Revolution Rock: The 2021 Interviews & Show # 917

This year on Revolution Rock, the program featured eleven different interviews. Eight were audio based interviews that aired on the show and three were done through 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 or for this website. Below you will find some info about these interviews plus the playlist and download/streaming links to the episode.

An Interview with Richard Hell (February 2021): 

In February 2021, as part of Revolution Rock’s annual theme month programming we spoke with New York punk icon Richard Hell. Known as one of the originators and pioneers during the early days of New York punk, Hell quit the music world in 1984 to focus on writing, only reappearing a few times on some music projects. Having co-founded Television, being one of the original members of The Heartbreakers (featuring Johnny Thunders and Jerry Nolan of The New York Dolls), Hell formed Richard Hell & The Voidoids in 1976 and released their debut album, Blank Generation in 1977. Hell’s look and aesthetic would go on as a template for punk music that would influence others, most notably The Sex Pistols, who in turn would influence their own music scene. The Voidoids first album is seen as a classic, with its title track still sounding as vital and thought provoking today. In 1982, he released the often misunderstood Destiny Street. The album has a long history, which Richard goes into detail about in the interview. It was reissued in 2021 as Destiny Street Complete via Omnivore Recordings. The set contains four versions of the album, along with a few outtakes. The original 1982 version remastered, the 2009 Destiny Street Repaired version, a newly remixed version of Destiny Street and a collection of demos that show early and different versions of the songs that would make up this album. Destiny Street Complete re-establishes the great moments of Destiny Street for everyone to hear. Richard Hell is an author, poet, musician and actor. In this interview Richard Hell covers the time period making Destiny Street, parts of his writing career and influences, along with his songwriting process in the Voidoids and more.

Listen to the full interview here:

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An Interview with Patrick Flegel (of Cindy Lee/Women) & Michael Wallace (of Preoccupations/Women) (February 2021):

As part of a special program focusing on the 10th anniversary of Calgary band Women’s second and final album Public Strain we spoke with vocalist, guitarist and songwriter Patrick Flegel and drummer Michael Wallace. Recorded in the span of ten months in the dead of winter in Calgary by Chad VanGaalen, Public Strain explored more post punk sounds, often darker and more jarring, but at the same time there is something strangely beautiful that permeates this record. The album received widespread critical acclaim, eventually being long listed on the nominees for the Polaris Prize in 2011. Women toured heavily from 2008-2009. They also toured in support of Public Strain, but that tour was cut short in October 2010. Following a show that occurred in October 2010 in Victoria BC, Women stopped playing as a band. The band members went their separate ways. Bassist Matthew Flegel and drummer Michael Wallace went on to form the band Viet Cong (before changing their name to Preoccupations), guitarist/vocalist Patrick Flegel would continue creating music eventually creating music as Cindy Lee and Christopher Reimer joined the band The Dodos as their touring guitarist while collaborating and creating music until he passed away in his sleep unexpectedly in 2012. In these exclusive interviews Patrick talks about creating the music with Women for Public Strain, his influences as well as recording and performing as Cindy Lee. Michael Wallace, gives his own account of the sessions, recording with Chad VanGaalen and the moments leading up to the album, joining the band Women, Preoccupatons beginnings as well as plans for their next album. 

Listen to the full interviews here:

Find the original post here.

An Interview with Chad VanGaalen (March 2021):

Chad VanGaalen released World’s Most Stressed Out Gardner in 2021 on Sub Pop and Flemish Eye Records. The music that he creates while it is sometimes folk, sometimes psychedelic, sometimes indie rock, sometimes strange, is really its own thing. The universe in which the songs of Chad VanGaalen belong is a strange, wonderful, kind of messed up, cosmic place at times. As we enter these worlds we find ourselves absorbed by the sounds and stories that he produces. World’s Most Stressed Out Gardener is eclectic and offers more variety musically than ever before on one of his albums, but still has the same feel of the best of Chad VanGaalen’s work. In the interview Chad discusses how the album was created and altered when he came up with the song “Samurai Sword” just before the album was set to be printed, working on songs and recording. He also discusses his time recording Women’s Public Strain and working with members of the band on their first two albums, buying stuff of Kijiji, gardening and more.

Listen to the full interview here:

Find the original post here.

An Interview with Chris Murdoch (April 2021):

Halifax musician, DJ and writer Chris Murdoch released the full-length debut album Collapse with his band Souvenir in April of 2021. This followed 2020, Beating into Dust EP. In 2020, we also spoke with Chris for this website through email to discuss his music history playing in bands and Black Dots: An Afropunk Primer. Black Dots is an 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. It was released through the Pentagon Black label in Montreal and over $3000 was donated to Black Lives Matter Solidarity Fund Nova Scotia from its sales. Souvenir is a band out of Halifax, Nova Scotia featuring bassist/vocalist Lachie MacDonald (Tom Fun Orchestra, Great Plains, Dyscontrol), guitarist/vocalist Dave Banoub (Jon Hynes) and Chris Murdoch on drums/vocals (Word On The Street, Weekend Dads, Outtacontroller). Produced by Charles Austin (Outtacontroller, Future Girls) out of Ocean Floor Studios in Halifax, Collapse is the debut full-length album from Souvenir. With all three members contributing vocals and songs, Collapse features nine songs and album cover artwork by illustrator Raymond Biesinger. In the interview Chris talks about the recording and writing process that the band went through to create Collapse, politics in punk and more. 

 Listen to the full interview here:

Find the original post here.

An Interview with Paul Jacobs (May 2021):

Montreal musician Paul Jacobs latest release Pink Dogs On The Green Grass was released via Blow The Fuse Records in 2021. With just thirteen tracks, this album follows 2020’s outtakes/demo collection Portrait of George (Demo & Songs I Forgot About) and 2018’s EASY. Already having several albums in his discography (and two releases as part of post punk group Pottery), Pink Dogs On The Green Grass shows Paul Jacobs branching out by finding a new way of approaching his music. Musically, references have been made to Cass McCombs, Kurt Vile, early Beck, but you can also hear the influence of 60s psychedelia and bands such as The Byrds and Lou Reed. Lyrically, Jacobs words are at times surreal. They are sometimes about different characters or observations and often take on cryptic meanings. While some have said that the lyrics reveal unwanted moments that stick with you, Pink Dogs On The Green Grass is much more than that. In the interview Paul talks about recording his new album, illustrating the videos for this album, who Bobby is from Pottery’s Bobby’s Motel album, David Lynch and more. 

Listen to the full interview here:

Find the original post here.

An Interview with Mark Arm & Steve Turner of Mudhoney (August 2021):

Every Good Boy Deserves Fudge is the second full-length album from Seattle’s Mudhoney. An expanded 30th anniversary edition was released by Sub Pop in 2021 featuring demos, outtakes and non-album tracks. Originally released on July 26th, 1991, the album shipped 50,000 copies when it was originally released. Just a few months later, Nirvana’s Nevermind would be released and the whole musical landscape would change. Prior to being recorded, Mudhoney recorded five tracks with producer Jack Endino (who also produced their Superfuzz Bigmuff EP and the Mudhoney album) in a 24-track studio. Unhappy with the results, guitarist Steve Turner pushed for a change of direction. Liking the results of Conrad Uno’s 8-track recording studio called Egg Studios on the Thrillsphere album by Tacoma, Washington’s Girl Trouble, the band decided to record a selection of punk covers with Uno to see what it would sound like recording there. Several of these songs came out on singles or on compilation albums, but not all of them. In spring of 1991, Mudhoney began recording Every Good Boy Deserves Fudge. On this album Mudhoney switches their focus embracing 60s garage influences such as The Sonics, Lollipop Shoppe, Neil Young, Spacemen 3, post hardcore, 80s hardcore and the sounds of bands such as Zounds and Hawkwind. In the interview Mark Arm & Steve Turner of Mudhoney talk about making the 1991 album, being in an unaired TV pilot for Fox, the influence of The Wipers, fuzz pedals and more. 

Listen to the full interview here:

Find the original post here.

An Interview with Matt Ellis (May 2021):

Hamilton musician Matt Ellis has played in many different bands such as The Vapids, Flesh Rag and PlasticHeads. Usually on guitar, Matt recorded a series of Ramones inspired EPs in 2020 at his home where he played all of the instrumentation. All of the proceeds from these releases went towards different non-profit organizations in Toronto and Hamilton. Following a remix, the addition of real drums provided by Jimmy Vapid of The Vapids, Curtis Tone from PlasticHeads and two new tracks, Full Moon Fever was released on vinyl at the end of February 2021 on Surfin Ki Records. With an obvious Ramones influence, the songs that make up Full Moon Fever pull from the Dee Dee Ramone penned catalogue of Ramones tracks with a dash of The Spits, DBOY and Seattle band HEAD. At 18 tracks, none of the songs on Full Moon Fever go past the two-minute mark. Running through themes of isolation, frustration, boredom and escapism, Full Moon Fever delves into a manic dynamic of punk rock and suburban paranoia. Ellis released an album with another band called Anxious Pleasers on cassette that featured members of Hamilton band TV Freaks. In January 2021, he released a new digital single titled Everything Sucks. Matt Ellis did an exclusive Q&A for this website covering his music influences/history, the making of Full Moon Fever, guitars and his favourite Ramones albums. 

Read the full interview/post here.

An Interview with Shawn McDonald (June 2021):

London, Ontario musician Shawn McDonald has been involved in numerous rock bands over the years. In 2021, he made several albums from his discography with different bands he’s been in available digitally for the first time. One of his earlier bands, Grassy Knoll & The Magic Bullit released the album Hollandays digitally. It was a lost, previously unreleased album. In addition to this album he made other albums from this band available through Bandcamp and other streaming services. In 2018, 2 was released by the band Baby Giant. Baby Giant is made up of musicians Shawn McDonald and Tim McDonald. The band started out around 2017 to record a collection of reworked/reimagined songs in commemoration of an earlier band that the McDonald’s had been in called Grassy Knoll & The Magic Bullit (that album is called Grassy Magic). Being in numerous bands such as The Fine Print, Dragsville, Hurricane & Able and many others Shawn McDonald really showcases his songwriting abilities on 2, both on his own and in collaboration with Tim McDonald. The album was recorded by Tim McDonald (credited as King Woobs). Shawn McDonald did a Q&A for this website covering the writing of several songs in Grassy Knoll & The Magic Bullit, some of the bands he has played/recorded with and what he is currently working on. 

Read the full interview/post here.

An Interview with Neil Jarvis (July 2021):

Perhaps best known as being in the Manchester band Sprinters, Get The Band Back Together is the third solo album released by Neil Jarvis. Prior to this Sprinters released two excellent albums, 2017’s Sprinters and 2019’s Struck Gold. Neil’s earlier solo albums were recorded the same way as this one was, on a 4-track cassette recorder. Weekends (2012) and Halloween Summer (2014) featured lo-fi, psych/surf influenced sounds that were sometimes experimental. Get The Band Back Together is more acoustic based, but it still features the sometimes haunting nostalgic feeling that is present throughout all of Neil’s songs. Recorded on a 4-track cassette recorder during lockdown in April 2020-June 2021, Get The Back Band Together takes Jarvis’ earlier tried and true method of recording/writing songs, but adds a sense of maturity and poignancy that sets this collection of songs apart from both Sprinters and his earlier work. Neil Did a Q&A for this website where he covers recording and releasing an album during the pandemic, the influence of musician David Berman and some of his earlier solo releases. 

Read the full interview/post here.

An Interview with The Garrys (October 2021): 

Get Thee To A Nunnery is the fourth full-length album by Saskatoon’s The Garrys. This three-piece sister trio features Erica Maier (guitar/vocals), Julie Maier (bass/vocals) and Lenore Maier (drums/vocals). They first started appearing on underground music radar with 2017’s Surf Manitou, which brought their prairie inspired surf dynamics and combined them with folk-like tales of Manitou Beach, SK, a family vacation spot that the Maier’s visited when younger. In 2020, The Garrys released their score to the 1922 silent film Haxan:Witchcraft Through The Ages, which was performed and recorded live as the film played in a theatre. They describe their music as “dreamy blood harmony surf rock doom-wop on morphine.” Get Thee To A Nunnery has been getting critical acclaim appearing on Bandcamp Daily, other sites and charting on the Earshot Top 50 Album Charts across campus radio in Canada. Revolution Rock spoke with Erica, Julie and Lenore Maier of The Garrys. In the interview they discuss their formation, recording/writing songs for Get Thee To A Nunnery, working with Dallas Good as producer, doing the live soundtrack to Haxan:Witchcraft Through The Ages and more.

Listen to the full interview here:

Find the original post here.

Show 917: The 2021 Interviews Playlist:

1. Richard Hell - Kid With The Replaceable Head  (Remastered) (Destiny Street Complete - Omnivore Recordings - 2021)

RICHARD HELL INTERVIEW CLIP

2. Richard Hell - Ignore That Door (Remixed)  (Destiny Street Complete - Omnivore Recordings - 2021)
3. Women - Narrow With The Hall (Public Strain - Flemish Eye - 2010/2020)

PATRICK FLEGEL (OF CINDY LEE/WOMEN) INTERVIEW CLIP

4. Cindy Lee - Love Remains (Cat O’Nine Tails - CCQSK Records - 2020)
5. Women - Everyone Is So In Love With You (Rarities 2007-2010 - Flemish Eye - 2020)

MICHAEL WALLACE (OF PREOCCUPATIONS/WOMEN) INTERVIEW CLIP

6. Preoccupations - Monotony (Preoccupations - Jagjaguwar/Flemish Eye - 2006)
7. Chad VanGaalen - Starlight (World's Most Stressed Out Gardener - Sub Pop/Flemish Eye - 2021)

CHAD VANGAALEN INTERVIEW CLIP

8. Souvenir - Ransom (Collapse - 2021)

CHRIS MURDOCH (OF SOUVENIR) INTERVIEW CLIP

9. Souvenir - Holding Pattern (Collapse - 2021)
10. Paul Jacobs - Half Rich Longer (Pink Dogs On The Green Grass - Blow The Fuse Records - 2021)

PAUL JACOBS INTERVIEW CLIP

11. Paul Jacobs - The Telephone (Revisited) (Story About Anything EP - 2018)
12. Mudhoney - Into The Drink (Every Good Boy Deserves Fudge (30th Anniversary Edition) - Sub Pop - 2021)

MARK ARM & STEVE TURNER (OF MUDHONEY) INTERVIEW CLIP

13. Matt Ellis - Flowers In The Moonlight (Full Moon Fever - Surfing Ki Records - 2021)
14. Grassy Knoll & The Magic Bullit - A-Jam (Hollandays - 2021)
15. Baby Giant - Japan (2 - 2018)
16. Neil Jarvis - Get The Band Back Together (Get The Band Back Together - On The Grind Records - 2021)
17. The Garrys - Devil’s Dip (Get Thee To A Nunnery - Grey Records - 2021)

ERICA, JULIE & LENORE MAIER (OF THE GARRYS) INTERVIEW CLIP

18. The Garrys - In The Dawn (Get Thee To A Nunnery - Grey Records - 2021)

To hear this program, visit CJAM's schedule page for Revolution Rock and click the January 15 file to download/stream the episode.

Every Good Boy Deserves Fudge: An Interview With Mark Arm & Steve Turner & Show # 897

Every Good Boy Deserves Fudge is the second full-length album from Seattle’s Mudhoney. Released on July 26th, 1991, the album shipped 50,000 copies when it was originally released. Just a few months later, Nirvana’s Nevermind would be released and the whole musical landscape would change. Prior to being recorded, Mudhoney recorded five tracks with producer Jack Endino (who also produced their Superfuzz Bigmuff EP and the Mudhoney album) in a 24-track studio. Unhappy with the results, guitarist Steve Turner pushed for a change of direction. Liking the results of Conrad Uno’s 8-track recording studio called Egg Studios on the Thrillsphere album by Tacoma, Washington’s Girl Trouble, the band decided to record a selection of punk covers with Uno to see what it would sound like recording there. Several of these songs came out on singles or on compilation albums, but not all of them. In spring of 1991, Mudhoney began recording Every Good Boy Deserves Fudge.

“Generation Genocide” starts off EGBDF with moody Farfisa organ, fuzzy guitar riffs, fluid basslines and energetic drums that intensify as the track comes to its chaotic close. “Let It Slide” fades in with drumrolls, guitar and bass slides, as Mark Arm sings “They can make it sound so nice/Everybody’s got a price,” in what was the album’s first single. In these opening two tracks, Uno’s production and Mudhoney’s dynamics show a reflection of their new influences, most notably 60s garage and a snotty 80s punk energy. Still keeping the urgency and Arm’s potent lyrics, this track shows a sparser sound, not sounding so much like a traditional 90s recording, but more like a classic recording from the 60s. “Good Enough” brings some acoustic guitar into Mudhoney’s songwriting dynamics. With an infectious collection of drums, bass, guitar and maracas, vocalist Mark Arm sings in an earnest and direct tone. With lyrics such as “I've made mistakes/That I'm sure I'll make again” and “Everybody says/You must have lost your head/Well, one more time is good enough for me,” Mudhoney and co. embrace imperfections while balancing it with an honesty and growth in their songwriting abilities at the same time.

“Something So Clear” juxtaposes fuzzy and energetic rhythms with melancholic lyrics ”Should’ve seen it coming/Like a bird at a window,” and other lines such as “There's a certain comfort in being confused,” this track along with the track before it shows a different side of Mudhoney. “Thorn” leans to the influence of 80s punk with corrosive lyrics, with pummeling drums “Into The Drink” attacks with a fuzzy guitar, bass and acoustic guitar dynamic. The catchy garage punk chorus of “Into the drink” about a seemingly lethal relationship make this another standout on EGBDF. “Broken Hands” reflects a Neil Young influence as it clocks in at just over six minutes. As the song treads along it builds toward an anarchic coda of noise. “Who You Drivin’ Now” is another Mudhoney fuzzy garage punk track. With its heavy guitar, organ and bass riffs that lock in creating a retro vibe, Peters’ drumming keeps the song propelling on all cylinders. “Shoot The Moon” jumps into a punk direction with psychedelic reverb laden vocals as Arm wails words such as “Looking for a life in the back of your mind/Looking so hard, you're going blind/Swear you tasted it, down the sun/Sooner or later, darkness will come” that seems to tackle a complex range of topics such as ambition, ego and trying too hard. “Fuzzgun 91” provides a brief instrumental interlude before “Pokin’ Around” begins. This more psychedelic and mid-tempo track features harmonica and great candid, yet satirical lyrics such as “You used to miss him/Now you're so turned on" and “Pokin' around/Gotten out of hand/I feel for you.” “Don’t Fade IV” brings garage meets Black Sabbath riffs with guitar slides as existential lyrics deal with monotony, while “Check-Out Time” ends EGBDF with a brooding, thought provoking intensity.

Throughout Every Good Boy Deserves Fudge, Mudhoney switches their focus embracing 60s garage influences such as The Sonics, Lollipop Shoppe, Neil Young, Spacemen 3, post hardcore, 80s hardcore and the sounds of bands such as Zounds and Hawkwind. With a 30th Anniversary Deluxe Edition that was released on Sub Pop in July 2021, the album has been expanded with 15 additional tracks which includes singles, compilation tracks, outtakes and the original five 24-track demos. Generally considered to be their best album, Mudhoney stripped down their sound with Every Good Boy Deserves Fudge. These fourteen tracks expand their sound and melodies while still attacking with an undeniable gut feeling.  

Listen to an interview that Revolution Rock did with Mark Arm & Steve Turner of Mudhoney:

Show 897 (Originally Aired On August 28th, 2021)(Mark Arm & Steve Turner Interview):

1.  Ty Segall - Rider
2.  Parquet Courts - Walking at a Downtown Pace 
3.  The Spits - Breakdown
4.  Mudhoney - Into The Drink 
5.  Mudhoney - Who You Drivin' Now? 
6.  Mudhoney - Paperback Life (Alternate Version) 

MUDHONEY INTERVIEW PART ONE

7.  Mudhoney - Something So Clear (24-Track Demo) 
8.  Mudhoney - Fuzzbuster 

MUDHONEY INTERVIEW PART TWO

9.  Mudhoney - Thorn 
10. Mudhoney - Good Enough 
11. Mudhoney - Move Out 
12. The Wipers - Taking Too Long 
13. Tunic - Fake Interest
14. Shearing Pinx - Called By The Wrong Name 
15. Blessed - Thought

16. The Effens - Venom Denim 
17. Golden Cinema - Little Sunscreen 
18. Spread Joy - Unoriginal 
19. The Gruesomes - Bikers From Hell 
20. Kitten Spitt - Sheena Is A Punk Rocker 
21. TV Freaks - Friend
22. The Leather Uppers - Hot Shot 
23. The Rats - Can't Stand Back 
24. The Grassy Knoll & The Magic Bullit - Summer's Almost Gone

To hear this program, visit CJAM's schedule page for Revolution Rock and click the August 28 file to download/stream the episode.

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

MARK ARM INTERVIEW PT.I

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

MARK ARM INTERVIEW PT.II

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.

Mudhoney's Vanishing Point & Show # 452

Mudhoney released Vanishing Point their ninth full length album on April 4th, 2013 via Sub Pop Records. The band has come a long way from 1988’s Superfuzz Bigmuff, however this new album builds on some of the bands earlier sounds and influences, while at the same time bringing in elements of 2008’s The Lucky Ones and their 2000 era sound, featuring more Stooges based freak out instrumentation. Lyrically, vocalist Mark Arm sharply hones his lyrics in a humorous, wit filled style, the kind that Mudhoney fans have come to love. Vanishing Point attacks the mainstream stereotypical rock star image, over rated popular champagne and douchebags. On the musical side the band reveals sounds that remind us of 60s Garage, Psychedelic Garage and just loud distorted Rock and Roll.

“Slipping Away” starts off with a drum solo and bass riff, before Mudhoney’s distorted Garage guitars come in. Mark Arm expels lyrics such as “I try to hold you, but you’re like sand / Slipping through these broken hands” playing into the albums artwork which also seems to reference a cult classic B-Movie, but more on that later. The song ends in a Psych Rock rave up, bringing up echoes of Ron Asheton and 60’s Psychedelia. “I Like It Small”, the lead off single for this album is also one of the strongest and fitting songs to Mudhoney’s discography. This track is reminiscent of older songs in the bands catalog minus the overloading distortion, making it sound musically like a Garage/Nugget track influenced by The Stooges and 80s Punk. With lyrics like “And when I orgy I cap it at twelve/Anymore than that I get overwhelmed” and “I’m not on some grandiose trip/I’m fine with little sips” this song lyrically attacks as mentioned, the stereotypical rock star image, by proclaiming they like it small, Mudhoney is addressing their minimalist motto, doing music their own way, not doing anything that is considered the norm. “What We Do Is Neutral” is a slow driving song, sounding like a song from 2002's Since We’ve Become Translucent, while “Chardonnay” burns through in less than two minutes following with razor sharp 70s Punk riffs, as lyrically Arm attacks the drink of the same name, considered a mainstream popular drink of choice to the famous with his witty and tongue-in-cheek lyrics. “The Final Course” is a slow riff filled song with disturbing lyrics that tell a tale involving issues of murder, cannibalism and out of body experiences, in classic lyrical Mudhoney offensive style.

“I Don’t Remember You” pokes fun at memory loss and grocery stores as it musically pulls influences from The Sonics, “The Song of Joy” musically seems to conjure up sounds not unlike “Need” and “If I Think” from 88’s Superfuzz Bigmuff, while adding their 2002-2008 Psych Garage element, finally the album ends with the track “Douchebag Parade”. This final track on the album eats at good looking, richer people that fall into that category we all know as “Douchbag” with its caustic, sharp witted lyrics and driving bass, drums and spacious lead guitar lines from Steve Turner. Mudhoney celbrates 25 years of being a band with this album, their label Sub Pop does as well. While both Sub Pop and Mudhoney have gone through their own troubles and turmoil’s over the last 25 years, they have persevered in their own way. Both the label and band have evolved to something that people can still indentify with and still love.

Now back to the title and album cover. The album cover is a photo that was taken by Emily Rieman of the ruins in Apamea, Syria, Arm revealed in an interview with Exclaim! He also said that the title was influenced by this photo referencing a movie where everything goes off into the distance, what many believe is the 70s’ B-Movie Vanishing Point. But this is an interesting point to leave you with when considering this album and Mudhoney as a whole. Like the end of the film Vanishing Point, many believe that Mudhoney had hit a wall in the 90s when signing to a major label, yet Mudhoney has risen from the so called ashes of their past evolving into something different and familiar at the same time. With Vanishing Point Mudhoney shows us that they still have the ability to sound like the Mudhoney that we used to love, but at the same time sound fresh and unspoiled.

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Another thing I would like to mention, last weekend at CJAM FM’s annual Jammy Awards I received a Lifetime Achievement award for my work with Revolution Rock and within the station and its community becoming the youngest programmer to do so. I initially started Revolution Rock in June of 2004, where it aired in the late night hours broadcasting from CJAM FM’s airwaves. The show started off dealing specifically with 70s Punk/New Wave, but over the years grew to incorporate other genres such as 60s Garage, Surf, Alternative, Indie and a variety of other associated genres, still remaining despite the genre in the attitude, realm and spirit of 70s Punk. In 2006, I started this blog. Its purpose was to have weekly posts which would profile a different band every week and also to host the play list and download links to the corresponding program for people to discover. This was before the term social media and facebook really started to affect the internet in a large way, this site too has grown to include exclusive interviews and content at times. I would like to thank CJAM FM, its staff and volunteers and anyone who has ever paid any interest in my show or website. While at first I didn’t think I had been at CJAM that long, nine years is a long time, a lifetime to some. Thanks CJAM!


This week's play list:

1. Paul Revere & The Raiders – Steppin’ Out
2. Chit Chat – Jelly
3. Tom Waits - Chicago
4. Captain Beefheart - Ella Guru
5. Syd Barrett - Octopus
6. Colleen Green – Only You
7. Japandroids - Fire's Highway
8. Mudhoney - I Like It Small
9. Mudhoney - Chardonnay
10. Johnny Cash – Remember The Alamo
11. Cellos – Feeding Through The Breathing Tube
12. Iceage - You're Nothing
13. Mission of Burma - New Nail
14. Big Black - Jordan Minesota
16. Sloan - Emergency 911
17. Deja Voodoo – Gotta Have Money
18. The Revolvers – Apocalypse Surfin’
19. Suuns - 20/20
20. Unicorns - I Was Born A Unicorn
21. Shotgun Jimmie - 3012
22. Simply Saucer - Instant Pleasure
23. Wreckless Eric - A Pop Song
24. The Gruesomes – The Deal

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

Superfuzzy Mudhoney...The Mudhoney Story and Show # 211

 

Forming in Seattle, Washington in 1988, Mudhoney were essentially born out of the ashes of Green River. Green River was a band that contained future members of the Seattle band Pearl Jam (Jeff Ament and Stone Gossard) and Mudhoney (Mark Arm and Steve Turner). Due to different members in the band wanting to go in different directions Green River split after they completed two EP's and one full length album. Mark Arm wanted to take the band in more of a punk rock direction, while Gossard/Ament wanted the band to go in more of a hard rock direction. In 1988, Arm and Turner began playing with drummer Dan Peters. After adding Melvins bassist Matt Lukin to the line up, Mudhoney were born.

Taking their name from a Russ Myers movie, Mudhoney recorded a single for Sub-Pop titled "Sweet Young Thing Ain't Sweet No More". The single and it's B-side "Touch Me I'm Sick" were released on a limited edition 7" vinyl on August 1st, 1988. Even though fans favoured "Touch Me I'm Sick" over the A-side "Sweet Young Thing Ain't Sweet No More", The single defined Mudhoney's sound. It was distorted fuzz box fueled guitar played sloppily, with elements of metal, garage rock and the attitude of punk. The lyrics were sarcastic and at times humorous. The single would lead to a devout following of the band in the UK. For the recently starting independent label Sub-Pop Mudhoney propelled them from unknowns to a label with bands from a upcoming music scene that would eventually be labelled as "Grunge". In October of 1988, Mudhoney released Superfuzz Bigmuff EP. Named after Arm and Turners favouite distortion pedals for guitar (The Superfuzz and The Big Muff), the EP contained eight tracks and sold poorly. In the UK it did well remaining on the charts for quite sometime. It would lead them to a headlining UK tour and lots of press coverage, Mudhoney were hailed as the next big thing to come out of Seattle. In 1989, Mudhoney released their first full length album Mudhoney. 

Around this time other Seattle bands began getting notice due to Mudhoneys success on college radio and in the underground. Bands such as Nirvana, Soundgarden, and Tad. Mudhoney had another album in the can titled Every Good Boy Deserves Fudge, but due to Sup-Pop's financial troubles, it wasn't released until 1991. The album is a favourite of Mudhoney guitarist Steve Turner and brought in a more garage rock and punk sound than their previous releases. Due to the difficulties of Sub-Pop at the time Mudhoney would leave the label and sign to a major label, Reprise. At the time the band began looking for a new label Nirvana's Nevermind was released and set the world on fire making Seattle the new centre of the rock and roll universe. Other Seattle bands began getting major label record deals because of this and the Grunge phenomenon took over the world of music.

Mudhoney's first album for a major label was released in 1992, it was called Piece of Cake. The band did not let their new label alter their song writing skills, and Piece of Cake showed the band sounding more like a garage rock band than a Grunge band. The album contained songs that the band regularly featured in their energetic, often riotous live shows such as "Suck You Dry", "Acetone", and "Blinding Sun". Despite signing to a major label, the band's album sales did not do as well as other Seattle bands such as Nirvana and Soundgarden. In 1995, Grunge began to wind down and Mudhoney released their second album for Reprise. My Brother The Cow is considered one of the best albums the band has ever released. The album combined elements of their new sound with elements of their old. The band paid homage to some of their favourite bands in song titles in lyrics. Bands such as Bad Brains, Led Zeppelin, Captain Beefheart and The Stooges. The song "1995" can be seen as a homage to The Stooges song "1969". Other great tracks include "Judgement, Rage, Retribution and Thyme", "Today is a Good Day" and "Into Yer Shtik".

In 1996, the band appeared in the movie Black Sheep staring comedians Chris Farley and David Spade. They are shown playing live on stage for MTV and also talk briefly with Chris Farley's character backstage. Tomorrow Hit Today was released in 1998. The album kept the bands Grunge style sound, but also brought in an influence of Blues Rock. The album was produced with legendary Rolling Stones producer Jim Dickinson and was recorded in three different cities. After a long tour in support of this album, the band were dropped from Reprise and bassist Matt Lukin would leave the band. The reason he gave was his dislike for touring.

In January of 2000, March To Fuzz was released. This was aa compilation of the bands well known songs and b-sides/cover songs. When this was released many people thought that since Matt Lukin left the band and they released a career retrospective greatest hits, that they were going to call it quits; The band continued. Recruiting Guy Maddison on bass, Mudhoney played more live shows and returned to the label Sup-Pop. Recorded in eight days, Since We've Become Translucent was released in 2002. The album was the bands sixth studio album and brought in a change of sound for the band. The album featured less metal-like riffs. as did early Mudhoney and brought in horn sections and violins. The first track on the album "Baby, Can You Dig the Light?" (which is over eight minutes long) sounds like a lost track from The Stooges album Fun House. Other interesting tracks include "The Straight Life", "Our Time is Now", and "Inside Job". The band followed the release of this album with a South American tour.

In 2006, Under A Billion Suns was released. The album further expanded upon the new sound the band experimented with on Since We've Become Translucent. The album brought in more horn sections and the band expanded lyrically on political subjects. Songs such as "Hard-On For War" (originally recorded in 2003), "Empty Shells", "Where is the Future?", and "It Is Us" addressed political issues. The album is just as interesting as their 2002 release. The band toured again in 2007 and released a live album titled Live Mud. In 2008, Mudhoney released their ninth album The Lucky Ones. This album is seen as Mudhoney returning to their original sound and has been as hailed as their best album in years. It was recorded and mixed with overdubs within three and a half days. This superfuzzy and raw album was also released to coincide with Sub-Pop's 20th anniversary, and the band's. In May of 2008, Sup-Pop also re-issued Superfuzz Bigmuff. The re-issue expanded the EP into a deluxe edition adding twenty additional songs, demos, early singles, and live tracks.

In addition to having a long career with Mudhoney, Mark Arm and Steve Turner have been involved in many other side projects. They are involved in the garage rock and blues side project The Monkeywrench. The band has released several albums including their most recent one in 2008 titled Gabriel's Horn. They have been active since 1991, seeming to release an album every eight years. In 2000, Turner went on bass and along with Mark Arm (on guitar/vocals) and several other musicians (Dan Peters, Scott McCaughey, Tom Price and Bill Henderson) they formed the one off group The New Strychnines. This band released one album containing 16 covers of songs originally done by garage rockers, The Sonics; The album was titled The New Original Sonic Sound. Mudhoney are a band that kick started the Seattle Grunge scene, but unlike almost every band to have come from that time, they are still standing and most importantly still rocking.

The Play List:

1. Supergrass - Strange Ones
2. The Creepshow - Take My Hand
3. The Jolts - Hey, Alright!
4. The Caesars - Boo Boo Goo Goo
5. The Pack AD - Blackout
6. John Mayall's Bluesbreakers (With Eric Clapton) - Little Girl
7. Malibu Kens - Crude City
8. Bureaucrats - Vaccination
9. Diodes - Teenage Nation
10. The Clips - Space Kidz
11. Elvis Costello & The Imposters - American Gangster Time
12. Public Image Limited - Home
13. Wire - Map Ref. 41 Degrees N 93 Degrees W
14. Talking Heads - No Compassion
15. XTC - Are You Recieving Me?
16. Magazine - Give Me Everything
17. U2 - Touch
18. Mudhoney - Touch Me I'm Sick
19. Mudhoney - Today, Is A Good Day
20. Mudhoney - New Meaning
21. The Monkeywrench - Solar Revelations
22. Luger Boa - Mutate or Die
23. Nirvana - (New Wave) Polly
24. Pearl Jam - Spin the Black Circle

Mudhoney Videos:

Touch Me I'm Sick (Live 1991)
Into The Drink
Suck You Dry
Pump It Up
Generation Spokesmodel
It Is Us
Hate The Police (Live 2008)
New Meaning (Live 2008)
The Lucky Ones (Live 2008)