Apple was also uncompromising in the subject mater she sung about: misogyny (“Under the Table”), sexual assault (“For Her”), and the complexity of the songwriter’s relationships with other women. In fact, what is so fantastic about this record is how centred it is on the experiences of women, whether through the nostalgic reminiscences of “Shameika” or the scathing critique of how society positions females into confrontational roles as described in “Ladies.” Personal and political, Fetch the Bolt Cutters is Apple’s boldest and most honest record to date, a revelatory listen that demonstrates that she is one of our generation’s greatest songwriters.

Recommended tracks: “Shameika”, “Heavy Balloon”, “Cosmonauts”

Bob Dylan - Rough and Rowdy Ways 

What’s left to say about Rough and Rowdy Ways? The bard’s 39th studio album was met with glowing praise on its release, with dozens of articles acclaiming the Protean-songwriter’s return to original material after a clunky series of covers-records. Like the other great late-era Dylan albums (think Time Out of Mind and Love & Theft), the legend hoarsely intones his elliptical poetry over sympathetic bare-bones blues arrangements. However, what stands out about the record is the quality of Dylan’s songwriting. His acerbic verse describes encounters with the spectre of death in “Black Rider,” the Pygmalion-cum-Frankenstein creation of an idealized lover in “My Very Own Version of You,” and describes passing into old age as a tumultuous sea-voyage on “Crossing the Rubicon.” It also features the best up-tempo numbers to come from Dylan in over a decade, such as in the bluesy “Goodbye Jimmy Reed” or the hard-hitting satire of “False Prophet.” Then there is “Murder Most Foul,” the epic seventeen minute piano ballad about the assassination of JFK which landed Dylan his first ever number one single. Though just shy of eighty, Rough and Rowdy Ways proves that Dylan has lost no steam and is still capable of producing some of the most profound and moving music of his storied career.

Recommended tracks: “False Prophet”, “I Contain Multitudes”, “My Very Own Version of You”

Cindy Lee - What’s Tonight to Eternity

Cindy Lee, the experimental project by former Women guitarist Patrick Flegel, is simultaneously beguiling and alluring. The sounds produced from this outfit sound both nostalgic and dystopian: the Cleaver’s house is on fire, Dick and Jane are chasing you with knives, Brigitte Bardot is flashing a smile at you while pouring sulfuric acid on your face. Traditional balladry evoking 1950’s pop music is subverted throughout What’s Tonight to Eternity: imagine Lynch’s Blue Velvet filtered through the apocalyptic dissonance of Sonic Youth’s “Death Valley 69.” Sounds of 60’s ye-ye pop are merged with VU style distortion on “Plastic Raincoat.” The bouncy synth-pop of “I Want You to Suffer” is suddenly plunged into cacophonous feedback. Even the album’s most conventionally beautiful song “Heavy Metal,” a tribute to Flegel’s late bandmate Chris Reimer, bristles with an unsettling undertone of menace. This noir nightmare of an album display’s Cindy Lee’s incredible range and manages to craft a unique sonic world unlike any other record released this year.

Recommend tracks: “Heavy Metal”, “I Want You to Suffer”, “Plastic Raincoat”

Show # 860 Playlist (Originally Aired December 19th, 2020)(Albums of 2020 Part Two):

1.  Tommy & The Commies - Hurtin' 4 Certain (Hurtin' 4 Certain EP - Slovenly Recordings - 2020)
2.  Demolition Doll Rods - That's Insane (Into The Brave - In The Red Records - 2020)
3.  Fuzz - Mirror (III - In The Red Records - 2020)
4.  TV Freaks - Space (People - Schizophrenic Records - 2020)
5.  Osees - If I Had My Way (Protean Threat - Castle Face Records - 2020)
6.  Jon Mckiel - Management (Bobby Joe Hope - You've Changed Records - 2020)
7.  Nap Eyes - Mark Zuckerberg (Snapshot Of A Beginner - Royal Mountain Records/Jagjaguwar - 2020)
8.  Daniel Romano's Outfit - Never Yet In Love (How Ill Thy World Is Ordered - You've Changed Records - 2020)
9.  Bloodshot Bill - My Heart Cries For You (Get Loose Or Get Lost - Goner Records - 2020)
10. Waxahatchee - Witches (Saint Cloud - Merge Records - 2020)
11. Bill Callahan - Breakfast (Gold Record - Drag City - 2020)
12. Jeff Tweedy - Gwendolyne (Love Is The King - dBpm Records - 2020)
14. Neil Young - Homegrown (Homegrown - Reprise - 2020)
15. X - Goodbye Year, Goodbye (Alphabetland - Fat Possum Records - 2020)
16. Jeff Rosenstock - Leave It In The Sun (No Dream - Polyvinyl Record Co. - 2020)
17. Drive-By Truckers - The New OK (The New OK - ATO Records - 2020)
18. Drive-By Truckers - Armageddon's Back In Town (The Unravelling - ATO Records - 2020)
19. Shadow Show - Contessa (Silhouettes - Stolen Body Records/Greenway Records - 2020)
20. Fontaines D.C. - A Hero's Death (A Hero's Death - Partisan Records - 2020)
21. Thurston Moore - Cantaloupe (By The Fire - Daydream Library - 2020)
22. Wire - Off The Beach (Mind Hive  - Pinkflag - 2020)
23. Metz - Blind Industrial Youth Park (Atlas Vending - Sub Pop - 2020)
24. The Strokes - Brookyln Bridge To Chorus (The New Abnormal - Cult Records/RCA - 2020)
25. Pottery - Take Your Time (Welcome To Bobby's Motel - Partisan Records - 2020)
26. Protomartyr - Michigan Hammers (Ultimate Success Today - Domino - 2020)
27. Teenanger - Good Time (Good Time - Telephone Explosion - 2020)
28. Tough Age - Consequences (Which Way Am I? - Mint Records - 2020)
29. Bob Dylan - False Prophet (Rough And Rowdy Ways - Columbia Records - 2020)

Show #859 Playlist (Originally Aired On December 12th, 2020)(Albums of 2020 Part One):

1.  Art Blakey & The Jazz Messengers - Quick Trick (Just Coolin' - Blue Note - 2020)
2.  King Khan - Wait Till The Stars Burn (Infinite Ones - Ernest Jenning Record Co./Khannibalism - 2020)
3.  Rolling Blackouts C.F. - The Cool Change (Sideways To New Italy - Sub Pop - 2020)
4.  Dog Day - Hell On Earth (Present - Fundog Records - 2020)
5.  Sweet Dave - Future Dirt (Pink Dreams - Pointless Product - 2020)
6.  Guided By Voices - Haircut Sphinx (Mirrored Aztec - GBV Inc. - 2020)
7.  Fiona Apple - Shameika (Fetch The Bolt Cutters - Epic/Clean Slate - 2020)
8.  The Microphones - The Microphones in 2020 (excerpt) (The Microphones in 2020 - P. W. Elverum & Sun, Ltd. - 2020)
9.  Cindy Lee - Heavy Metal (What's Tonight to Eternity  - W.25TH / Superior Viaduct - 2020)
10. Yves Tumor - Identity Trade (Heaven To A Tortured Mind - Warp Records - 2020)
11. Ron Leary This Guitar (Musicians Make Great Construction Workers - 2020)
12. Ron Leary & Dean Drouilliard - First Love (As Long As I Ain't Thinking About It - 2020)
13. Johnny West - Lead Bullets (Year of the Sleepwalk - Tosteestosta Music - 2020)
14. James O-L - All That I Need (No Fear - Famous Last Records - 2020)
15. Orville Peck - Summertime (Show Pony - Columbia Records/Sub Pop - 2020)
16. The Flaming Lips - Dinosaurs On The Mountain (American Head - Warner - 2020)
17. Jarv Is… - Swanky Modes (Beyond The Pale - Rough Trade Records - 2020)
18. Destroyer - Kinda Dark (Have We Met - Merge Records - 2020)
19. U.S. Girls - Overtime (Heavy Light - 4AD - 2020)
20. Porridge Radio - Sweet (Every Bad - Secretly Canadian - 2020)
21. Crack Cloud - Something's Gotta Give (Pain Olympics - Metal Machine - 2020)
22. Special Interest - Don't Kiss Me In Public (The Passion Of - Night School / Thrilling Living - 2020)
23. Coriky - Have A Cup Of Tea (Coriky - Dischord Records - 2020)
24. Lie - Digging In The Desert (You Want It Real - Mint Records - 2020)
25. Dean Marino - Haunted No 3 (Love-Thirteen - Flowerpot Records - 2020)
26. Kestrels - Blue and Grey (Featuring Jay Mascis) (Dream Or Don't Dream - Darla Records - 2020)
27. Damaged Bug - Microminature Love (Bug On Yonkers - Castle Face Records -2020)
28. Rough Francis - Urgent Care (Urgent Care -2020)
29. No Age - Agitating Moss (Goons Be Gone - Drag City -2020)

Saturday, December 05, 2020

Infinite Ones: An Interview With King Khan & Show # 858

In October, King Khan released his first jazz album entitled Infinite Ones. The album draws influences from composers such as Alice Coltrane, Rahsaan Roland Kirk, Philip Kelan Cohran, Bernard Herrmann, Ennio Morricone, Miles Davis, Sun Ra, John Carpenter and Quincy Jones. It also takes on influences from film noir and old Bollywood films. King Khan has described the creation of this album as “Sometimes a work of art comes unintentionally from a place from deep within the soul. It meanders and flops onto a table and sits and waits for its birth.”

“Wait Till The Stars Burn” begins Infinite Ones with a galloping drumbeat before an ensemble of wild sounds featuring baritone, alto-saxophone, soprano, tenor sax, and a multitude of marimba and percussion flood your senses. The sounds put forth here feature contributions from Marshall Allen and Knoel Scott of the Sun Ra Arkestra, and John Convertino of Calexico to name a few. The song, which has been called “A planetary ode to the sun,” simmers with growing intensity before the track “Tribute To The Pharaoh’s Den (Requiem For Danny Ray Thompson)” comes in with its exotic rhythms. This track features some vocals (from Saba Lou Khan) and drifts out into an avant-garde jazz dimensionality. “Tribute To The Pharaoh’s Den” also features musical contributions from Marshall Allen and Knoel Scott of Sun Ra Arkestra. It is also the first of several tributes to musicians that have passed and people that have had an influence not only on King Khan, but also on the music world. This track is a tribute to Danny Ray Thompson of Sun Ra Arkestra and the first of several tributes found on this album. The others being “Theme Of Yaya,” a more upbeat track with a funkier bass and soul aesthetic is a song that Khan wrote for Yahya El Majid, who played with the Sun Ra Arkestra for many years. “Hal” would be another one of the other tributes found on Infinite Ones. As the album’s final track, this song delves into a cosmic experimentation as it pays tribute with a requiem for Hal Willner. Hal was responsible for selecting the music for Saturday Night Live for decades, but was also an influential American music producer in music, film, TV and live events.

Infinite Ones
is not a long jazz album, but has its own flow and sequence that works very well when played in order. This is apparent on tracks such as “(White Nile) Flows Through Memphis” and “A Hard Rain’s Gotta Fall.” The former track seems to come from the world not only of jazz, but also of Ennio Morricone. It is also the longest track found on Infinite Ones, going just over six minutes in length. “A Hard Rain’s Gotta Fall” delivers organic sounds featuring trumpet from Martin Weink of Calexico and drums from Allessandro Piretti. “Mister Mystery” arrives with dizzying synthesizers and clock sounds before guitar mixes with synth sounding bass, and hip hop drums. The song also features intense surf guitar that is also psychedelic. “Mister Mystery” sounds like Miles Davis meets John Carpenter and Ennino Morricone. “Xango Rising” is dominated by the bass and drum parts. Played by King Khan himself, along with the otherworldly organ sounds, the song also features trumpet by El Congo Allen that fills in the spaces of this longer, mesmerizing jazz track.

“The World Will Never Know” oozes with cinematic influences. The song levitates with bass that sounds like it could have come from the soundtrack to The Thing, as it mixes in surf guitars and epic orchestral sounds. This track features contributions from John Convertino and Martin Weink of Calexico, drums from Davide Zolli (of The Mojomatics) and viola from Gillian Rivers. All other instrumentation is provided by King Khan himself. “Trail of Tears” is a track featuring vocals from King Khan, as musically it pushes forth with psychedelic soul, jazz and surf sounds. “Follow The Mantis” brings a darker atmosphere as percussive water sounds, looming bass and a wash of drums sounds permeate this track.

Infinite Ones ends with “Hal.” As mentioned earlier it is a tribute/requiem to the influential music purveyor Hal Willner. The song features the influences of Sun Ra and Alice Coltrane as the listener is taken through a cosmic jazz air. Infinite Ones may be King Khan’s first album that ventures out into the jazz world, but each track overlaps with elements of other music genres. The list of contributors also makes for a captivating listen. Infinite Ones features Marshall Allen and Knoel Scott of the Sun Ra Arkestra, John Convertino and Martin Weink of Calexico, Brontez Purnell of Younger Lovers, Ben Ra from King Khan & The Shrines, and Davide Zolli of The Mojomatics. Some reviews have called this album space jazz. You could also call it cosmic space jazz, but regardless of its description, Infinite Ones finds its own space while drawing in listeners in an organic way.

Listen to an interview that Revolution Rock did with King Khan:

Show #858 Playlist (King Khan Infinite Ones Interview):

1.  James O-L - East On Your Own
2.  Daniel Romano - Joys Too Often Hollow Part Two
3.  Bloodshot Bill - Please Don't (Break My Heart)
4.  Mark Sultan - The Problem
5.  TV Freaks - Living Wrong
6.  TV Freaks - Barely Human
7.  Pup - Edmonton
8.  Cellos - Shooting Star
9.  Psychic Void - Night Terrors
10. Louder Than Death - Scum of the Moon
11. King Khan - (White Nile) Flows Through Memphis


12. King Khan - A Hard Rain's Gotta Fall


13. King Khan - Mister Mystery


14. King Khan - Hal


15. Tough Age - Castigation
16. The Scenics - Great Piles of Leaves
17. Teenanger - Beige
18. Paul Jacobs - Thanks
19. Paul Jacobs - Trapped Inside
20. The King Khan & BBQ - Show Alone Again

Saturday, November 28, 2020

Volume: An Interview with Michael Lachowski and Vanessa Briscoe Hay of Pylon & Shows # 857, 856

Forming in the late 1970s in Athens, Georgia, Pylon were made up of four art students from the University of Georgia. Featuring guitarist Randy Bewley, bassist Michael Lachowski, drummer Curtis Crowe and singer Vanessa Briscoe Hay, Pylon took their brand of danceable post-punk to amazing heights in their initial run from 1979-1983. The original premise of the band was to play a live show in New York once, be featured in New York Rocker magazine and then break up. Fortunately, they stuck around longer than that.

Pylon’s debut single was Cool/Dub. Released on DB Records in 1979, the song took on the spirit of minimalist DIY post-punk. With it’s minimalist bass and steady drums that lay the foundation, “Cool” features like a lot of Pylon songs, space. Bewley’s guitar work arrives in spikey bursts throughout the song as Vanessa Briscoe Hay delivers impassioned vocals that serve as both a mantra and abstract statement for the band. With “Dub” on the B-side, the band drifts into angular, yet danceable and frenetic post-punk rhythms as Hay declares “We eat dub for breakfast.”  The single was a critical success and their first full-length album, Gyrate followed in 1980. Recorded live in the studio with minimal overdubs, it is also a statement. It surges with infectious energy and rhythm. It features songs such as “Volume” with its sparse guitar parts, lean bass and drums and Hay's thought-provoking lyrics “Turn up the volume/Forget the picture,” “Feast On My Heart” features jangly guitar and aggressive vocals, the jittery and sparse “Weather Radio” and the wit of the jagged “Read A Book.”  Other notable tracks include “The Human Body” with its lyrics about taking on responsibility that contains propelling riffs. As the chorus hits the band break into a space that only they can reach, and “Stop It” ends Gyrate with its pseudo dub grooves. Listening to this album now, it is not hard to see why this band would become so influential.

arrived in 1983. This time the band took on a more mature aesthetic, at the same time they used the studio and new technology at the time as a tool to elevate their music. While it still has the infectious energies and rhythms of Gyrate, Chomp has even more full and at times funkier sounding space. Produced by Chris Stamey, songs such as “K” features the snaky and wiry guitars of Randy Bewley, menacing, yet danceable bass, and drums enveloped in 80s sounds. Hay finds space in between these rhythms, as she did so well in Pylon’s music to deliver unique, yet concise and cool lyrical statements such as “Life is nothing/But death and taxes/And all the trees/That get the axes.” “Beep” features a post-punk funk immediacy, while “Crazy” is one of the standout tracks here. With its jangly guitar work, catchy bass, the dignified rhythm of Crowe's drums and strong vocals provided by Hay, it features lyrics such as “Nothing can hurt you unless you want it to/There are no answers/Only reasons to be strong.”  It’s no wonder this song was a favourite. “Crazy” was later famously covered by R.E.M. for the B-side of their 1985 single Driver 8.  R.E.M. often cited Pylon as an influence on them. “M-Train” moves along in a locomotive-like pattern that features an irresistible post-punk groove, “No Clocks” shimmers with new wave guitars and lyrics that take a step away from the busy world that surrounds us, “Altitude” jangles with a 154 Wire-like influence and catchy lyrical abstraction. Chomp showcased a new ambition and aesthetic for Pylon.

Pylon band built up a following in the Athens, Georgia music scene influencing bands such as R.E.M. and bands in the 1980s alternative and American pop underground music scenes. After touring and everything began changing, the band found things becoming more like a business, which would in part lead to their initial break up. Pylon found themselves playing shows with bands such as Public Image Limited, Gang of Four, Mission of Burma, R.E.M. and U2 before they called it quits. The band called it a day in late 1983, but would reform 1989 and release the album Chain in 1990. They stopped playing for the second time in 1991, but would reform for several live dates starting in 2004. After guitarist Randy Bewley passed in 2009, the band stopped playing for good.

In November 2020, New West Records released Pylon Box, comprising the band’s first two albums, a demo tape and selected outtakes, singles and live recordings. Throughout the years, interest in the band has continued. Pylon Box brings Pylon’s enduring musical legacy into a new age for others to discover. 

Listen to an interview that Revolution Rock did with Michael Lachowski and Vanessa Briscoe Hay of Pylon:    

Show 857 Playlist (Originally Aired On November 28th, 2020)(An Interview with Pylon):

1.  Priors - Destroyer
2.  Itchy Self - B What You B
3.  Ancient Shapes - Transparent Brain
4.  Toxic Shock - Intoxicated
5.  Sweet Dave - Heart Is Cold
6.  Jeff Rosenstock - Fox In The Snow
7.  Jeff Rosenstock - Please Don't Rock Me Tonight
8.  Partner - Honey
9.  Self-Cut Bangs - After All
10. The OBGMS - Not Again
11. Pylon - Danger


12. Pylon - Gyrate


13. Pylon - Precaution (Razz Tape Demo)

14. Pylon - Recent Title


15. Pylon - Crazy


16. Pylon - Driving School
17. Pylon - Functionality (Razz Tape Demo)
18. Pylon - K


Show 856 Playlist (Originally Aired November 21st, 2020)(Dean Marino, Personal & The Pizzas, Guided By Voices):

1.  Wrong War - First Shot Misses
2.  Fuzz - Returning
3.  By Divine Right - Sweet Confustion
4.  Ten Million Lights - Myanmar
5.  Trophy Knife - America's Favourtie Pastime
6.  Ratso - Shut Your Face
7.  Miranda & The Beat - Such A Fool
8.  Skip & Johnny - Sea of Love
9.  Reparta and the Delrons - Take A Look Around
10: The Paragons - Abba
11. Dean Marino - Three of Swords
12. Alex Maas - Been Struggling
13. Daniel Romano - Even Temper
14. Thibault - Wanting To Be Alone
15. Peach Kelli Pop - Cut Me Off
16. Sam Coffey & The Iron Lungs - Back With The Gang
17. Psychedelic Furs - The Boy That Invented Rock and Roll
18. Kinetic Ideals - Absurdity
19. Dog Day - Distraction
20. Baker Knight - Theme from "The Devil's Hand"
21. Les Players - Manhunt
22. Les Jaguars - Melle Yeye
23. The Calrizians - Tryptophan
24. The Mel-Tones - Special Assignment
25. The Reverbs - Trust Woods
26. The Moby Dicks - Mike Molloy
27. TV Freaks - Capital Eye
28. Druggy Pizza - Radium Canyon
29. Osees - Weird and Wasted Connection
30. Chad VanGalen - Mr. Noodle
31. Personal & The Pizzas - Bored Outta My Brain
32. Personal & The Pizzas - Rock and Roll
33. Teenanger - Trillium Song
34. Guided By Voices - Easier Not Charming
35. Guided By Voices - Transfusion

Saturday, November 14, 2020

Year of the Sleepwalk: A Live Performance and Interview with Johnny West & Show # 855

Johnny West’s Year of the Sleepwalk is a 48 song double album that spans a wide breadth of eclectic musical genres (folk, blues, jazz, blue grass, bossa nova, shoe gaze) and guest/cameo musicians. Throughout its creation, Johnny has produced, played on and helped with arrangements for other musical projects in a period that ran from his last solo album, 2011’s Gift For A Spider to 2020 and the release of Year of the Sleepwalk. In this period of creativity, Johnny West released music with Papa Ghostface (Stew (2015), What We Lost In The Flood (2018)), a previous band he had been in with Gord Thompson that resurrected itself briefly and The O-L West. The O-L West had an album out in 2016 titled Afterthoughts that was a collaboration with Steve O-L of James O-L & The Villains/Tire Swing Co. It was a dark folk tinged record that also featured several guest musicians. On the producer front, Johnny produced albums for Zarasutra (Uncertain Assertions (2014), The Forrest For The Trees (2017)), Teenage Geese's Cat & Cormorant (2016) and Ron Leary’s Musicians Make Good Construction Workers (2020) to name a few.

Year of the Sleepwalk begins with “Don’t Let The Preamble Ramble”. It starts with acoustic guitar, vocals and a mixture of ambient sounds. Lyrically, the song with words such as “What you call a trench/I call a home/If home is where the hope you had eats itself alive to keep from starving,” dives into themes of hope, desire and rejection in the opening moments of Year of the Sleepwalk. The song quickly drifts into more unconventional territory after the lyrics “Hey snake charmer won’t you sing my blues away” lure us away from the framework of the song and it drifts into the second song “Vector”. This piano driven ballad attacks with awareness. Musically, the song also features Steve O-L on second lead vocal and Kelly Hoppe on tenor sax. The song itself changes its style adding more jazz and ambient melodies to its framework. Lyrically, "Vector" acts as internal monologue as it questions and searches for answers. The last half of the song kicks in with the dual lead vocals of Johnny West and Steve O-L mixing in folk guitars and the lyrics “For the first time in a long time/I’m talking to myself.”  These words show a positive moment, cloaked in frustration that rings true in a mantra-like fashion with every listen. “Losing Light” is a country folk track that is a character driven song. With all instrumentation provided by Johnny West, the song tells the tale of a character getting on a train after being shot. With the character in between good and evil, the song reflects as it pulls in different meanings. Words such as “The tiger in my blood drank up all the rain to force a deeper flood” provide poignant moments, which move like a train in the last moments of a long lost Western.

“Later Than Soon” is a short doo-wop song that finds its way into the album, as “Lullaby For An Unborn Child” features vocals from Jen Knight. This dark folk song deals with someone who is fearful of the world that their unborn child could be born into, “Archaic Units of Measure” is a meditative track that features the prominent sounds of the dulcimer instrument, in addition to chimes, Wurlitzer, piano, acoustic guitars, drums and vocals. After about two minutes and forty five seconds, the piano and drums shift into a musical clarity as it ends with the words “Displeased to see you, but pleased to be seen in this light,” before all the instruments drop out, except for piano. “Dew Point” moves into bossa nova ambiances with surf guitar accents and flugelhorn by Austin Di Pietro, “Do Not Don’t Do That” is an eclectic mix of ambient sounds and soprano sax from Brent Lee, “First Dialogue” features a discussion from two different people with lines such as “Kindness is acting like you give a shit.”  The words alter the dynamics of the song, which feature piano, acoustic/electric guitars and drums as the song conveys a deeper meaning that has two characters despite their differences that “are running away to stay in one place/We are galloping.”  The song which also features guest vocals from Natalie Westfall, and galloping backing vocals from James & Steve O-L is an example of what West does best, in addition to the music found here, he creates a mood and emotion for the listener that is cinematic. “Alien Eggs” is a short piano piece drawing on a mockingbird metaphor, “Cicadas” is a vocal and experimental collage of sounds, “Calcium Oxalate” is a swampy, grimy, garage track with jagged lyrics, “Boy See” is a piano dominated song featuring violin from Stu Kennedy and a chaotic ending featuring chromatic harmonica from “Mr. Chill” Kelly Hoppe complete with abstract lyrics throughout. “Gold Smoke” is another short track found on Year of the Sleepwalk, while leaning towards the experimental aural side of things is in a category of its own. The scenic backdrop that it paints sounds like it could be at home in a David Lynch film.

“Lead Bullets” is a dark murder ballad, featuring guest musicians Paul Loncke on bass, Jim Meloche, Steve O-L and Pat Robitaille on vocals, in addition to violin from Stu Kennedy. This song unearths a series of emotions that seem to pull from the darker atmosphere of 2016’s Afterthoughts by The O-L West. “The Constellation of Conditions” finds itself in an ethereal atmosphere surrounded by synthesizers and drum samples, “Nothing To See, Nothing To Say” is a song that seems to rummage through the feeling of indifference or reluctance, “When The Bottom Drops Out” arranges a series of words with a sense of the existential with lyrics such as “And we die anew each day/crumbling as we grow,” while “Buying Time at the End of the World” comes in at track twenty on disc one of Year of the Sleepwalk. This song swings with layers of complex emotions and loneliness. “Buying Time at the End of the World” also features compelling vocals from Zarasutra.

Disc two of Year of the Sleepwalk starts with the short, hazy piano piece “Early” that conjures up mixed emotions. “Oxygen Damage Due to Lack of Brain” is the longest song found on this album. Clocking in at almost nine minutes, the song operates on several different levels as collides with itself in different segments. It starts off a little more upbeat before it is in jazz territory, featuring once again tenor saxophone from Kelly Hoppe, violin from Stu Kennedy and moving instrumentation and vocals from Johnny West. The song has a haunting nostalgic quality, while the lyrics also look forward through past disappointments and desires. “Freedom As A Child (Five Cellos)” is a song made up of a combination of ominous sounding cello parts played by Karen McClellan with West’s heartfelt vocals that reflect an uncorrupt innocence.  This song also seems to continue the lyrical thread of "Lullaby For An Unborn Child" from disc one.  “These Psychic Pants Are Slimming” shows a noisier shoegaze influence before moving into a more classical guitar and piano section. “Just Another Face In The Clouds” finds itself in ambient hip-hop territory, “Your Dishrag Soul” gambles for some kind of clarity in a world of unease, “Second Dialogue” ties in with the track “First Dialogue” on disc one of Year of the Sleepwalk. This one features guest vocals from LeLe Danger, harmonica from Kelly Hoppe and banjo. “I Don’t Want To Get Over Getting Over You” waltzes with a Randy Newman aesthetic with its stripped down acoustic guitar, bass, drums and piano, “A Star Is Stillborn” lends itself to shoegaze and jazz, “Firecrackers” bursts with arpeggiated guitar, piano and vivid lyrical images. The song also features guest lead vocals from Ron Leary and guest tenor sax from Ted Hogan.  “Your Music In Commercials After You Die” features an upbeat almost alternative rock sounding dynamic with satirical lyrics.

“Neon Roulette” glows with banjo, folk, bluegrass and flute (played by Lianne Harway), while “Milk That Expires On Your Birthday” is another one of the noisy/experimental interludes found throughout the musical make up of Year of the Sleepwalk that creates a mood and atmosphere. “Feral” brings down the mood and pace with its visceral lyrical images, guest vocals from Kaitlyn Kelly and flugelhorn from Anthony Giglio, “Saskatoon Preacher” is a moody ambient piece while “Sweet Hot Hell” swelters with distorted blues and harmonica sounds. “Wherever the Lord May Be” is a country song that casts the dusty gospel of a shadow on a gun fighter in the Old West who finds his end. This song is another character driven song and features guest vocals from Jim Meloche and Dave Dubois. “The Possibilities Are Quite Possibly Possible” juxtaposes a Tom Waits-like howl against more ambient sounds that only feature the words “Somehow,” while “Stillness of Us” is the second last song on disc two on Year of the Sleepwalk. With its haunting instrumentation and contemplation it leads the listener into the last track on the album “We Were Wolves”. This track only features dramatic piano that suggests a Bill Evans influence as its looming title conveys a complexity and spirit that is all its own.

The music that makes up Year of the Sleepwalk is the result of years of work from Johnny West. It is a sprawling, genre bending, uncompromising album featuring many musical guests that also stems from a great deal of inner frustration. The complexities of emotions conveyed here often have more than one idea going through them at once. Many of the musical arrangements follow their own path, defying and sometimes adhering to songwriting conventions. With Year of the Sleepwalk, Johnny West emphasizes a multitude of feelings and thoughts with a striking clarity that doesn’t simply go through the motions.

Watch a short live performance of Johnny West in his home studio in this link:

Continue reading for an interview that Johnny West did with Revolution Rock:

RR:  Year of The Sleepwalk was surrounded by an alternating cast of musicians and albums that you also produced, recorded, and played on. Do you feel any of the albums created in the time leading up to this album (after your last solo album 2011’s Gift for a Spider) are in the same musical universe, and if so, why? (The O-L West, Tire Swing Co., Zarasutra, and Ron Leary come to mind when thinking of this.)

JW:  That’s a really thought-provoking question. Recording other artists has always been a bit of a strange adventure for me. I recorded a handful of glorified demos for some friends back in high school, and I thought that was about as far as it was ever going to go. Past a certain point, I didn’t think my sensibilities were going to align with anyone else’s. Turns out I was wrong about that, and over the last five or six years there’s been a surprising amount of work producing albums for other people. In some ways it hasn’t changed a whole lot from the way it worked in high school. A friend or someone who knows me through a friend will want to record some of their songs, they’ll hear something I’ve done, something in it will resonate with them, and the next thing I know we’re making an album together. It isn’t something I’ve advertised or tried to turn into anything as conventional as a job. It’s just a thing that happens sometimes.

The people who come here to record tend to either want me to capture them doing what they do in its purest form, or they want me to contribute my own ideas and serve as a one-person band of session musicians. It’s usually a little more interesting for me when the artist wants me to dig in and get my hands dirty. I have to find a way of making an emotional investment in someone else’s music without putting so much of myself in there that it starts to sound like my album instead of theirs.

There’s probably something in every album I’ve recorded for someone else that connects it to my own work in some way. There are some things that are unavoidable, or else I’m just too set in my ways to avoid them. I’ve developed a very specific, unadorned way of recording drums, and that sound has carried over into everything I’ve recorded since about 2008. When I got my hands on a lap steel for the first time in 2014, it became a regular fixture not just in my own music, but in most of the things I was recording for other people as well. I try to approach each album as a blank slate, though. The goal is always to build around the artist’s voice and whatever their creative vision is in a way that’s sympathetic to them, and to give them an honest and organic document of their artistry. I always feel like adding vocal harmonies to someone else’s song is emblematic of that challenge, because I’m often altering the tone of my voice in subtle ways to better support the voice of the writer.

The O-L West album Afterthoughts would be the strongest example of something that lives in the same universe as my own work. With Steven’s own Tire Swing Co. project, the songs are very much his children. I try to give them nice clothes to wear, but I’m reluctant to tell them how to live their lives. Afterthoughts was a different situation, with the two of us sharing writing and parenting duties. It was also the first album I recorded with the Yamaha VSS-30, which is a sampling mini-keyboard from the 1980s that’s sort of a cousin to the Casio SK-1. As much fun as the SK-1 is (and there’s a bit of that one on the album too), the VSS-30 is a much more powerful sound-sculpting instrument. It’s become an indispensable tool for me, allowing me to create and manipulate my own samples without computer software. Afterthoughts was a bit of a testing ground where I started to experiment with building some of the lo-fi ambient textures that have become a significant part of the music I’m making now.

With Zara, we’ve recorded three albums of her songs together, and the only thing I’ve played on any of them is a piano part on one song on her first album (Uncertain Assertions). She prefers to keep things raw and unembellished. If I’ve taken something away from those albums, it’s a reminder of how powerful a simple, stark recording can be, where all you hear is one person in a room playing and singing their songs. Ron’s album Musicians Make Great Construction Workers lives at the other end of the spectrum. I played a lot of different instruments on that one and took on more of an arranging role. I found myself avoiding reverb almost completely, using a bit of slap-back echo on Ron’s voice when I wanted a little extra ambience. It was more instinct than anything, but that’s become a go-to vocal-sweetening device in my own music.

As far as Year of the Sleepwalk is concerned, the clearest antecedent is the Papa Ghostface album What We Lost in the Flood. That was an important album for me in a developmental sense, and also on an emotional level, laying the groundwork for a lot of what happened on Sleepwalk. There’s always been an anarchic undercurrent running through my solo work. That got toned down a bit on a few of the more collaborative albums I made after Gift for a Spider like Afterthoughts and the Papa Ghostface album Stew. I’m proud of those albums, and I wouldn’t change anything about them, but when you’re working with another writer there’s almost always some amount of compromise involved. I’m usually the one who has to do the bending, and I’ve found the juice isn’t always worth the pulp. I couldn’t have put a song like “Later Than Soon” on Stew, for example. The other half of that musical duo wouldn’t have allowed it. He would have told me, “You can’t throw a seventy-second doo-wop song on an album just because you feel like it.”

The thing is, I’ve never bought into the idea that something isn’t artistically valid just because it doesn’t abide by the so-called rules of what an album or a song is supposed to be. The whole concept of criticizing a piece of art because it’s “self-indulgent” has always struck me as being hilarious, and more than a little reductive. The act of making art that holds some personal meaning for the artist is inherently self-indulgent. If creative people didn’t indulge themselves, we wouldn’t have much art of any worth in any medium. We’d just have a bunch of soulless hunks of nothing designed to generate money and please a faceless audience.

Still, some of that got in my head for a while. When you’ve been friends with someone since high school and you’ve shared a musical bond for half as long as you’ve been alive, you tend to value that person’s opinion more than most. When they start denigrating your work and your ideas, it’s difficult not to take that to heart. I started thinking maybe he was right, and maybe I shouldn’t be taking such a freewheeling approach to making music. Both the friendship and the creative partnership dissolved during the recording of What We Lost in the Flood, and it essentially became a solo album with a few scattered guests. After I reinstated the songs I wasn’t allowed to include when it was a two-person operation, the album started to feel a lot more colourful and interesting. I think it was important to reaffirm, if only to myself, that what I should be doing is what I’ve always done, making music that’s an extension of who I am without worrying about what anyone else might make of it.

RR:   There are a lot of themes and musical styles that are found on the songs on Year of the Sleepwalk. Did you have a set mood/theme you were going for on this album, and did you originally plan on it to be a double album?

JW:  Years ago, when your co-host Adam Peltier was hosting a great show on CJAM called Fear of Music, he wrote something on his blog that’s stuck with me. I think he was writing about my album An Absence of Sway in early 2009. I’m paraphrasing a little, but the gist of what he said was that I reinvented myself whenever I made a new album — not by making a clean break with my previous work, but by incorporating elements of that work into a larger musical tapestry, working in a cumulative way. At the time I wasn’t sure if I agreed with him. Now I think he might have understood more about my creative process than I did back then.

It feels like almost every album I’ve made has grown more diverse and more ambitious than the one that came before in one way or another. Whatever sound I’ve developed, it seems to keep gathering new textural elements. I haven’t really gone out of my way to make albums that keep fanning out in all these different directions. I’ve just always found it uninteresting to stay rooted to one place for too long.

Conventional wisdom says you’re supposed to write some songs, and then you figure out which ones are going to form the skeleton of your album, you record a bunch of demos, you work out the arrangements, and you go into the studio with a pretty clear idea of what you’re aiming to accomplish. I’ve learned I can’t work that way. If I knew what the final shape of an album was going to be before I started recording it, I don’t think I would be very interested in working on it. I write some songs, I record the ones that feel strongest to me, and I go on writing and recording until the shape of the album reveals itself. Things keep shifting and evolving every step of the way, and I’m often not quite sure what the album is going to be until it’s almost finished.

Another thing I’ve learned: whenever I start work on an album thinking I have a pretty clear idea of what I want to do, what I end up with never really resembles the album I thought I was going to make. The plan with Year of the Sleepwalk was to get out of my own head, and in some ways out of my own music. I wanted to form a large band and encourage the other musicians to bring their own ideas to the table. It became clear pretty early on that I was never going to be able to make that happen. I tried to write with other people, but no one who expressed an interest in writing with me ever followed through. The only way I was able to involve other artists in the album was by writing the songs on my own and creating supporting roles for other people to fill, treating them like actors in a film. The change in approach turned everything I thought I was working toward on its head. It also forced me to write songs and try things I’m not sure I would have attempted otherwise.

At one stage, I was optimistic enough to believe I could get the album finished inside of a year, and I was confident I could fit everything on a single CD. I wrote so many songs over the six-year period it took to finish the thing, and there were so many strong performances from other singers and musicians, I had to accept that there was no way to say everything I wanted to say in eighty minutes or less. There’s also the unintentional little quirk that every ten years I make a double album that feels like a drawing-together of all the different things I’ve touched on in the preceding decade. I kind of like the idea of keeping that theme going. So maybe it was always fated to be a large, sprawling thing.

RR:  There are a lot of different musical guests that run throughout Year of the Sleepwalk. Kelly Hoppe adds harmonica and different instruments to several tracks. There are also contributions from Ron Leary and Nancy Drew, to name a few. Did you have them in mind for particular tracks?

JW:  In a lot of cases I had specific people in mind to fill different roles, and I was lucky enough to get some of them in the studio for a little while. Kelly, Ron, and Nancy are all performing on songs that were written with them in mind. Nancy was especially fun to work with. She’s got one of the most uniquely versatile voices I’ve ever heard. But what was fascinating to me was what happened when things didn’t work out with the person who was my first choice for a song, and I had to find someone else to take their place. A song that was written for one singer would end up being sung by someone else, or I would have to sing it myself, and the emotional landscape of the song would shift.

A few examples:

I wrote a song called “Buying Time at the End of the World” for a specific person to sing. Things didn’t work out there, so I asked Zara to sing it instead. We didn’t know each other at the time. It was just a shot in the dark. The singer the song was written for sounds so much like Feist it’s a little uncanny. Zara has a very different thing going on with her voice. It’s darker, rounder, and very much its own thing. As soon as I heard her singing the words and vocal melodies I’d written, it rewired the whole song and I couldn’t imagine anyone else in her place.

There’s a song called “Lullaby for Unborn Child” that was written for Kelly Grace to sing. She didn’t express any interest in it, so I asked Jen Knight to sing it instead. Kelly wound up singing a very different song that was meant for yet another singer who bailed on me. Again, those two voices profoundly changed those songs. Kelly has one of the quietest voices I’ve ever recorded. Jen has one of the loudest. She dialled the volume back quite a bit, but she brought a much more commanding quality to a song Kelly would have sung in a very different, more vulnerable way. In the end, the songs always seemed to find the people they needed one way or another, even if they weren’t always the obvious choices.

RR:  There are a lot of different visual components to the lyric booklet of the album. It adds something different to the overall album package for this album. What do you feel this adds to the overall album?

JW:  My hope is that it adds another layer to the listening experience. When I was growing up, one of my favourite things to do whenever I got a new album was to put on headphones, climb into bed, and listen late at night while exploring whatever liner notes the music came with. I’ve always loved holding an album in my hands and losing myself in all its sonic and visual mysteries.

Online distribution has allowed independent artists to share and promote their work in ways that weren’t possible before the Internet came along, or at least were difficult to pull off without the hulking machinery of a record label behind them. As important an advance as it is, I think one of the trade-offs is losing that tactile multimedia experience. There’s also been a shift over the last several years to a more singles-based way of thinking, with less consideration given to the full-length album as a meaningful artistic statement. A lot of artists don’t seem to put much thought into packaging anymore even if they do release their albums in a physical format. You’re lucky if you get a lyric sheet. For me, the absence of all those little touches adds up to a less immersive listening experience.

The visual presentation of my music has grown a lot more important to me over the years, and I enjoy making albums that resist being digitized. I know that puts a pretty hard ceiling on the amount of people who are going to hear and have an interest in the music I make, but being able to hand someone a physical album I put together myself feels a lot more significant than sending them a link to some digital files on a website. I’m glad those tools exist for the artists who want to share their work in that way. It just isn’t an approach that’s satisfying to me.

I wanted to do something a little more elaborate with the packaging for this album. I’ve tried breaking up lyric booklets with images a few times before, but here I wanted to involve as many Windsor-based visual artists as I could and create a lyric booklet that both complimented the music and worked as a standalone piece of art. Some of the pieces of visual art are illustrations I asked artists to create in response to specific songs (Greg Maxwell’s mind-blowing art for “Losing Light” is one of those), and some were inspired by the music in a more general sense, but it was important that every piece of art be catalyzed by the music in some way. I’m still trying to wrap my head around the idea that so many different artists were generous enough to share their art with me and allow it to be a part of something like this.

RR:  How would you compare and contrast the music on Year of the Sleepwalk to your last solo album 2011’s Gift for a Spider?

JW:  Gift for a Spider is a breakup album, with all the mixed emotions that tend to surface when you’re working in that direction. Almost all of those songs came from a pretty unpleasant and personal place, and they were all delivered from my perspective. It was also an album without any guests, aside from one song that featured my dad screaming like a lunatic at my request. Year of the Sleepwalk is a much more “open” album. As cathartic and effective as it can be to use art as a form of therapy (and I think it’s the main thing that’s kept me sane this long), these days I find it’s a lot more enjoyable and stimulating to write songs about characters that are fictional creations, or to abandon the specific you/me/us way of writing in favour of using words to create images and impressions that aren’t always tethered to a linear idea of what a song is supposed to be. Sleepwalk is also a more eclectic album…maybe the most eclectic thing I’ve done. There’s a lot going on there sonically, emotionally, and stylistically.

There’s one way in which the two albums have become unexpected kindred spirits, though. When Gift for a Spider was finished, I couldn’t listen to it. It was too close to the bone. It took me some time before I was able to experience those songs without feeling like I was picking at a scab. Year of the Sleepwalk has become another album I can’t listen to, but for different reasons. Where Gift for a Spider is the sound of someone sifting through the wreckage of a relationship after it’s ended, Sleepwalk is the soundtrack to a disaster in the process of happening. I’m proud of the album, but I’ve never had to swim through such a thick river of rejection and indifference in order to achieve an artistic goal, and I had some pretty horrible experiences with some of the people I worked with (or tried to work with). So far, it’s been difficult to untangle the bad memories and hurt feelings from the music. Hopefully someday I’ll be able to appreciate whatever’s good or bad about the album on its own terms. For now, I find it’s best to pretend it doesn’t exist.

I know it’s a strange way to feel about something you’ve poured so much of yourself into. But that’s where I’m at with it right now. I’m glad I made the album (I think), but I’m not in a hurry to do anything like it again.

RR:  You recently put out a documentary Year of the Sleepwalk (and Other Stories) about the music you created for Year of the Sleepwalk and throughout your career. How important do you feel it is to also document a video element of the recording process, and how long did it take you to put together this documentary?

JW:  One of the great regrets of my life is that I didn’t think much about filming anything until I was in my twenties. I’ve always been diligent about recording music. It took me longer than it should have to recognize how valuable it is to have a meaningful visual record to compliment all those audio recordings. I would give all the hair on my head to have footage of myself making music when I was a kid. There is (or was) quite a bit of video footage of me acting in grade school plays and performing in high school arts shows, but by the time having access to it became important to me, most of that footage either no longer existed or it was collecting dust in the attic of the person who filmed it, buried under a bunch of old sweaters, never to be seen again.

Year of the Sleepwalk (and Other Stories) is an outgrowth of the video progress reports I started making for my blog in 2010. The idea there was to teach myself about video editing while keeping track of all the different things I was working on. After spending years convincing myself I shouldn’t do any serious filming until I had something resembling professional equipment, I shook off that way of thinking and just started working with whatever was at hand. I came to really enjoy putting those videos together. I kept it up for the better part of two years before running out of steam. I kept telling myself one of these days I was going to put together a longer, more action-packed video progress report to make up for lost time. When I started working on Year of the Sleepwalk, the album felt like an ideal candidate for this sort of thing, so I made a point of filming whenever I had someone else in the studio with me.

I thought I was putting together something like an extended EPK. It was all supposed to build up to a celebratory album release show at Mackenzie Hall last summer. My hope was to make my little DIY documentary about the process of creating the album, and then have someone else shoot and edit a separate film documenting the live show. Then the show fell apart, and that was the end of that. By the time everything shut down at the beginning of this year, I had a ridiculous amount of raw footage I’d shot over a period of almost two decades, along with a pile of archival footage I managed to dig up, including some music-related high school footage it took me almost twenty years to track down. And I had no idea what to do with any of it. Circumstances outside of my control had wiped out what I thought my big climactic ending was going to be, so the film I thought I was going to make couldn’t exist anymore.

I started editing in ten or fifteen-minute segments, one piece at a time, just to see if I could give some sort of arc or coherent shape to the raw material. I thought it might help if I broke it down into individual chapters. The deeper I got into it, the more I started to see it as an opportunity to place the album in the wider context of my whole musical life up to this point. Oddly enough, the editing side of things wasn’t too difficult once I got in a good rhythm. I had an assembly I felt good about after a few weeks of concentrated work. But because of the archaic nature of my video editing software and having to break everything into chunks, I had to find a way to stitch those chunks together after the fact without re-encoding the video, and I ran into all kinds of technical problems. It took me a few months to sort it all out. Note to aspiring amateur filmmakers: if anyone ever offers you their copy of Sony Vegas Movie Studio Platinum 9.0, run away (but only after setting the program on fire).

The end result of all that work isn’t a slick professional film by any stretch of the imagination, but it was rewarding and surprisingly cathartic to put it all together. While it isn’t the life-affirming piece I thought it was going to be when I started filming, I think it does a pretty good job of summing up who I am as a person and an artist. Hopefully it offers some worthwhile insight into what I do and why I do it the way I do.

RR:   When writing a song how do you approach it? Is the process always different? Do you come up with words or music first?

JW:  It’s always different from one song to the next. Sometimes the music comes first and the words take a while to show up. Sometimes it’s the other way around. Sometimes both the words and the music arrive at the same time. Some songs are written in one sitting, while others take more time and come together a piece at a time. Some are abandoned or never quite finished, and many are written but never recorded. Some songs come from dreams. As a rule, words are a little more elusive than music for me. That wasn’t always the case, but now I find the lyrics sometimes want to incubate for a while. Maybe it’s a side effect of placing more importance on the words than I used to.

Some of the most interesting songs for me are the ones that change shape over time. Lyrics get transplanted into a different musical setting, or the words get thrown out altogether and the music opens up in a whole new way once it’s free to define itself through sound alone. I’ve learned the best thing I can do is let the songs go where they want to go, even if they decide to evolve in directions that sometimes seem a little strange to me.

RR:  What’s next for you musically? Is there anything that you’re currently working on?

JW:  There’s an out-takes collection or two in the pipeline, but at the moment most of my attention is being eaten up by two very different albums. One of them is something brand new that seems to be leaning in a pretty piano-heavy direction. The other one is something called The Angle of Best Distance that I’ve been working on in fits and starts since about 2004. It’s an effort to draw together all the disparate threads of everywhere I’ve been over the last half of my life. When I started working on it, I never imagined it would take this long to finish. It’s changed shape more times than I’ve been able to keep track of and has kind of taken on a life of its own. There’s something appealing about the idea of working on a life-long album that always remains a work-in-progress and isn’t something anyone ever gets to hear, but I feel like I need to find a way to wrap it up in the next year or so for my own peace of mind. I’m not sure which one of those two non-compilation albums will hit the finish line first. All I know is it’s been a lot of fun to bounce back and forth between working on songs that were written ten years ago and songs that were written ten minutes ago. It’s kind of like having a conversation with several previous versions of yourself.

As far as the work producing other artists goes, that had already come to a standstill before COVID-19 turned everything upside down for everyone. In a way, I’m a little relieved. As much as I enjoyed making those albums, they took a lot of time and energy away from my music, and that’s one of the reasons there was such a long gap between solo releases. I don’t expect to get back to pumping out several full-length albums a year like I used to…I think I’ve slowed down quite a bit in my old age. Making an album is a more considered process for me now. But it feels good to be able to make my own work the focus again. I always feel healthiest when I’m working on something that’s mine alone.

(Thanks to you and Adam for doing this, and for supporting the noises I’ve been making all these years.)

More information about Johnny West's music can be found at

Show # 855 Playlist (Originally Aired On November 14th, 2020)(Johnny West Year of the Sleepwalk):

1.  Johnny West - Calcium Oxalate (Year of the Sleepwalk - 2020)
2.  Johnny West - Later Than Soon (Year of the Sleepwalk - 2020)
3.  Johnny West - Losing Light (Year of the Sleepwalk - 2020)
4.  Johnny West - Your Music In Commercials After You Die (Year of the Sleepwalk - 2020)
5.  Papa Ghostface - The Devil Wants His Car Back (Stew - 2015)
6.  Johnny West - Revenge Is Sweet (An Absence of Sway - 2009)
7.  Johnny West - Creepy Crawly Things (The Chicken Angel Woman With A Triangle - 2008)
8.  Johnny West - Jesus Don't Know My Name (Love Songs For Nihilists - 2009)
9.  Johnny West - Lugubrious Baby (Pavement Hugging Daddies EP - 2004)
10. Zarasutra - When You Go Home (Uncertain Assertions - 2014)
11. Teenage Geese - The Honey Song (Cat & Cormorant - 2016)
12. Ron Leary - Long Point '89 (Musicians Make Great Construction Workers - 2020)
13. Tire Swing Co. - You Held Me By The Ocean (Inamorata - 2014)
14. The O-L West - West Coast Blues (Afterthoughts - 2016)
15. Papa Ghostface - Rook (What We Lost In The Flood - 2018)
16. Johnny West - Husk (Out-takes, Misfits, and Other Things 1999-2007)
17. Johnny West - Cinder (If I Had A Quarter… - 2009)
18. Johnny West - Lovely and Dirty (My Hellhound Crooked Heart - 2010)
19. Johnny West - First Dialogue  (Year of the Sleepwalk - 2020)
20. Johnny West - These Psychic Pants Are Slimming  (Year of the Sleepwalk - 2020)
21. Johnny West - Gold Smoke  (Year of the Sleepwalk - 2020)
22. Johnny West - Sweet Hot Hell  (Year of the Sleepwalk - 2020)
23. Johnny West - We Were Wolves  (Year of the Sleepwalk - 2020)
24. Johnny West - Generic Love Song To Play At Your Wedding (Creative Nightmares - 2009)
25. Johnny West - To Frail Is To Begin To Be Fee (Medium-Fi Music for Mentally Unstable Young Lovers - 2011)
26. Johnny West - If At First You Don't Suceed, Redefine Success (My Hellhound Crooked Heart - 2010)
27. Johnny West - Murder Dressed As Mercy (My Hellhound Crooked Heart - 2010)

To hear this program, visit CJAM's schedule page for Revolution Rock and click the November 14 file to download/stream the episode.