Sam Coffey & The Iron Lungs Gates Of Hell Interview & Show # 531

Sam Coffey & The Iron Lungs most recent full-length outing features a six-piece band and a larger production sound. Echoing elements of power pop mixed with garage rock, Coffey’s vocal style has been likened to Joe Strummer and at times the music resonates with the influence of the Ramones, Elvis Costello & The Attractions and The Replacements, among others. The album opens with the title track “Gates Of Hell”, while the imagery of some of the album’s song titles portray darker connotations, the slicker production style combined with catchy hooks proves to be a vicious combination. The opening moments of this song and the album begin with a bell ringing before a speeding car brings us into an attack of cleaner guitars, bass, drums and looming organ which boils underneath the song like an engine. The opening words of the song snarl with attitude reminiscent of Exploding Hearts vocalist Adam Cox mixed with a young Johnny Rotten. Lyrically the song uses its biblical imagery to portray a relationship gone wrong, this powerful opener introduces us to several of the sounds that we will find on Gates Of Hell. The song wavers with upbeat and slower tempos as it builds to a powerful close with rambunctious group vocals that echo the words “I’m alright somebody sing it with me.”

“Hold Me Close” features country styled guitar lines alongside power pop rhythms. Drawing comparisons to The Clash, The Jam and perhaps a bit of The Black Lips, the Iron Lungs mix this with their sleazy charm and lyrics “If you can dance/Hold me close/Hold me closer” projecting a simple, yet effective message. “Get Pumped Up” blends the 60s organ driven sounds of garage rock with the spirit of 70s punk, the faster tempos here are reminiscent of a fast paced Elvis Costello & The Attractions live recording. Sam Coffey sings this catchy track in an almost drunken drawl, while “Season Of The Witch” with driving drums and echo drenched vocals conjures up images and themes of the raved up sounds once brought forth by The Sonics “The Witch” and Lollipop Shoppe’s 1968’s garage punk nugget “You Must Be A Witch”. Sam Coffey & The Iron Lungs take these aforementioned sounds and adds echo, dizzying organ and guitar solos for raunchy effectiveness.

“Run and tell her what you’ve done/And I’m heavy on Queen St.” portrays drama that ensues on Toronto’s Queen Street in “Heavy On Queen St.”, the seventh track found on Gates Of Hell. This song, like the others found on this album, have something familiar to them, but they are difficult to pinpoint to a tee. “Heavy On Queen St.” features stop and start song structures that blends a power pop cocktail of Elvis Costello & The Attractions, The Nerves, with a dash of The Dentists for a smooth relaxed feeling. “Calgary Hill” is one of the popiest tracks found on Gates Of Hell. With lyrics that seem to look back on the past while fighting for the present, the lyrics sound like they surfaced from a drunken realization, an epiphany of sorts as the chorus rings with the words “Calgary Hill/All I wanted/All I wanted/I always will”. This song has an indefinable quality, but one that lends itself to the anthemic songs found on Gates Of Hell, this one being the top one on the list. “17” once again builds on the albums darker imagery, but it is sung in a Robin Zander drawl ala “Surrender”, the album’s final track pulls in heavier psych influences.

Four of the album’s tracks were recorded with Ben Cook of the band Fucked Up. Sam Coffey covered the rest of the production, recording in the band’s practice space and a variety of other locations adding to the album’s character, as he has done with previous Iron Lungs recordings. Gates Of Hell covers a lot of topics lyrically and musically adds to the Iron Lungs palate. Sam Coffey originally from Waterloo, Ontario, recently relocated to Toronto and expanded his band to a six piece group. More people in the band means there could be more complication in the overall sound of the group. The band does not fall into this trap here. The band’s sound may have expanded with more members and higher production values, but on Gates Of Hell, Sam Coffey & The Iron Lungs deliver an album that deals with many hellish complex subjects, whether metaphorically or bluntly throughout the album’s lyrical content. Musically they still keep the rowdy, pub-crawl spirit that drew us to them in the first place.

Check out the interview I did with Sam Coffey here:



Saturday Night Play List:

1. Link Wray - Hold It
2. The Vagrants - Oh Those Eyes
3. Personal & The Pizzas - Pepperoni Eyes
4. Carbonas - Trapped In Hell
5. Brazilian Money - Then You’ll Know
6. Cream - N.S.U.
7. Ausmuteants - Tunnel Vision
8. King Tuff - Black Moon Spell
9. The Shangri-Las - Give Him A Great Big Kiss
10. Television - Venus De Milo (Live)
11. Sam Coffey & The Iron Lungs - Gates Of Hell

Sam Coffey Interview

12. Sam Coffey & The Iron Lungs - Season Of The Witch
13. Sam Coffey & The Iron Lungs - Heavy On Queen Street
14. Demolition Doll Rods - Psycho Kitty
15. Paul Jacobs - Waiting For The Grave
16. Mekons - Abernant 1984/5
17. Stompin’ Tom Connors - Love’s Not The Only Thing
18. Bob Dylan & The Band - 900 Miles From My Home
19. Woody Guthrie - Pretty Boy Floyd
20. Tweedy - Low Key
21. Nap Eyes - No Man Needs To Care
22. The Ride Theory - I'm On Board
23. Japanese Treats - Color Glo
24. Bell Peppers - Batman
25. The Spitz - Ask Your Mother
26. The Cramps - Aloha From Hell
27. The MC5 - Motor City Is Burning

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for October 25. Or subscribe to Revolution Rock as a Podcast.

Dee Dee King The Crusher & Show # 530

“The Crusher” is a song that first appeared on the Standing In The Spotlight album by Dee Dee King. This was the first solo outing for Dee Dee Ramone in 1989, but it was a rap album created shortly after his departure from the Ramones. The album is infamous for its 80s styled rhymes about “Mashed Potato Time”, “Commotion In The Ocean” among other things. “The Crusher” is a song that deals with a wrestler attempting to become a champion or “king of the ring” as Dee Dee sings. The song features guitar not unlike the sounds heard on the Ramones Too Tough To Die album first released in 1984, with words rapped instead of sung. The chorus has even drawn comparisons to the song “Wart Hog”. This song is one of the standout tracks on Standing In The Spotlight, which is known for being a commercial flop. Dee Dee King released a single prior to this called "Funky Man", but shortly after this album’s release Dee Dee gravitated away from rap and formed a punk rock band called The Spikey Tops. “The Crusher” was re-recorded by Ramones for their 1995 album !Adios Amigos!



Saturday Night Play List:

1. Them - Go On Home Baby
2. Unrelated Segments - Story Of My Life
3. The Trashmen - Bird Dance Beat
4. Ronnie Spector - She Talks To Rainbows
5. The Dictators - Baby Let’s Twist
6. Generation X - Day By Day
7. Ex-Hex - Everywhere
8. Thurston Moore - The Best Day
9. Art Bergmann - Ballad Of A Crooked Man
10. Frankie & Jimmy - Down The Dirt Road Blues
11. The Wailers - Mashi
12. The Pistolrays - Night Drive
13. Legato Vipers - Talkback Mikhial
14. James O-L & The Villains - Kill The Devil
15. The Replacements - Customer
16. The Replacements - Hanging Downtown
17. Beach Boys - You’re So Good To Me
18. Creatures - Ugly Thing
19. Paul Revere & The Raiders - Just Like Me
20. Sunsets - The Hot Generation (Soundtrack Version)
21. King Cobb Steelie - Slump
22. The Young Canadians - Sharpshooter (Live 1979)
23. The Nelsons - Black Knight
24. The Dik Van Dykes - Garage Sale
25. White Fence - Raven On White Cadillac
26. The Misfits - Vampira
27. Dee Dee King - The Crusher
28. The Dirty Nil - Wrestle Yu To Husker Du
29. Coachwhips - Like Food, It Feeds
30. Allah-Las - Every Girl
31. Ty Segall - It’s Over
32. Young Rival - Black Popcorn

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for October 18. Or subscribe to Revolution Rock as a Podcast.

Teenanger Chris Swimmings Interview & Show # 529

Toronto’s Teenanger released their fourth album EP LP on September 9th, 2014, featuring Chris Swimmings (vocals), Melissa Ball (bass), Jon Schouten (guitar) and Steve Sidol on drums.  EP LP comes shortly after 2013’s Singles Don’t $ell which featured the band exploring the deeper elements of the new wave and post punk genres of the late 70s/early 80s. The album’s title once again is a play on music release formats, this one being EP LP, a release in the middle of a full-length album and an EP perhaps. Its title could also be seen as the band’s sound on this release, which is a cross between 2012’s Frights & 2013’s Singles Don’t $ell.  Musically the album is aggressive and at times more relaxed, but it still has an undeniable sleazy grime to it.

“Fly On The Wall” starts off this release from Teenanger. The song displays the band’s wiry post punk influenced garage sound, while lyrically it conveys something else. With words such as “You’re just a fly on the wall/You eavesdrop” and other themes that pop up in the verses of this track, it seems to be a comment on our social media dominated society. “Sky Saxon” attacks with its synthesizer-like riffs and lyrics that seem to be homage to The Seeds front man Sky Saxon lyrically, as it addresses his popularity as opposed to Michael Jackson. “Twisted” bends with its deep bass groove that locks in with the drums as the guitar fills in the gaps, while vocalist Chris Swimmings sings in a lower register. The song is also notable for its saxophone solo, which clocks in around the one minute and 30 second mark. The solo sounds eerily reminiscent of the saxophone in post punk band Magazine’s early song “My Mind Ain’t So Open”.

“Mild Survival” is the first song to be sung by Teenanger bassist Melissa Ball and features a sludgy bassline with sugarcoated vocals, while “Think About It” follows next as one of the album’s first singles. The song sneaks in like a monster jumping out from the primordial ooze of a late 80s Horror B-movie. It lyrically seems to tell the story of impatience and indecision amongst the scratchy guitars and distorted vocals. “The Sequel” is one of the longer tracks found on this album. It sounds at times like it could have come from 2010’s Give Me Pink as it bounces back and forth between up-tempo walls of guitar riff fury, mid-tempo driving bass and solid steady drums as vocals are executed in a creepy drawl. “Negative Zeros” is a rant about minimum wage and drinking in sub zero degree weather. Guitar work by Jon Schouten on this track sounds like it could have been played by Keith Levene while sliding on ice.

The final track on EP LP is the slow and sludgy “Hot Rods At The Loser Convention”. As the primal bass and drums pound away and the guitars slice and stab in the background, Swimmings sings of cliques, jocks and so called “cool” kids in a sneering satirical tone. Some are calling this track a loser anthem. The sound on this album is one that is difficult to describe specifically, it is the sound of a band in their element. On EP LP the new wave/post punk influence from previous albums is still apparent, but there seems to be more voluminous guitar riffs that are like shards of shrapnel. Basslines sound thick and at times fuzz addled, as analog sounding drums, snotty vocals by Chris Swimmings and backing vocals provided by Melissa Ball add to the overall battlefield of dynamics found here. With EP LP Teenanger does not misfire. Throughout this nine-track launch the band hones their sound and are right on target.

Listen to the interview that I did with Teenanger vocalist Chris Swimmings here:



Note: The album review in this post was previously posted here.

Saturday Night Play List:

1. The Seeds - Try To Understand
2. The Arrogants - Drunky Blues
3. Motel Beds - These Are The Days Gone By
4. The Gruesomes - Hypnotized
5. Crazy Rhythm Daddies - Deep Ellum Blues
6. The Nature Boys - Can’t Think
7. The Rural Alberta Advantage - This City
8. Sam Coffey & The Iron Lungs - Communication
9. Iceage - The Lord's Favorite
10. White Lung - Just For You
11. Metz - Rats
12. Teenanger - Fly On The Wall
13. Teenanger - Sky Saxon

Teenanger Chris Swimmings Interview

14. Teenanger - Power Trip
15. King Tuff - Sick Mind
16. DOA -New Age
17. Verdix - Lookin’ Around You
18. Female Hands - Annarea
19. Cellos - Mass Production Scheme
20. King Khan & The Shrines - Darkness
21. The Sonics - Don’t You Just Know It
22. Ex-Hex - Hot And Cold
23. Tweedy - World Away
24. The Oblivians - Call The Police
25. The Adverts - Quick Step
26. The Ruts -Bablylon’s Burning

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for October 4. Or subscribe to Revolution Rock as a Podcast.

Allah-Las Worship The Sun & Show # 528

The Allah-Las second full-length album, Worship The Sun, delves into a 60s California atmosphere. Blending their previous elements of the British Invasion sound, 60s psychedelics and American garage, the band also adds in hazy rhythms of folk and more surf sounds this time. Worship The Sun features a very laidback and leisurely sound that isn’t always as up-tempo as 2012’s Allah-Las release. This is what sets Worship The Sun apart from their first full-length release and is also what perhaps confuses some critics. The laidback sounds found here are highly influenced by a relatable, but sunbaked 60’s California sound, perhaps more so than when it was first explored in 2012.

“De Vida Voz” starts off Worship The Sun with heavy drones of garage feedback before launching into catchy surf and garage rhythms. Its title roughly translates into “the voice of life” as reverb drenched vocals repeat the lines “Voices carry through the canyon”. This album features many lyrics that some might call soul-searching and this song starts it off displaying elements that we will find in the remaining eleven tracks. “Had It All” brings to mind 60s psychedelic garage nuggets with catchy harmonies and Latin drum rhythms. This song blends Allah-Las early sound and new sound perfectly. “Artifact” seems to pull influence from The Chocolate Watch Band, while “Ferus Gallery” shows us the first of two instrumental tracks found on Worship The Sun (the other being the surf and slide guitar country of “Yemeni Jade”).

Other highlights include the jangly Byrds pop sounds of “Recurring”, the folk influence of “Nothing To Hide”, and “Buffalo Nickel”. This early single from the album features reverb sun-drenched guitars and song elements that some might call surf pop. The song also features the thought provoking lyrics of “And we had so much time to live don’t it go by fast/And I have so much to give but that was in the past” which seem to question and search at the same time with the background “bah-bah’s” and sprawling guitar lines. “501-415” reintroduces the fuzz guitar pedal that we first heard in the album’s opening moments. The song picks up the pace a bit, hinting at their deep 60s nugget styled garage roots.

Worship The Sun draws on influence from many bands that sound familiar, yet different at the same time. Throughout the album the sounds of The Animals, The Zombies, The Byrds and Love seem to filter in and out, while newer influences are also brought in. This is evident on the album’s final track “Better Than Mine”, which sounds like the early country rock sounds of Buffalo Springfield. The CD and digital editions of Worship The Sun also comes with two bonus tracks. There is another instrumental track, this time a cover of The Frantics song “No Werewolf” and another original track “Every Girl”, which attacks with a 60s garage clang. As a whole Worship The Sun plays into its title featuring a focused sound indebted to sunny 60s California, but with this sound Allah-Las display a new laidback sound and approach that takes a few listens to sink in. Once it does it stays with you like a vintage ride in a Volkswagen Beetle along the West Coast.

Saturday Night Play List:

1. Mark Sultan - Shadow With The Golden Eyes
2. The Amazing Snakeheads - The Nighttime
3. Echo & the Bunnymen - The Yo-Yo Man
4. What Seas What Shores - Bonaparte
5. Deerhunter - Cryptogram
6. Christian Bland & The Revelators - The Last Summer
7. Johnny West - Murder Dressed As Mercy
8. Neil Young - On The Beach
9. Leonard Cohen - Diamonds In The Mine
10. Mexican Knives - Turner
11. Big Black - The Model
12. The Unusuals - Measure For Measure
13. Frank Black - Whatever Happened To Pong?
14. La Luz - Brainwash
15. Allah-Las - 501-415
16. Allah-Las - Better Than Mine
17. The Dead Kennedys - Kill The Poor
18. Link Wray - Radar
19. The New Dimensions - Junker
20. The Cramps - Blue Moon Baby
21. Devo - Praying Hands
22. The Psychedelic Furs - Fall
23. Iggy Pop - Five Foot One
25. Paul Jacobs - Soul Catcher
26. Thee Oh Sees - Ugly Man
27. Public Image Limited - Lowlife
28. Magazine - My Mind Ain’t So Open

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for September 27. Or subscribe to Revolution Rock as a Podcast.

Ty Segall Manipulator & Show # 527

In late August, Ty Segall released Manipulator, which is his longest album to date. On September 22nd, he played with his Ty Segall Band to a packed house at Trinosophes in Detroit, Michigan in support of this release. The show featured three opening bands and the venues stage featured a series of amplifiers, which after each set disappeared in layers until only Segall’s combination of Fender and Music Man amplifiers remained. Like the amplifiers, the album Manipulator also contains a multitude of layers. Musically the album combines elements of Segall’s most recent projects Fuzz, sounds from the album Slaughterhouse with the Ty Segall Band, acoustic elements, and the garage sounds that he has been known for. Additionally, the influence of 70s glam rock and classic rock sounds dominate this seventeen track release. This 56 minute double album also took fourteen months to record, every other Segall release was recorded and released quickly.

As the Ty Segall band took the stage, they all came out displaying their new look, which could be called psychedelic glam. Segall wore A Clockwork Orange droog-like costume combined with early glam-era David Bowie. Lyrically the album is a journey featuring a cast of characters, the concert was no different. Following a quick sound check, a man came out in a cowboy hat talking to the crowd. Further adding to the myth of the album’s cosmic senses, he began playing the organ part to the album’s opener “Manipulator”. The song’s infectious organ riff accents the hammer-on guitar lines and crunchy choruses that reflect Segall’s garage rock influence combined with his newer 70s Bowie glam-era sound. When the song began the audience erupted. Several fans were jumping around as if they were being controlled by the loud noises from the stage. One of the PA speakers also could not contain itself, it fell over during the opening number.

Photo By Mike LeClair

“Tall Man, Skinny Lady” features salty acoustic guitars, with some guitar fuzz and is reminiscent of David Bowie’s “Space Oddity.” “The Singer” combines glam acoustic sounds with electric guitar stabs and orchestral string accompaniments, while lyrically it could be a commentary on Segall’s loud rock past. “Green Belly” reintroduces the character dynamic with lyrics “He’s going to make a movie/Of his entire life” and acoustic interplay, “Who’s Producing Who?’ features infectious maracas, drum beats, fuzzy bass and Thin Lizzy styled guitar solos. The album’s louder dynamics pull in the influences of bands such as Black Sabbath, Hawkwind, The Stooges and early Motorhead. “It’s Over” features a Black Sabbath influence while drawing on sounds explored on last years Fuzz album and 2012’s Slaughterhouse, “The Crawler” adds more scuzz the mix adding elements of the band Blue Cheer, while “The Connection Man” is more like a slow dirge of sounds.

At one point during the concert, La Luz was playing and the drummer got up from the drum seat. Ty Segall stepped in on drums as she crowd surfed to the back of the venue and then returned to the stage in reverse. This song seems to contain the same uninhibited chaos. “Susie Thumb” attacks with a fuzzy garage crunch that borderlines on 90s alternative rock, while lyrically it further adds to the character elements found on this album. “The Feels” is a song that plays with Segall’s acoustic, heavy rock dynamic with haunting lyrics such as “And when I look into your eyes/I realize you’re the same as me/You’ll never be free.” After launching through a large majority of the Manipulator album, another cast of characters were introduced to the live set, songs from previous Segall albums. The ending track on Manipulator, “Stick Around” features battling guitar solos with string sections. During his live set Segall battles his sounds even fighting with them with every inch of feedback and subtlety until he shapes them the way that he wants them. Prior to Segall’s live set some fans in the audience threw handfuls of glitter at each other, during the erupting opening number it was launched throughout the audience. There is a certain mystery to Segall, whether it is his lo-fi garage beginnings or his multiple side projects. On Manipulator we are taken through a journey into a world of sounds that are familiar, but new and exciting at the same time that hits us as the dust and glitter settles.

Saturday Night Play List:

1. James O-L & The Villains - The System
2. Peter & The Silhouettes - Claudette Jones
3. Great Scots - Ball And Chain
4. Allah-Las - Had It All
5. Coachwhips - 1000 Years
6. Death From Above 1979 - Government Trash
7. The Cinch - Fade Out
8. EX~PO - Your Sunny Days
9. Neil Jarvis - Young As Me
10. Tea Leaves - Death Drive
11. Karen O - Body
12. Johnny Cash - Mama, You’ve Been On my Mind
13. Stark Naked And The Fleshtones - I Broker Her Heart, She Broke My Arm
14. The Pretty Things - Get A Buzz
15. The Almighty Defenders - She Came Before Me
16. The Black Lips - Modern Art (Live At Third Man Records)
17. King Khan & The BBQ Show - Fish Fight
18. The Velvet Underground - I Heard Her Call My Name (Alternate Take)
19. She Wolf - I’m So Glad You Don’t Know What’s On My Mind
20. Guided By Voices - Chicken Blow
21. Guided By Voices - Cool Planet
22. Sam Coffey & The Iron Lungs - Hold Me Close
23. The Cigarettes - They're Back Again, Here They Come
24. Talking Heads - First Week/Last Week … Carefree (Acoustic Version)
25. The Outcasts - Self Conscious Over You
26. The Normals - Reruns (1978 Demo)
27. The Polymorphines - Saucer Eyes
28. Ty Segall - Manipulator
29. Ty Segall - Green Belly
30. Ty Segall - The Connection Man
31. Ty Segall - Susie Thumb

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for September 20. Or subscribe to Revolution Rock as a Podcast.

Teenanger EP LP & Show # 526

Toronto’s Teenanger released their fourth album EP LP on September 9th, 2014, featuring Chris Swimmings (vocals), Melissa Ball (bass), Jon Schouten (guitar) and Steve Sidol on drums.  EP LP comes shortly after 2013’s Singles Don’t $ell which featured the band exploring the deeper elements of the new wave and post punk genres of the late 70s/early 80s. The album’s title once again is a play on music release formats, this one being EP LP, a release in the middle of a full-length album and an EP perhaps. Its title could also be seen as the band’s sound on this release, which is a cross between 2012’s Frights & 2013’s Singles Don’t $ell.  Musically the album is aggressive and at times more relaxed, but it still has an undeniable sleazy grime to it.

“Fly On The Wall” starts off this release from Teenanger. The song displays the band’s wiry post punk influenced garage sound, while lyrically it conveys something else. With words such as “You’re just a fly on the wall/You eavesdrop” and other themes that pop up in the verses of this track, it seems to be a comment on our social media dominated society. “Sky Saxon” attacks with its synthesizer-like riffs and lyrics that seem to be homage to The Seeds front man Sky Saxon lyrically, as it addresses his popularity as opposed to Michael Jackson. “Twisted” bends with its deep bass groove that locks in with the drums as the guitar fills in the gaps, while vocalist Chris Swimmings sings in a lower register. The song is also notable for its saxophone solo, which clocks in around the one minute and 30 second mark. The solo sounds eerily reminiscent of the saxophone in post punk band Magazine’s early song “My Mind Ain’t So Open”.

“Mild Survival” is the first song to be sung by Teenanger bassist Melissa Ball and features a sludgy bassline with sugarcoated vocals, while “Think About It” follows next as one of the album’s first singles. The song sneaks in like a monster jumping out from the primordial ooze of a late 80s Horror B-movie. It lyrically seems to tell the story of impatience and indecision amongst the scratchy guitars and distorted vocals. “The Sequel” is one of the longer tracks found on this album. It sounds at times like it could have come from 2010’s Give Me Pink as it bounces back and forth between up-tempo walls of guitar riff fury, mid-tempo driving bass and solid steady drums as vocals are executed in a creepy drawl. “Negative Zeros” is a rant about minimum wage and drinking in sub zero degree weather. Guitar work by Jon Schouten on this track sounds like it could have been played by Keith Levene while sliding on ice.

The final track on EP LP is the slow and sludgy “Hot Rods At The Loser Convention”. As the primal bass and drums pound away and the guitars slice and stab in the background, Swimmings sings of cliques, jocks and so called “cool” kids in a sneering satirical tone. Some are calling this track a loser anthem. The sound on this album is one that is difficult to describe specifically, it is the sound of a band in their element. On EP LP the new wave/post punk influence from previous albums is still apparent, but there seems to be more voluminous guitar riffs that are like shards of shrapnel. Basslines sound thick and at times fuzz addled, as analog sounding drums, snotty vocals by Chris Swimmings and backing vocals provided by Melissa Ball add to the overall battlefield of dynamics found here. With EP LP Teenanger does not misfire. Throughout this nine-track launch the band hones their sound and are right on target.

Check out an interview I did with Chris Swimmings, the vocalist in Teenanger in this post. 

Saturday Night Play List:

1. Orphan Choir - Cold Book Of Matches
2. The Spooky But Nice - Sun Goes
3. David Bowie - Dirty Boys
4. Thee Mighty Caesars - This Man’s Determined
5. Spoon - They Want My Soul
6. A Sunny Day In Glasgow - Double Dutch
8. The War On Drugs - Need In Your Eye #16
9. Nap Eyes - No Fear Of Hellfire
10. Monomyth - Cigarette
11. The New Pornographers - Brill Bruisers
12. Small Teeth - Murder House
13. Marshmallow Overcoat - Knights Of Fuzz
14. Desperate Measures - Shane’s Song
15. Hag Face - Dirtbag Dreamboat
16. Siouxsie & The Banshees - Love In A Void
17. The Users - Now That It’s Over
18. Pseudos - Backdoor Man Bites The Dust
19. The Replacements - Hey Good Lookin’ (Live)
20. Lost Patrol - Second Time Around
21. Fugazi - Waiting Room
22. King Khan & BBQ Show - Anala
23. Teenanger - Mild Survival
24. Teenanger - Think About It
25. Husker Du - I Apologize
26. The War On Drugs - Baby Missiles
27. 999 - Emergency
28. The Jesus & Mary Chain - The Living End
29. Indian Wars - Walk Around The Park

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for September 13. Or subscribe to Revolution Rock as a Podcast.

James O-L & The Villains On The Banks Of The Detroit River & Show # 525

On August 28th 2014, James O-L & The Villains released their new album On The Banks Of The Detroit River. Prior to meeting up with James O-L to discuss the album, I pass the Detroit River. It is unseasonably cold this day and the water in the river is a strange blue-green colour. The night before there was a large thunderstorm, the weather seems to be warming up the closer I get to my interview location. We first start talking about recording, James O-L is a man of many hats, he has recorded and produced every album he has released with the Villains himself. He is also a musician and songwriter, but today James is not wearing any hats. On The Banks Of The Detroit River was recorded in Kingsville, with Brett Humber at Sound Foundry Studios and overall the album has “More of a bigger sound” and “In general the songs have gotten more aggressive”, as James tells me. Lyrically, this album pulls inspirations from its surroundings. Songs on the album seem to evoke a certain tone, one that comes with living in Essex County. Musically the album draws from the folk/country dynamic that James O-L & The Villains have displayed in the past, but it also mixes with the aggressive, punk/90s rock edge that has developed within the band’s dynamic recently.

The album starts off with “The System”. It begins slow and is melodically folk-like before launching into furies of feedback. These two dynamics battle each other much like a vicious summer storm that follows a period of intense heat. This also applies to not only the song’s lyrical subject matter, but to the album’s overall dynamics. “Manquest” follows next, this song was as James tells me inspired “By a road trip with Caleb (The Villains drummer) to Owen Sound”. It is also the album’s first single. Musically the song features mostly clean guitar, melodic basslines and steady drumming with a Jazz-like beat. The song builds into a slow burn as it picks up with guitar solos before fading out. “Late Night Drive” follows next bringing down the pace with its folk elements, mixed with electric guitar and strong vocal harmonies provided by the band in addition to Kaitlyn Kelly. The song which has been a staple of the band’s live set for a few years now, moves along like a slow drive through back roads of Essex County. At the album release show for James O-L’s solo album last year at the Capitol Theatre near the end of The Villains set a few friends shouted out “Kill The Devil” from the back of the theatre. Only a select few people in their vicinity heard this request. I asked one of the Villains guitarists, Boh, after the show about this and he told me “It’s a new surf song we wrote”. While I did not hear the song that night, this instrumental surf song does not seem out of place on this album. The song along with the Jazz-like instrumental “Kissed At The Loop” adds a smooth dichotomy to songs found on this release.

“Arts Degree” is a song that James tells me “Hits something really unique. I think it just sounds like us. A lot of people have responded it to it. “ With lyrics such as “Born for a love with the strange and the absurd/Dreamt of the colours behind this translucent world/But they’ll rob you blind” this song seems to be convey finding a voice and artistic freedom in today’s “Post modern age”. The words also help to make this one of the strongest moments on the album. “Collective Ignorance” features guest appearances from Jim Meloche (Orphan Choir/Worry) and Kelly Hoppe (Big Sugar), they blend in amongst the bands aggressive folk sound seamlessly.

Other strong points include the weary beat of “Till The Morning Light”, which echoes elements of Neil Young’s 1972 album Harvest and the album’s ending track. “The Old And The New” ends the album in a symbolic way for the band. The song intensifies with a maelstrom of guitar, bass, and drums before it nears its end and fades out. James tells me of the album’s inspiration during our interview “I was living in a house on the Detroit River… it was like 3/5ths of the band living together and jamming and stuff at that house on the water and I think that had some influence. So we named the album kind of after that time.” He also mentions midway through the interview: “I think this album might eventually be like kind of a transition album in some ways. It seems more aggressive than anything we’ve done before, but I think we’re going to go even more in that direction. “ The songs that make up this album portray the subtleties of a band mixing elements of folk, country and the heavy rains of aggressive feedback. With On The Banks Of The Detroit River, James O-L & The Villains find their voice during the in-between moments of the album, not unlike the album’s cover image which looks outward from Windsor revealing the water between Windsor/Detroit or after a summer storm.

Another version of this article first appeared in The Windsor Independent.

Saturday Night Play List:

1. James O-L & The Villains - Collective Ignorance (CJAM Session)
2. James O-L & The Villains - Manquest (CJAM Session)
3. James O-L & The Villains - Arts Degree (CJAM Session)
4. James Bond & The Agents - Wild Angel
5. Flesh Rag - Bug Man
6. Shonen Knife - Dance To The Rock
7. Elephant Stone - All Is Burning
8. The Vindicators - Hate
9. Double Naught Spys - One More Beer
10. James O-L & The Villains - Kill The Devil (CJAM Session)
11. James O-L & The Villains - One Horse Town (CJAM Session)
12. Pokey LaFarge - Central Time
13. The Gories - Train Kept A Rollin’
14. The Rolling Stones - Do You Think I Really Care
15. Sloan - So Far So Good
16. The Exploding Hearts - Sleeping Aides & Razorblades
17. The Adverts - No Time To Be 21
18. The Mongrols - Plastic Girl
19. The Junior Raymen - The Rat Fink
20. Guitar Army - I Wanna Be Like You
21. Ty Segall - Tall Man, Skinny Lady
22. Jaill - On The Beat
23. Lowlife - Thinking Naturally
24. The Sinners - No Brains Required
25. Apache Dropout - Constant Plaything
26. The Subs - Gimme Your Heart
27. X - Soul Kitchen
28. The Boys - You Make Me Shake
29. The Marching Girls - First In Line
30. The Clash - Garageland

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for September 6. Or subscribe to Revolution Rock as a Podcast.

Invasions No Darkness EP Interview & Show # 524

Toronto’s Invasions have been making music for quite sometime, they have put out a few releases and originally had their beginnings as a garage band. Through several line-up changes and experience, the band’s sound evolved. We saw that in full form on the band’s 2013 self-titled release Invasions, where the band’s sound added watery textures that are at times synonymous with surf rock. They blended that with pop elements that some people might call indie rock, maybe even psychedelic to a degree, but their garage beginnings still lurked in the background. In addition to all this the band began using horn sections in a style that has been described as similar to spaghetti western soundtracks. In 2014, Invasions released an EP entitled No Darkness. The EP’s artwork looks like something that has been put together from a collection of B-horror movie posters. The sounds on No Darkness seem to attack the listener at a more aggressive level, not unlike the sea monster-like creature that fills the EP’s artwork.

The title track “No Darkness” starts off the EP with the band's new surf-western dynamic that they have been developing. The song builds up with an epic Ennio Morricone-like horn section that crawls between the stop and start bass patterns and guitar riffs. This song defines the band’s developing apocalyptic surf inspired sound. The lyrics also seem to delve deep into a similar mindset. “Black Lagoon” starts off the second track on No Darkness with dirty fuzz guitar riffs not unlike The Cramps before the reverb and humid sounding horn sections invade your eardrums. Amongst the dirtier guitar riffs and horns, the bass smoothly takes us through the pools of reverb that are often accented by vocalist Alex Zen. “Unknown Pleasures” ends the EP, in a more upbeat fashion. Featuring stop and start reverb soaked guitars, the song also features organ and guitar riffs that play simultaneously. Lyrically the song features words such as “The chemicals control you in waves/Uncontrollable haze” and “These unknown pleasures have taken hold” that end the EP with a bit of a cloud of mystery. On No Darkness, Invasions crank up the reverb and add a touch of chaos. In the process Invasions create a genre that is all their own.

The following interview was done between myself Dave Konstantino (the host of Revolution Rock) and members of the Toronto based band Invasions. The answers to these questions were provided by Alex Zen, Brian Moyer and Brian Cuddy of Invasions. We talk about recording, surfing, garage rock and Quentin Tarantino movies.

RR: Invasions have been around for quite some time now and has featured different band members. Who is in the band’s current line up?

Invasions is currently made up of: Alex Zen - Vox and guitar, Matt Buck - Lead Guitar, Brian Moyer – Trumpet & Organ, Brian Cuddy – Bass & Vox, Ara Carson - Drums. We’ve had a number of changes to the line up over the years (Danny from July Talk, Alex from The Holiday Crowd).

RR: How would you compare your current sound on albums such as 2013’s self-titled album and your No Darkness EP compared to your first full-length album and 2009’s Magic EP?

There is a night and day difference between the two. I think we kept some of the pop factor found on the Magic EP, but have developed as musicians and individuals since then. A sort-of self-evolution. I’d say our self-titled album and No Darkness EP is a culmination of all that.

RR: Invasions earlier sound was more garage rock oriented. What inspired the band’s change in sound and why?

I think we grew up a little bit. We evolved as musicians, added new members and began focusing a little more on the groove of our songs. We want to make something people can really feel while still retaining the grit and energy of our previous sound. It was really a natural evolution. Plus I tried surfing for the first time and got hooked – maybe that’s actually the real reason for the change in sound!

RR: Where was the No Darkness EP recorded at and did the process differ from recording 2013’s self-titled album. Who did you work with for the recording of this EP?

We are very fortunate to have our own secluded practice space where Matt and I (Alex) grew up in Etobicoke. We fashioned our rehearsal space in an office out there beside the Hell’s Angels headquarters. After 5 everyday and all weekend we go in set up right in the office and get our groove on. We recorded a little teaser video of us recording the No Darkness EP where you can see the space water cooler included.

We decided to record both the LP and the EP essentially by ourselves with the help of Edan Schkeimei of the Dirty Frigs – check em out! The DIY approach was both a blessing and a curse: having infinite studio time to work on a record really opens up the opportunity to explore ideas but at the same time this can slow down the overall recording process significantly. I think we learned a lot from the process. We have just added a new reel-to-reel to our collection and are excited to go analogue for our next EP which should capture our live sound with a little more clarity.

RR: The artwork for the band’s last two releases has seemed more DIY style in terms of the layout. Who did the artwork for No Darkness and the self-titled album and was that something you were going for?

Our No Darkness EP was a DIY project and I felt the artwork should represent this too. Recently I have been making collages from cut outs of old magazines and the No Darkness art work was came from one I thought was especially neat. In the end we only used a small portion of the whole piece, but it still makes a strong commentary on modern society. It has a real focus on society’s cruel tandem of complacency, apathy and fetishism. Check it out. Heavy stuff, but reminiscent of some ideas portrayed throughout the EP.

RR: Your recent sound has been compared to music found in a lost Quentin Tarantino movie and as being reminiscent of music found in spaghetti western soundtracks. Would you agree with this as being accurate and what is your favourite Quentin Tarantino movie and or spaghetti western?

In almost every review we get described with that type of language. I think the main thing we try to achieve is definitely cinematic in a way. We approach song-writing like you might approach a short film with a real focus on telling a story and creating a feeling. Also, from a purely aesthetic sense, we of course are all big fans of the digging up history, whether it’s through our instrument selection (60s era Vox, Framus, Hofners) or Moyer’s attachment to finding that perfect set of vintage cowboy boots.

It’s obviously quite hard to choose a favourite Tarantino film. My favourite scene is the opening of Reservoir Dogs – that is some raw human emotion in the back of that Cadillac.

RR: Invasions recently played NXNE how was the response at those shows and what is next for the band in terms of touring?

NXNE was great as usual! A highlight for me was playing the 159 Manning BBQ in the sweatiest front room. It got so crammed we had to get up on the furniture. Seeing Tom Verlaine and Television live was a special treat – or wait was that CMW?

We followed NXNE by touring out east in Canada, in October we will be touring out west in Canada. From there we would love to make our way down to the states and Europe.

RR: What are Invasions planning next? Are you planning on recording another album?

We just got accepted for a music residency in Banff Art Centre for two weeks this fall. We are very excited about this opportunity and hope to get some major work down while we’re out there. If all goes well we should have another EP ready before the years up!



Saturday Night Play List:

1. The Smiths - London
2. Simply Saucer - Instant Pleasure
3. The Mobbs - Demobbed
4. Mainly Spaniards - That’s What Friends Are For
5. The Expendables - The Man With No Desire
6. Grey Lands - Girl From The North Country (Featuring Joel Plaskett)
7. Frankie & Jimmie - Shake Sugaree
8. Neil Jarvis - Good Years
9. No Age - C’mon, Stimmung
10. Shanghai Dog - The Closet
11. The Zantees - Cruisin’
12. The 69 Cats - 69 Guitars
13. The Tell-Tale hearts - I Get Up In The Morning
14. The Furies - What Do You Want Me To Be?
15. The Straps - Just Can’t Take It No More
16. Public Image Limited - Fodderstompf
17. Nikki & The Corvettes - Just What I Need
18. The Ramrods - Nothin’ To Do In Detroit
19. Demolition Doll Rods - If You Can’t Hang
20. Reigning Sound - North Cackalacky Girl
21. MYSTICS - Sunburn
22. Invasions - Black Lagoon
23. Invasions - Unknown Pleasures
24. The Clean - Anything Could Happen
25. Bob Dylan & The Band - Wedding Song
26. New York Dolls - (There’s Gonna Be A) Showdown
27. David Bowie - Cracked Actor
28. Teenanger - Hot Rods At The Loser Convention
29. The Hives - Take Back The Toys

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

Dee Dee Ramone I.C.L.C. & Show # 523

In the summer of 1992, Dee Ramone had a chance meeting with John Carco (formerly of the hardcore band Misguided from Queens, New York) at the infamous Green Door party at St. Mark’s Place. The two decided to form a band, naming themselves Dee Dee Ramone I.C.L.C. (Inter-Celestial Light Commune). With Dee Dee on guitar/vocals and John Carco on the bass, the band played some live shows in New York and played as a three-piece band. There were numerous different drummers in the I.C.L.C.’s early line up. Around this time Dee Dee came up with a collection of new material and began demoing them with Daniel Rey for the use on an upcoming Ramones album, but instead Dee Dee decided to keep the songs for the I.C.L.C. With bassist John Carco, the two moved to Amsterdam to record material for Rough Trade Records. Adding drummer Danny Arnold Lommen, the new line up released an EP in 1994, entitled the Chinese Bitch EP. The EP’s title track “Chinese Bitch” seems on draw subject matter from the song “Chinese Rocks”, a song written by Dee Dee and Richard Hell. Both the Ramones and Johnny Thunders & The Heartbreakers recorded their own versions separately, Ramones on 1980’s End of The Century and The Heartbreakers on L.A.M.F. in 1977. The song features Ramones style barre chords and guitar licks not unlike songs found on The Heartbreakers 1977 album L.A.M.F. “I Don’t Wanna Get Involved With You” seems similar to “I Don’t Wanna Walk Around With You” by Ramones, but is apparently one of the very first Ramones songs written. “That’s What Everybody Else Does” is a classic Dee Dee penned track, reflecting on his early days being in a band and opposing the norm of being in a band lyrically. The EP ends with “We’re A Creepy Family” a fast song that sounds like it could have been an outtake from the 1984 Too Tough To Die album by the Ramones. Shortly after the release of the EP, Dee Dee Ramone I.C.L.C. released a fourteen track full-length album in April of 1994.

Recorded at the same place as the Chinese Bitch EP at Klank Studios in Tegelen, Netherlands and produced by Gert-Jan "Joe" Van Avesaath, I Hate Freaks Like You further explored the aggressive sounds that were displayed on the EP released by the I.C.L.C. earlier in 1994. The album I Hate Freaks Like You opens with the track “I’m Making Monsters For My Friends”, it also ends with the same track, but more on that later. This track is perhaps best known because it was recorded by the Ramones and used on their last full-length album !Adios Amigos! in 1995. After quitting Ramones in 1989, Dee Dee would still contribute songs to the band regularly. The I.C.L.C. version opens the album in a fuzzy guitar fashion, featuring Dee Dee singing with attitude and confidence, displaying images of B-horror movies and television throughout it’s lyrical context. “Don’t Look In My Window” attacks with Ramones-like dynamics, but also with a bit of Motorhead-styled attitude, this comes off as evident when the chorus comes in. The song comes off with a bit of a creepy vibe, but also seems to dig deeper about others opinions on Dee Dee at the time. This is a subject that pops up in subtle form throughout the album amongst the other imagery that is portrayed lyrically. “Runaway” brings in some of Dee Dee’s pop sensibilities with haunting lyrics such as “Runaway/Runaway/As far as I can go/Runaway/Runaway/Away from everything” that find their way amongst slow distorted guitars and overpowering drums.

“All Quiet On The Eastern Front” comes in next picking up the pace. This song first appeared on the 1981 album Pleasant Dreams by Ramones, but on I Hate Freaks Like You it is executed in a more aggressive form. “I Hate It” and “I Hate Creeps Like You” are faster tracks, clocking in at less than two minutes each and they both seem to be a rant against the stereotypical view that others had of Dee Dee Ramone lyrically. “Trust Me” is a slower song, but one further showcasing Dee Dee Ramone’s pop credentials. With a chorus of lyrics stating “All I want is you/You can trust me”, the song sounds like it wouldn’t have been out of place on End Of The Century or Road To Ruin. “I’m Seeing Strawberries Again”, seems to draw on odd metallic sounding riffs, a sound that sometimes is hidden amongst the tracks on this album. The last two tracks on I Hate Freaks Like You both feature guest vocalist Nina Hagen, a German singer and actress. She first appears on the thirteenth track “Lass Mich In Ruhe”, the song builds on the fuzzy sound that Dee Dee Ramone has showcased throughout his career, but it also seems to pull in a bit of a Johnny Thunders & The Heartbreakers influence at times. The “Lass Mich In Ruhe” which is featured not only in the songs title, but chorus, roughly translates into leave me in peace or to stop bothering me. The album ends with another version of “I’m Making Monsters For My Friends”, this version differing with backing vocals by Nina Hagen.

Despite touring for ten months across 22 Countries, Dee Dee Ramone & I.C.L.C. were dropped by their label while they began work on their second full-length album. Some of those tracks would wind up on Ramones !Adios Amigos! album. Overall, I Hate Freaks Like You displays elements of Dee Dee’s Ramones past and other rock related elements such as guitar rock leads in the style of Johnny Thunders and some subtle 80s hard rock sounds that some have compared to Motorhead. Lyrically the album portrays images of alienation, isolation and B-horror movie related subjects. The lyrics in the chorus of the song “It’s Not For Me To Know” which state “I don’t have any illusions anymore/I’ve done all that I can Do/It’s not for me to know” could prove to be somewhat symbolic when looking at this album and Dee Dee’s post-Ramones work. He would continue to make music, contributing songs to both the Ramones until they ended in 1996 and until Dee Dee’s own passing in 2002. The music was often simple and straight to the point and when not in the context of the Ramones was criticized harshly by others in most circumstances. But Dee Dee always continued to do his own thing. Some of his material released was better than others, but on I Hate Freaks Like You some might say that this is the strongest collection of post-Ramones material ever released by Dee Dee Ramone.

Saturday Night Play List:

1. David Kilgour & The Heavy 8’s - Christopher Columbus
2. Strange Fires - Lambency
3. Supergrass -Moving
4. Jack White - I'm Down
5. Beck - Heaven’s Ladder
6. Naomi Punk - Television Man
7. Razorhouse - Neu Sensation
8. Invasions - No Darkness
9. The Nelsons - State Police
10. The Dadistics - Modern Girl
11. Paul Collins - Walking Out On Love
12. The Wombats - Utter Frustration
13. The Mutants - So American
14. The Sadies - The Pyramid
15. James O-L & The Villains - Kill The Devil
16. James O-L & The villains - Arts Degree
17. J Mascis - Every Morning
18. Dead Drugs - She Do
19. Actual Water - Gorgeous George & The Pilaprats
20. Characters - Tell Me
21. Threads Of Fybre - Believe Me
22. The Shadows Of Knight - Oh Yeah
23. The Premiers - Farmer John
24. The Sonics - Walkin’ The Dog
25. Dee Dee Ramone I.C.L.C. - I’m Making Monsters For My Friends
26. Dee Dee Ramone I.C.L.C. - I Hate Creeps Like You
27. Dee Dee Ramone I.C.L.C. - Trust Me
28. The Victims - Disco Junkies
29. Jerry Jerry & The Sons Of Rhythm Orchestra - Mistaken
30. White Fence - The Light
31. White Fence - Wolf Gets Red Faced

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

The Rebel Kind ... Canadian Punk From The Late 70s/Early 80s & Show # 522

On August 16, 1974, the Ramones played their first show as a four piece band at CBGB’s and using that as a starting off point CJAM FM celebrates the 40th anniversary of punk rock with a variety of programming from August 16-22nd 2014. For Revolution Rock, I decided to take a closer look at some of the bands that were involved in the first waves of the punk/new wave scenes of the late 70s and early 80s. Here is a short summary of some of the places (not all of them) in Canada that had various music scenes influenced by the punk rock attitude and ethos put forth by the loud, fast Ramones.

Toronto, Ontario

The Diodes were notable in the Toronto scene for two things, one for being the first Canadian punk act signed to a Canadian major label and secondly for running the Crash ‘n’ Burn, Toronto’s first punk club. This short lived club, also served as the band’s rehearsal space and was the subject of a 1977 film entitled Crash ‘n’ Burn, which can now be seen on Youtube. The Diodes released three albums, 1977’s The Diodes, Released in 1979, and Action-Reaction in 1980. There was also an outtakes compilation released in 1982 entitled Survivors. Several other releases have been put together and released through Bongo Beat Records. The Diodes along with many other bands in Toronto at the time such as The Viletones, The Ugly and The Scenics helped to define the early scene.

In 1978, a documentary film titled The Last Pogo was made by filmmaker Colin Brunton centering on what was billed as the last punk rock show at The Horseshoe Tavern in Toronto. It featured many bands from the Toronto scene, but also other bands such as Hamilton’s Teenage Head. Recently, this film has been expanded on this premise to chronicle the Canadian punk scene from 1976-1978. Titled The Last Pogo Jumps Again, the film is “a documentary about the punk/new-wave/alternative music scene in Toronto, from when The Ramones hit the stage of The New Yorker in 1976 to when the cops gave Teenage Head the boot at infamous The Last Pogo concert in 1978. Filmmakers Colin Brunton and Kire Paputts started the project in June 2006 and logged hundreds of hours of interviews, photos and film clips. Using the 1978 film The Last Pogo as a jumping-off point, the three hour and twenty movie explores the dynamics of what was arguably the most exciting cultural explosion in Toronto’s history,” according to the film’s official website. More information can be found at http://www.thelastpogo.net


The Last Pogo Jumps Again trailer from Colin Brunton on Vimeo.

Vancouver, BC

While most people identify the popular and influential D.O.A. as coming from the late 70s punk scene in Vancouver, there were also several other influential bands from that time. Active Dog was a band that featured future members of other bands, most notably John “Buck Cherry” Armstrong of The Modernettes/Los Popularos/Lost Durangos, Gord Nicholl and Robert Bruce of The Pointed Sticks, Ross Carpenter of The Melody Pimps, Antheads, and several others. They only released one single in 1979 the Rat Race/Good Filthy Fun single before splitting up and were featured on the Vancouver Complication album compiling bands from the Vancouver scene. The power pop/punk band The Pointed Sticks, one of the band’s that featured members from Active Dog reformed in 2009, releasing a Three Lefts Make a Right in the same year. They are currently finishing up a third full-length album that has an anticipated release date of 2014. The Young Canadians were another influential band in the scene at the time. The band is notable for featuring Art Bergmann, who was involved with many bands in the scene. He would go on to become a solo artist in the 1980s and 90s. The Young Canadians released two EP’s and a single before splitting up and were originally called the K-Tels, but were forced to change their name due to legal related actions. Art Bergmann recently announced a new upcoming EP to be titled Songs For The Underclass that is to be released in 2014.

In 2011, there was also a documentary created by filmmaker Susanne Tabata entitled Bloodied But Unbowed. The documentary digs deep into the late 70s/early punk scenes in Vancouver and features many of the key members that were involved in the scene at the time. The documentary “tells a tale of rebellion and music — a fiercely independent scene created from nothing and played out in a microcosm of urban squalor,” as stated on their official website. More information can be found at http://thepunkmovie.com



London, Ontario

London, Ontario featured many bands that were influential during the late 70s and early 80s, some of which included 63 Monroe and The Demics. Taking members from one of the first punk bands in London, NFG and members of another London band The Verge, 63 Monroe was born releasing their first EP entitled N.F.G in 1980. The band often called a glam punk band still continues to perform to this day. The Demics, while they only released an EP and album during their existence (1979’s Talk’s Cheap EP and the 1980 album The Demics) were formed in 1977 in London, Ontario and relocated to Toronto in 1978. They are perhaps known for their song and breakthrough 1979 enigmatic single “New York City”. This is a song sung with attitude and aggressive guitars, despite it’s catchy and memorable chorus.

It is also worth noting that throughout the mid 80s and early 90s London had a zine called What Wave, which was a fanzine celebrating Canadian and sometimes non-Canadian garage/garage punk acts. Several of these issues also came with compilation albums on cassette and sometimes vinyl records. Currently CHRW, a campus radio station in London, Ontario has a program hosted by What Wave Dave (who ran the What Wave zine with his wife Rena from 1984 to 1996) called Radio What Wave, which airs Thursday nights from 6:00 - 7:30 PM, featuring music from the What Wave archives and several other garage and punk related acts. In November 2012, What Wave # 24 was published with a cassette compilation featuring London, Ontario bands from 1978-1992.






Saturday Night Play List:

1. The Spy's - Underground
2. The Dry Heaves - South Windsor Punk (No Funk)
3. 63 Monroe - After
4. The Viletones - Rebel
5. The Dishes - Monopolies Are Made At Night
6. The Diodes - Time Damage
7. The Hot Nasties - I Am A Confused Teenager
8. Young Canadians -Automan
9. D.O.A. - Kill, Kill This is Pop
10. The Melody Pimps - Shell Out
11. Corsage - Rome
12. Tim Ray & A.V. - Quarter To Eight
13. Exxotone - Big Shot
14. Active Dog - Rat Race
15. Active Dog - Good Filthy Fun
16. The Verdix - Media
17. The Sturgeons - Punk Rock Virgins
18. Crash 80’s - Thrills
19. Tyranna - Back off Baby
20. The Scenics - Do The Wait
21. The Secrets - Teenage Rampage
22. B-Girls - High School Dance
23. The Mods - Step Out Tonight
24. The Government - Hemingway (Hated Disco Music)
25. Drastic Measures - Mr. America
26. The Pointed Sticks - I’m Numb/What Do You Want Me To Do (Live June 1980)
27. The Nils - Freedom
28. The Unusuals - Hit And Run
29. The Curse - Shoeshine Boy
30. The Bureaucrats - She’s An American
31. The Dishrags - Past Is Past
32. Teenage Head - Picture My Face
33. The Modernettes - Barbra
34. The Forgotten Rebels - This Ain’t Hollywood
35. The Demics - New York City

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

Parquet Courts Sunbathing Animal & Show # 521

The band Parquet Courts originate from Denton, Texas, and have roots in the band Fergus & Geronimo. In addition to this, members of the band had ties with other bands, but as Parquet Courts they released their first album American Specialties that blended elements of noisy 90s rock with early punk sounds in 2011. The band’s second full length Light Up Gold, which was more widely disturbed via the What’s Your Rupture? Label and is often thought of as the band’s first album. The band consists of Andrew Savage (guitar/vocals), Max Savage (drums), Austin Brown (vocals/guitar) and Sean Yeaton on bass and has since relocated to Brooklyn, New York. Sunbathing Animal, the band’s third full-length album was recorded in between touring, the sessions also produced an EP beforehand entitled Tally All The Things You Broke. With Sunbathing Animal, Parquet Courts lean more towards the punk, post punk and garage elements of the band with hints of their early noisy beginnings. The title track sounds like it could almost be a 80s hardcore song from the likes of Black Flag, while “Black And White” blends elements of Wire’s jittery sound with garage rock, that includes guitar fuzz lines.

“Dear Ramona” seems to pull elements of lazy 90s alternative rock, with garage overtones, “What Color Is Blood” could be a Talking Heads track as it treads along with a funky backbone, while “Ducking & Dodging” seems to draw from a similar pool of influence. “Instant Disassembly” is a longer track found on the album, showcasing slow scruffy melodies that sound like they could be from The Velvet Underground with guitar lines that sound reminiscent of art rock band Television. Blending elements of jittery 70s punk/post punk, elements of garage and the band Pavement at times, Parquet Courts combines this in conjunction with their lyrics providing us with another unique offering from this band. Combining all these factors, Sunbathing Animal lies in wait as each track progresses, until it is awoken by the listener.



Saturday Night Play List:

1. The Famines - Hi Hi Hi
2. Scorpio Tube - Yellow Listen
3. Steve & The Board - I Want
4. Monomyth - (Theme From) Monomyth
5. The Vondells - Dragstrip Courage
6. The Vondells - Courage
7. The Falcons - Shadow Land
8. Jon & The Nightriders - Super Jet Rumble
9. Stiv Bators - A Million Miles Away
10. The Dead Boys - 3rd Generation Nation
11. The Courtneys - Insuffient Funds
12. The Wythces - Wire Frame Mattress
13. Gang Of Four - Return The Gift
14. 4/4 - Systematic
15. The Blitzz - So Free
16. Sam Coffey And The Iron Lungs - Get Pumped Up
17. Good Things - 500 Hands
18. Alex Chilton - The Walking Dead
19. Morrissey - The Bullfighter Dies
20. Vic Godard & The Subway Sect - Keep Our Chains
21. The Rainy Days - Nuclear Attack
22. The Rock N Roll Machine - Rock ’n Roll Disease
23. Dion Lunadon - Creature Of The Night
24. The D4 - Come On!
25. Hater - Circles
26. Thee Oh Sees - Camera (Queer Sound)
27. Thee Deuces - You Gotta Try
28. Northwest Company - Get Away From It All
29. Parquet Courts - Black And White
30. Parquet Courts - What Color
31. The Modern Lovers - Old World
32. Pow Wows - EIO (During The Flood)
33. Black Lips - Dandelion Dust

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

White Fence For The Recently Found Innocent & Show # 520

Tim Presley has been recording albums as White Fence since 2010, but until now Presley himself has recorded all of them on a 4 track at his home. For his sixth full-length outing, Presley enlisted the services of fellow prolific garage rock cohort Ty Segall and headed to his garage studio. The two first collaborated on 2012’s Hair, but on the album For The Recently Found Innocent Segall takes the producer seat and the drummer seat for a few tracks. The gritty lo-fi atmosphere that once dominated White Fence’s previous albums has cleared up a bit here, but the warbled sounds we once heard on previous White Fence bedroom 4 track recordings still loom with an underlying presence throughout this album. This album wasn’t a deliberate attempt to clean up Presley’s sound as Ty Segall recently explained in LA Weekly: "They weren't trying to sound shitty, they were trying to sound as rad as they could with limited resources. If you're trying to make a shitty mic sound great you're doing the right thing." He also continues in the same article mentioning that on this album "It's all Tim, it's just captured in a different way."

For The Recently Found Innocent opens with the track “The Recently Found” which serves as slow syrupy psychedelic introduction to the album before launching into “Anger! Who Keeps You Under?” This song is an upbeat psychedelic track with warm sounding drums, thick basslines and kaleidoscope sounding guitar rhythms, as Presley sings with lazy vocal lines loaded with trippy echo effects. “Like That” was the lead off single prior to this album’s release and the song itself takes his psychedelic pop sounds mixing in elements of early Who, The Kinks and sugary falsetto vocals that lyrically portray tongue-in-cheek lyrics. “Sandra (When The Earth Dies)” portrays post-apocalyptic imagery with lyrics such as “All the junkies left to cry/All the junkies wave goodbye/Laugh and cry/Heavy to light”. The song’s darker images juxtapose with the song’s infectious church-like organ and musical elements, which seem to echo the influence of Donovan.

“Wolf Gets Red Faced” lyrically seems to provide images of an alcoholic werewolf as musically it takes on sounds compared to Brian Jonestown Massacre and The Beatles White Album. “Arrow Man” portrays a nostalgic feeling once again pulling in 60s influences, this time from The Kinks Are The Village Green Preservation Society, but at the same time it blends swirls of distortion in the background not sounding like a copy of the band that seemingly influenced it, instead it stands on its own displaying Presley’s song writing abilities. “Actor” draws its inspiration from The Byrds, “Hard Water” is catchy dream pop while “The Light” and “Paranoid Bait” are fuzzed out garage rock. These two tracks are executed here as some of the sounds on Hair had been, displaying moments of higher energies, definitely taking Segalls influence into consideration.

Aesthetically, For The Recently Found Innocent finds a balance between the last two releases from White Fence, 2013’s Cyclops Reap and Live In San Francisco, the later of which was an album that showcased White Fence in a full band and in a more revved up fashion. The album features not only Segall on some drum tracks, but also Nick Murray from White Fence’s live band further connecting his last set of releases. On the album’s front cover we see a painted self-portrait of Presley, not unlike Bob Dylan’s own self-portrait cover image from the 1970 album Self Portrait, but those two albums only have a connection with the artwork, not the music. We can see the same gritty canvas beneath the smeared messy painting on the cover, it is still the same White Fence. On For The Recently Found Innocent, Presley has merely stepped out of his home and upgraded to a more proper studio environment utilizing an 8 track recorder (instead of a 4 track) with the help of Ty Segall and in the process, displays a new type of innocence.


Saturday Night Play List:

1. The White Stripes - Stop Breaking Down
2. Muddy Waters - The Blues Had A Baby And They Named It Rock and Roll (Number 2)
3. Reigning Sound - My My
4. Small Teeth - Party Shame
5. Love - A Motel Is Not A House
5. The Gruesomes - Cry In The Night
6. The Ugly Beats - Throw Me A Line
7. Richard Hell & the Voidoids - Liars Beware
8. Mission Of Burma - The Enthusiast
9. Army Navy - The Mistakes
10. Kestrels - Eternal And Debased
11. Neil Young & Crazy Horse - Surfer Joe And Moe The Sleaze
12. The Mark Inside - The Coming Of Age At The End Of Days
13. King Cobb Steelie - Time=Money & Money=Pizza ∴ Time=Pizza.
14. The Velvet Underground - Foggy Notion
15. Frog Eyes - Your Holiday Treat
16. White Fence - Actor
17. White Fence - Paranoid Bait
18. Dead Ghosts - When It Comes To You
19. The Survivors - Baby Come Back
20. Iggy Pop - Tiny Girls
21. Avey Tare's Slasher Flicks - Little Fang
22. Devo - The Day My Baby Gave Me A Surprise

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

Tommy Ramone (1949-2014) & Show # 519

On July 11th, 2014 Tommy Ramone (real name Thomas Erdeyi) passed away due to complications with bile duct cancer, he was 65. Best known as the drummer of the influential punk band the Ramones from 1974-1978, Tommy helped to define the band’s early sound that has since become vastly influential on music. Prior to playing in Ramones, Tommy played guitar in a high school garage rock band in 1966 with John Cummings (later known as Johnny Ramone). The band was known as The Tangerine Puppets and Tommy actually played guitar in the group, Johnny played bass. The group split up in 1967. Tommy reconnected with Johnny during the embryotic stages of the Ramones. Starting as a three-piece band, with Joey Ramone on drums, Dee Dee Ramone bass/vocals and Johnny Ramone on guitar, Tommy was initially supposed to manage the group.  After Joey put down his drumsticks to take up vocals, Tommy Ramone stepped in to become the group’s drummer. Tommy played drums on Ramones first three albums (Ramones, Leave Home and Rocket To Russia) and would also serve as co-producer on those albums. He assisted in producing 1978’s Road To Ruin, the first album to feature Marky Ramone on drums. He also has production credits for the band's live album, It's Alive and 1984’s Too Tough To Die. It's Alive was recorded in 1977, but not released until 1979.

Tommy left the Ramones to focus more on his interest in music production. He apparently first worked as an assistant engineer at the age of 18 on Jimi Hendrix’s Band of Gypsies album in 1970. Tommy would also produce The Replacements 1985 album Tim, Neurotica by Red Kross in 1987 and a few others such as Talking Heads “Love --> Building On Fire” single in 1977. Tommy also released an album as Uncle Monk a blue grass country group in 2006, featuring Claudia Tienan a guitarist, bassist and vocalist that was formerly in The Simplistics. While he has been involved in music production, he is still known as one of the four founding members of the Ramones, all of which now have unfortunately passed away. Tommy’s drum style mixed with the Ramones brand of music that would later be called punk music, but the music also featured strong melodies and can be traced back to influences of 60s pop music, surf music and 70s proto punk.

In an interview with Rolling Stone in 1975, Tommy described the band’s sound, which was drastically differed during a period of over indulgent mainstream music: "Our music is an answer to the early Seventies when artsy people with big egos would do vocal harmonies and play long guitar, solos and get called geniuses. That was bullshit. We play rock & roll. We don't do solos. Our only harmonics are in the overtones from the guitar chords." Although the Ramones did not receive mainstream commercial success during their time, the effects of their loud, fast and abrasive songs that are attached with catchy melodies are still heard throughout music today.

Saturday Night Play List:

1. The Gears - Don’t Be Afraid To Pogo
2. The Kids - Do You Wanna Know
3. Zig Zags - The Fog
4. C’mon - Easier Said Than Done
5. Mark Lofgren - Pocketful Of Bliss
6. Vibrant Fiasco - Lizard LIps
7. The Walkabouts - Got No Chains
8. Anagram - Evil
9. Le Butcherettes - Tonight
10. Fakes - Sabrina
11. Walrus - Glam Returns
12. The Bell Peppers - Campfire Waltz
13. The Specials - Do Nothing
14. The English Beat - Click Click
15. Holy Wave - Surfin’ MTA
16. Sixpence - In The Building
17. Inexpensive Handmade Look - What Good Is Up?
18. The Pretty Things - You Don’t Believe Me
19. The Flaming Lips - Can’t Let It Go
20. Indian Wars - Bullfrog
21. The Standells - Try It
22. Ugly Ducklings - Just In Case You Wonder
23. Light Bulb Alley - Eye In The Sky
24. Lost Patrol - Sellin’ My Mind
25. Elvis Costello - I'm Not Angry
26. Undertones - I Told You So
27. Protex - Listening In
28. Nirvana - Sappy
29. Ramones - Swallow My Pride
30. Ramones - Here Today, Gone Tomorrow
31. Ramones - Teenage Lobotomy

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

Paul Jacobs Mouldy Love EP & Show # 518

Last we heard of Windsor artist Paul Jacobs he was heading out to Montreal, now he is in Paris France. Just before he took off for France, Paul came back to Windsor and laid down some recordings for his new EP entitled Mouldy Love. Working once again with his Jimmy Miller-like producer Josh Kaiser, Paul recorded again with Kaiser Sound Productions offering something different from April’s full length I Need A Place To Keep My Stuff. Normally playing as a one man band with a foot drum set up so that he can play guitar, drums and vocals all at once, this time around he went for a more full band approach. Mouldy Love was recorded with a full drum kit and bass, something that hasn’t been featured on any of Paul’s recent solo recordings in a traditional form.

The EP starts with the title track “Mouldy Love”, which comes off with a 60’s Kinks guitar sound, a collection of infectious handclaps and a bit of vocal delay. All of these elements bounce in between the primal drumbeats throughout this track. This song is probably one of the catchiest songs Paul has laid down yet. “That Feeling” features acoustic guitar blended with staccato electric guitar parts and driving bass rhythms. Lyrically the song seems to convey a feeling of strangeness brought on by insomnia with lyrics such as “I hear those church bells ringing it’s the strangest thing/All the people they’re staring waiting for more” and “I see an old man yelling at the TV screen/He never took a step outside his door”. The lyrics in the chorus “I’m so tired/It’s not fair/They can’t see me/They don’t care/I never want to wake up here no more” seem to further back up this strange feeling that is conveyed lyrically, musically the song is as strong as the distorted guitar solo that ends out this track.

The third track on this EP, “You Got Soul” first appeared on Paul Jacobs first self-titled solo album back in 2013, but actually dates back to his days playing with his three piece band Raised By Weeds. With the assistance of bass and a bit of re-arranging on Paul’s part, it is not as frenetic as the earlier version of this song. “You Got Soul” appears here with more space and builds up to the louder parts rather than crashing together all at once, while lyrically it tells us that “It don’t matter” what you do as long as “You got soul” you can do it your way. “Ocean City” ends the Mouldy Love EP on a more mid-tempo note. The song is dominated by a steady bassline and guitar that fills in the gaps of the spaces though out this song. At the halfway point, the song slows down and builds up into a force of riffs, drums and vocals with delay/reverb emulating the effect of a vicious tidal wave before it fades out with tense vibrations of feedback.

The Mouldy Love EP changes the process so to speak in terms of how Paul Jacobs has been executing his solo albums. While his previous releases were all unique in their own way, Mouldy Love takes those sounds and adds the bass element. This seems to combine both elements of Paul’s previous band Raised By Weeds and the sounds that have been dominating his albums and releases since Paul Jacobs first self-titled album in 2013. With bass it doesn’t sound too different to be drastically different. With the Mouldy Love EP, Paul Jacobs creates a new mould for his own sound, one that sounds fresh.



Saturday Night Play List:

1. Generation X - Kiss Me Deadly
2. Toni McCann - No
3. The Small Faces - All Or Nothing
4. Night Beats - Hex
5. Wolf Mountains - Hold Yr Girl #2
6. Jerry Jerry & The Sons Of Rhythm Orchestra - Yap Yap
7. DA SLYME - Crazy Glue
8. The Cure - Grinding Halt
9. Crocodiles - Summer Of Hate
10. The Vaporettos - Fortress
11. Total Control - Expensive Dog
12. Jimmy and The Smack - Come Down
13. The V.I.P.'s - Who Knows
14. The Zeros - Radio Fun
15. The Normals - Almost Ready
16. Jerry Nolan - Pretty Baby
17. Guitar Army - I Am Going To Detroit
18. The MC5 - Thunder Express
19. The Kinks - Come On Now
20. The Stems - Move Me
21. Monomyth - Candleholder
22. Wedge - 400 Blows
23. The Replacements - Little Mascara
24. The Modernettes - I Can Only Give You Everything (Live)
25. The M-80s - Seeing Things
26. The Strokes - What Ever Happened?
27. Cousins - At Odds
28. Paul Jacobs - Mouldy Love
29. Paul Jacobs - Ocean City
30. The Damned - Neat Neat Neat (BBC Session)
31. Young Rival - Elevator
32. Dirty Pretty Things - The Gentry Cove
33. Dirty Pretty Things - Blood Thirsty Bastards

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