Black Lips Sing In A World That's Falling Apart & Shows # 820, 823, 824

Released in January 2020, The Black Lips 9th studio album Sing In A World That’s Falling Apart finds the band in a new territory. Called cosmic country by some, the latest offering by Atlanta’s Black Lips is a country record, but other influences attach themselves to the tracks throughout this release. The band’s flower punk and garage rock sound still find their way through and surface at different points on this album. Following the line up change after 2014’s Underneath The Rainbow, guitarist Ian Saint Pe and drummer Joe Bradley exited the group. Jack Hines rejoined the band on guitar (from an earlier incarnation of the group), Oakley Munson from Atlanta’s The Witnesses joined on drums and Zumi Rosow joined on saxophone. They released one album with this line up, the psychedelic tinged Satan’s Graffiti Or God’s Art? in 2017. In 2018, Jack Hines left the group and guitarist/vocalist Jeff Clarke (from Montreal’s Demon’s Claws) joined The Black Lips forging a new line up. Recorded and co-produced by Nic Jodin at Valentine Recording Studios in Laurel Canyon, The Black Lips Sing In A World That’s Falling Apart was recorded on all analog equipment, which lends a certain aesthetic to Black Lips sleazy, country charms.

“Hooker Jon” opens Sing In A World That’s Falling Apart with a guitar fuzz pedal driven country song. Sung by guitarist/vocalist Cole Alexander with lyrics such as “Everybody’s wrong about what turns me on” it evokes a gritty tale of prostitution and mistaken identities. “Chainsaw” is a slower country number, sung by guitarist Jeff Clarke. Conjuring up a Rolling Stones/Gram Parsons, country ballad aesthetic, lyrics such as “And it’s hard to know/That you’ve gone away”, paint a shocking vivid portrait of absence, loss and memory that cuts your right to your very soul. “Rumbler” shifts into upbeat terrain. Sung by bassist Jared Swiley, this song blends fuzzy garage rock riffs with outlaw country and rockabilly. Lyrically, the song is influenced by a GI Joe action figure that was based on the bassist’s great uncle. With lyrics “Ride, ride rumbler ride/Leave them good old boys behind/You know they got nowhere to hide”, Swiley unravels a fictionalized story based on his great uncles exploits that finds itself grappling themes of enemies, past lives, the future and the renegade spirit. “Hold Me Holding You” gallops with fast paced country/rockabilly sounds, while “Gentleman” follows next. With its acoustic and organ sound and lyrics “It's getting hard to lie through my teeth/Cause they rotted out and they're not all there” and “And I found out the hard way, that the pathway to her heart is not through her nose”, this track sung by Cole Alexander, shows a form of bleary maturity from the band.

“Get It On Time” is a cover of an obscure Velvet Underground song. Discovered decades ago on a Velvets bootleg by drummer Oakley Munson, the song jangles with a Velvet Underground & Nico dynamic as saxophonist Zumi Rosow loads the song with her lush, mesmerizing vocals. Deciphered from a very rough recording from an early Velvet Underground rehearsal, Munson completed the words to this incomplete song before the band got it down in the studio. “Get It On Time” builds up to a climactic coda as lyrically, The Black Lips wander through a spellbinding rendition of a song about a myriad of missed opportunities and found determinations. “Angola Rodeo” is a more upbeat rock number with a sleazy Exile On Main Street styled horn section. With lyrics such as “So, while I do my time/I'm gonna rope me some bovines/And be a king for a day/If it's only for a little while” bassist Jared Swiley, tells the tale of an outsider that finds his own fleeting freedom in the rodeo, despite its dangers. “Georgia” lurks with its psychedelic country rhythms, pulling in a Waylon Jennings influence. Operating an ode to Black Lips home state, the track is sung by guitarist Jeff Clarke and also intertwines itself with a sense of longing. “Odelia” blends Byrds Sweetheart of the Rodeo style music with the Black Lips 60s garage nugget and psychedelic influences. Released as the first single for this album, this angst-ridden track also portrays a sense of complex emotions about the title character in the song. “Dishonest Men” shuffles with its early rock and roll grooves while adding in surf and 60s garage fuzz influences as Swiley weaves stories that sound like they are pulled out of the gospel an old Western film.

“Locust” is another cosmic country song sung by Jeff Clarke. The words “You kept the linen clean/But you couldn’t keep the dirt off me” and “I'm a locust in the wind, there is nothing where I've been/Just a feeling left behind” reveal further grit and depth to this album. “Live Fast Die Slow” ends Sing In A World That’s Falling Apart. Along with “Gentlemen”, this track proves to be another highlight that dives deep into The Black Lips sleazy ethos. The song which sounds like a late night, drunken epiphany glistens with lyrics such as “Live fast, die slow and painful/In a world that's fallin' apart/I never/Ever live to tell”, that evokes a disturbing and chaotic story of a lost soul. With this song Black Lips end their cosmic country infused album with a warped sense of Americana that walks the line between weirdness, satire and sincerity.

Show 824 Playlist (Originally Aired On April 11th, 2020)(John Prine, Bloodshot Bill, The Strokes):

1. John Prine – Pretty Good
2. John Prine – Quiet Man
3. John Prine – Lonesome Friends of Science
4. Cindy Lee – Heavy Metal
5. Hamilton Leithauser – Isabella
6. No Age - Tuned To String
7. Gum Country - Tennis
8. Bloodshot Bill - My Heart Cries For You
9. Bloodshot Bill - Be My Satellite
10. Stompin’ Tom Connors - The Old Atlantic Shore
11. Fiver - Train Leaves Here This Morning
12. Penny Diving – Shotgun, She Said
13. Lie – Good Boy
14. Fuudge – Tu Peux Prendre Mon Ame
15. Glorious Din – Tenement Roofs
16. Spectres – Pictures from Occupied Europe
17. TOPS – Take Down
18. Ty Segall - Gotta Get Up
19. Brenda Vaqueros - Approaching Zero
20. Clifffs - Panic Attack
21. The Fleshtones - Alex Trebek
22. Ex-Bats - Good Enough For You
23. Johnny West - Losing Light
24. Dead Kennedys – Soup is Good Food
25. Husker Du – Wheels
26. Protomartyr – Here is the Thing
27. The Slits – Heard it Through the Grapevine
28. Psychic Void - Denim Daddy
29. Ancient Shapes - All The Kids
30. Talking Heads - Life During Wartime (Alternate Version)
31. The Strokes - Brooklyn Bridge To Chorus

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for April 11.

Show 823 Playlist (Originally Aired On April 4th, 2020)(Daniel Romano, Black Lips, Bob Dylan):

1. Viagra Boys - Lick The Bag
2. No Fix - Arm The Boys
3. Destination Lonely - In That Time
4. U.S. Girls – Born to Lose
5. Waxahatchee – Witches
6. Nap Eyes – Dark Link
7. Jeff Tweedy – Empty Head
8. Drive by Truckers - Armageddon's Back in Town
9. Andy Shauf - Things I Do
10. Daniel Romano - Where May I Take My Rest
11. Daniel Romano’s The Outfit - Toulouse
12. Chad Vangaalen - Space Dreaming
13. Christopher Sleightholm - Sun’s Rising
14. Born Ruffians – Dedication
15. Mundy's Bay – Heavy Bloom
16. Porridge Radio – Don't Ask Me Twice
17. Holy Fuck – No Error
18. Girl Band – Amygdala
19. Drive Like Jehu – Human Interest
20. Titus Andronicus – On the Street
21. Dogleg – Melee
22. Black Lips - Alone and Forsaken (Laginappe Sessions)
23. Black Lips - Locust
24. Rays - California
25. Shotgun Jimmie - Blues Riffs
26. Trout - Cigarettes
27. The Routes - Just How It Feels
28. Bob Dylan – Murder Most Foul

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for April 4.

Show #820 Playlist (Originally Aired On March 14th, 2020)(Gang of Four, The Make-Up, Throbbing Gristle, Shadow Show, Johnny West, Psychic Void):

1. Gang of Four - Natural's Not In It
2. Gang of Four - A Hole in the Wallet
3. Gang of Four - We Live As We Dream Alone
4. Gang of Four - I Love A Man In Uniform
5. The Make-Up - Every Baby Cries The Same
6. The Make-Up - Hey! Orpheus
7. The Make-Up - Here Comes The Judge
8. Shoobies - Hot Liquid Salmon
9. Johnny West - Calcium Oxalite
10. Johnny West - These Psychic Pants are Slimming
11. Destroyer - Cue Synthesizer
12. Shadow Show - The Alchemist
13. Shadow Show - Trapeze Act
14. Lie - Good Boy
15. Psychic Void - Bone Shaker
16. Psychic Void - Internet Human
17. Throbbing Gristle - 20 Funk Jazz Greats
18. Throbbing Gristle - Hot on the Heels of Love
19. King Krule - Comet Face
20. The Reigning Sound - I Don't Care
21. Loving - If I Am Only My Thoughts
22. The Black Lips - Get it on Time
23. Buck Owens - King of Fools
24. Merle Haggard - Swingin’ Doors (Alternate Version)
25. Guided by Voices - Cat Beats a Drum Surrender
26. Death - Politicians in my Eyes
27. Elephant Stone - Darker Time, Darker Space
28. Trophy Knife - America's Favourite Pastime
29. Trout - Pagliacci
30. Clamm - Dog
31. Wire - Cactused

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

Show 821 was a repeat of a Neil Young themed show from February 2020 featuring mostly obscure cuts from his discography. You can download/stream this episode here and find the playlist here.

Show 822 was a repeat of a show from April 2019 featuring music from the I.R.S. Records label. You can download/stream this episode here and find the playlist here.

The Dishrags & Show # 818

The Dishrags were an all female punk rock based band in Vancouver, BC. Forming in Victoria, BC in 1976 before becoming part of the Vancouver scene, they were also one of the first all female punk bands from Canada. When the band formed the three core members Jade Blade (guitar/vox), Dale power (bass) and Carmen “Scout” Michaud (drums) were still in high school. Initially influenced by bands such as T.Rex and Suzi Quatro, when they discovered the Ramones they became an immediate influence. The music that they made also added elements of other bands such as The Clash to their music. The Dishrags played their first show on July 30th, 1977 at the Japanese Hall opening for another Vancouver pioneering punk band, The Furies. When both of these bands played together at that show, they would go on to influence others in the emerging Vancouver punk scene at the time. This was also apparently the first local punk show in Vancouver. Initially known as Dee Dee & The Dishrags, they would eventually drop the first part of their name and become known as The Dishrags.

A few years later, The Dishrags had opened for almost every band in Vancouver at a punk venue. However, they seemed to be relegated to the headliner slot, while others in the scene seemed to be moving forward and putting out records. But, this would change when they were approached by the Modern Records label. Prior to this, the band’s only musical release was the song “I Don’t Love You” and it was featured on the Vancouver Complication compilation album in 1979. In 1979, The Dishrags opened for The Clash in Vancouver (at the request of The Clash). Bo Diddley, who was also playing with The Clash on their tour at this time, was also a fan of The Dishrags music and invited them to record with him in Miami, but that never materialized. In the summer of 1979, The Dishrags put out their Past Is Past EP. Recorded in Seattle at Triangle Studios and produced by Collin Griffiths and Harry Cool, the EP was made up of three songs, “Past Is Past”, “Love Is Shit (It’s Goodbye)”, and “Tormented”. The title track is the highlight here. With its on edge, buzzing guitars and bass, the song evokes a pop melody amongst the catchy grooves. Lyrically, the song features a mature outlook about everything changing touching on themes of boredom and dissatisfaction with attitude. “Love Is Shit (It’s Goodbye)” is fast paced punk track, while “Tormented” features more buzzsaw Ramones influenced guitars, mixed with bouncy bass and catchy vocals that ooze with teenage rebelliousness.

Shortly after the release of Past Is Past, bassist Dale Power left the group. Kim Hendrickson joined the group on bass and Susan MacGillviray on second guitar. This version of The Dishrags recorded the Death In The Family EP next. Released in June 1980, the EP once again featured three songs “Death In The Family”, “Beware Of Dog” and “All The Pain”. Some reports of the album state that the band headed to London where the EP was produced by Chris Spedding, however, some credits show that the EP was produced by Pointed Sticks guitarist Bill Napier-Hemy. Death In The Family was another strong EP from The Dishrags. The songs on this release featured more complexity in the song writing, but also had a cleaner production style. The title track is an extremely catchy punk song in a Buzzcocks style with strong pop hooks. The rotating basslines lock in with the guitar lines and drums in between Jade Blade’s impassioned vocals. “Beware Of Dog” written by MacGillviray is a faster punk/post-punk track, while “All The Pain”, another written by Jade Blade is the last track on this EP showcasing the bands dual guitar attack within their pop/punk dynamic. Either during or shortly after the recording of this EP, The Dishrags broke up. The EP was self-released, but featured the RCA Victor label on the record.

In 1997, the Love/Hate compilation album was released featuring the music from the band’s two EPs, demos and live recordings. In 2007, There’s No Dee Dee was released by Jem Records featuring the recordings from both their EPs, the Vancouver Complication recording sessions and a live track. In 2014, Three, a compilation album featuring newly discovered live recordings was released on the Supreme Echo record label. A rumoured collection of more Dishrags music entitled Four has been mentioned as a potential future release, but no track listing or further information is available at this time. The Dishrags influenced and inspired the formation of other female punk oriented bands The Devices, The Visitors, Zellots. Following the exit of bassist Dale Powers, Susan MacGillviray and Kim Hendrickson who joined the band line up were from The Devices band that was influenced by The Dishrags initially. The Dishrags never went on to create more music, although Jade Blade did make an album in 2001 called Gaga for Gigi under the band name Volumizer featuring members of The Pointed Sticks and U-J3RKS for Mint Records. Like a lot of punk bands from this era, The Dishrags were around and gone in a flash. The recordings that they did make are still being listened to and are a document of a band during a unique time in music. The Dishrags weren’t always welcomed by audiences due to the fact that they were three young women making punk music, but they broke barriers and challenged conventions. Even if now the past is past, the music they created will always leave a lasting legacy.

International Women's Day Play List 2020 (The Courtneys, U.S. Girls, Maow, The Dishrags):

1. Peach Kelli Pop - Hello Kitty Knife (Gentle Leader - Mint Records/Bachelor Records - 2018)
2. The Weirdies - Volatile (Volatile - The Weirdies - 2010)
3. White Lung - Viva La Rat (It's the Evil - Deranged Records - 2012)
4. Red Mass - Howl (A Hopeless Noise - Label Etiquette - 2020)
5. The Courtneys - Dead Dog (The Courtneys - Hockey Dad Records - 2013)
6. The Courtneys - Silver Velvet (The Courtneys II - Flying Nun Records - 2017)
7. U.S. Girls - 4 American Dollars (Heavy Light - 4AD - 2020)
8. U.S. Girls - Overtime (Heavy Light - 4AD - 2020)
9. Martha and the Muffins - Monotone (Metro Music - Dindisc/Virgin Records - 1980)
10. PONY - Limerence (Limerence - 2019)
11. Papermaps - You're a Fire (Confessions: To Each Their Own Rapture - Sparks Music - 2018)
12. Visibly Choked - Uneven Keel (DEMO) (Uneven Keel Demo - 2020)
13. Julie Dorion - Consolation Prize (I Can Wonder What You Did With Your Day - Jagjaguwar - 2009)
14. Lost Patrol - He's Too Far (Second Time Around EP - Ali Records - 1988)
15. The Dishrags - Past is Past (Past is Past - Modern Records - 1979)
16. The Dishrags - Love/Hate (Love/Hate - Other Peoples Music - 1997)
17. Maow - How Does That Grab You (The Unforgiving Sounds of Maow - Mint Records - 1996)
18. Maow - Party Tonite! (The Unforgiving Sounds of Maow - Mint Records - 1996)
19. Cub - Motel 6 (Betti-Cola - Mint Records - 1993)
20. Plumtree - Tropical (Mass Teen Fainting - Cinnamon Toast Records - 1995)
21. The 'B' Girls - Mystery (Who Said Girls Can't Rock? - Other Peoples Music - 1997)
22. Neko Case - This Tornado Loves You (Middle Cyclone - Anti- 2008)
23. Necking - Still Exist (Cut Your Teeth - Mint Records - 2019)
24. Teenanger - Mild Survival (EP LP - Telephone Explosion Recors - 2014)
25. The Modernettes - Static (View from the Bottom EP - Vox Desperatum - 1982)
26. AIDS Wolf - Spit Tastes Like Metal (The Lovvers LP - Skin Graft Records - 2006)
27. The Beaches - Money (Late Show - Universal Music Canada - 2017)
28. Skye Wallace - There is a Wall (Skye Wallace - Kingfisher Bluez - 2019)
29. Tara Watts - Met a Girl (Pale Blue Moon - 2014)
30. Highest Order - Stare Down The Barrel of Today (Still Holding - Idee Fixee Records - 2016)

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

Revolution Surf 2020 & Show # 817

One of the first surf/instrumental based songs to have a space or sci-fi theme was the song “Telstar” by The Tornados. Not to be confused with the US band of the same name (spelled “Tornadoes”), this band was from the UK and worked together with producer Joe Meek in the early 60s. Meek wrote and produced the song for The Tornados, utilizing new, pioneering production techniques that created distinctive, and “space age” futuristic sounds. It sounded pretty strange then, but still sounds fresh today. With its use of keyboards and the Clavioline, “Telstar”, which was named after a telecommunications satellite that went into orbit on July 10th, 1962, became an immediate hit when released in August of 1962. In the UK the song was at #1 on the UK singles charts for 25 weeks and #1 in on the US Billboard Hot 100 singles chart. The Tornados were also the first British group to have a number one single in the US. Since then there has been a plethora songs and surf/instrumental bands that have named themselves based on space or sci-fi themes. Their first full-length album, Bustin’ Surfboards, was released in 1964. The album mixed 60s surf themed tracks with some vocal based tracks. It would become a cult classic, but reached new found popularity following the inclusion of the song “Bustin’ Surfboards” on the 1994 soundtrack to Quentin Tarantino’s Pulp Fiction.

In 1964, instrumental band The Ventures released their album (The) Ventures in Space. The album explored more experimentation within the band’s classic sound and was influenced by Joe Meek’s space age production style. The Ventures, who have put out so many releases often of both cover songs and originals, put out this album on Dolton Records. (The) Ventures in Space was also one of the first albums that The Ventures used Mosrite guitars on. Prior to this they used Fender, but from this album forward, The Ventures would use Mosrite guitars and would help set the standard for this brand. The model of guitar that they used was initially known as “The Ventures” model, but later became known as the Mosrite "Mark 1" guitar. As mentioned, the album showed a more experimental aesthetic as opposed to their other albums. This one also stands out as being quite different due to that fact. This pre-computer age sci-fi/space themed album combined intergalactic versions of TV theme songs such as “The Twilight Zone”, which ends the album with originals such as “He Never Came Back”, “Exploration In Terror” and “Solar Race”. The album begins with “Out Of Limits”, which was originally by The Marketts. This song when originally released by The Marketts was called “Outer Limits”, inspired by The TV show of the same name drew musical similarities to the theme song to the TV series The Twilight Zone. Despite being sued by creator Rod Serling, the song was changed to “Out of Limits” and became one of The Marketts biggest hits. It was also a popular song for The Ventures on this album. “Bat” with is low flying garage fuzz sounds, “Solar Race” with its psychedelic/cinematic aesthetics, and “Fourth Dimension” with its unnerving space surf tones all add to the make up of this album. While songs such as the eerie “Fear”, the gong dominated “Exploration in Terror”, the creepy, and the otherworldly sound “War of the Satellites”, all play out like a mix between a film soundtrack and a surf music album. (The) Ventures In Space is a pre-psychedellic experimental collection of surf songs.

Man Or Astro-man? formed in 1992. The band mixes elements of 60s surf rock with punk, new wave and some hard rock into their sound. Although primarily an instrumental group, they also have songs with vocals. The majority of their songs and albums have space and science fiction themes. In addition to the musical instrumentation, they have also used the Theremin, synthesizers and dot matrix printers in their music. Man Or Astro-Man? also use audio clips from old sci-fi movies in their music, a lot has been said to come from the Mystery Science Theater 3000 episodes. The band’s backstory states that they arrived from outer space some years ago and integrated into human society as a rock band. Man Or Astro-man? consists of Star Crunch (Brian Causey) on guitar/vocals, Birdstuff (Brian Teasley) on drums and Coco the Electronic Monkey Wizard on bass/electronics. These three are the core members of the group, there have been additional members over the years. Man Or Astro-man? released their first album entitled Is It Man Or Astroman? in 1993 on Estrus Records. The band toured and released music from 1993 to 2001, releasing ten full-length albums, not counting singles and EPs. They have released music on Touch and Go Records, Estrus Records, Get Hip Recordings, through Chunklet Magazine and on Third Man Records. The band toured and released music from 1993 to 2001, releasing ten full-length albums, not counting singles and EPs. After a hiatus the band returned playing live in 2006 for the Touch and Go 25th Anniversary Celebration in Chicago. They began touring intermittently starting in 2010. Most recently, Avona Nova (Samantha Paulsen) has been playing with Man Or Astro-man? on guitar. Their most recent album Defcon 5...4...3...2...1, was released in 2013. It was recorded by Steve Albini, who has also worked them on 1995’s Planet Infinity and A Spectrum of Infinite Scale in 2000.

Revolution Surf 2020 Play List:

1. Atomicos - Shoot the Moon (Surfodelic - Norwegian Blue Records - 2017)
2. The Metalunas - Blast Off! (X-Minus One - American Pop Project - 2000)
3. The Saturn 5 - Voyage Around the Moon (That Thing You Do! Original Motion Picture Soundtrack - Play-Tone/Epik Soundtrack - 1996)
4. Les Robots - Big Trouble In Outer Space (The Fascinating sound of Les Robots - Spazz Records - 2019)
5. The Astronauts - Rocket To Mars (Lost In Space - Pin Up Records - 1993)
6. The Astronauts - Pinball Crazy (Lost In Space - Pin Up Records - 1993)
7. Los Straitjackets - Space Mosquito (Jet Set - Yep Roc Records - 2012)
8. Gene & The Esquires - Space Race (Space Race/Rave On Single - GNP Crescendo - 1965)
9. Joe Meek & The Blue Men - Orbit Around The Moon (Music from Planet Earth Vol 1 - Stag-O-Lee - 2013)
10. The Ventures - Moon Child ((The) Ventures In Space - Dolton Records - 1964)
11. Tornados - Telstar (Music from Planet Earth Vol 1 - Stag-O-Lee - 2013)

SURFPHONY OF DERSTRUCTION 2000 SEGMENT:

12. Los Freneticos - Teletransportacion (Teletransportacion - Hi-Tide Recordings - 2019)
13. The Phantom Dragsters - Galaxy Quest (Surfin' After Death - H-Records - 2016)
14. King Ghidora - Hal 9000 is Re-Activated (The Secret Origin of An Unknown Planet Destroyer - Sharawaji Records - 2018)
15. Los Kosmos - Mega Hit (Los Kosmos - 2018)
16. Megatronadores - Surfergalactico (Wanglen - 2017)
17. Mark Malibu & The Wasagas - Astro Bot (Crash Monster Beach - Sharawaji Records - 2018)

18. Urban Surf Kings - The Day the Surf Stood Still (Surf vs. Flying Saucers - USK International - 2004)
19. Urban Surf Kings - Deep Space (Surf vs. Flying Saucers - USK International - 2004)
20. Reverb Syndicate - Lunar Attack (Sputnik A-Go-Go - The Reverb Syndicate - 2007)
21. Blue Demons - Moon Dawg (The Blue Demons)
22. The Vondells - In Orbit (The Vondells (Unreleased) - 2003)
23. The Surfdusters - The Moons of Jupiter (Waves of Pleasure - Surfdust Records - 1994)
24. C&C Surf Factory - Phasors on Stun (Garage City - Six Shooter Records - 2015)
25. The Spotnicks - Telstar (Deluxe: Orange Blossom Special - Puzzle Productions - 2013)
26. Dave Miller - Telstar (Old Door Phantoms - Ears and Eyes Records - 2016)
27. Tornados - Moon Dawg (Bustin' Surfboards - Josie Records 1963/Sundazed Records - 2012)
28. The Trashwomen - The Happy Taco (The Trashwomen Vs. Deep Space - Repent Records/Pin Up Records - 1994)
29. Man or Astroman? - The Universe's Only Intergalactic Radioactive Breakfast Bar (What Remains Inside A Black Hole - Au Go Go - 1996)
30. Man or Astroman? - Defcon 3 (Defcon 5...4...3...2...1 - Communicating Vessels - 2013)
31. Man or Astroman? - Planet Collision (Live At Third Man Records - Third Man Records - 2017)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for February 29.

The Stooges Fun House 50th Anniversary Special & Show # 816

When it was originally released in July of 1970, Fun House stood out as an album different from its predecessor and from other music at the time. It still does. Produced by Don Gallucci who played keyboards on The Kingsmen’s garage classic “Louie, Louie”, Fun House brought a new sense of groove and intensity to the music of The Stooges. As for influences, the sounds of Howlin’ Wolf and James Brown influenced part of the sound that the band was going for on this album. The band also added Saxophonist Steve MacKay to Fun House and he is found on the album’s second side as the band also pull in free Jazz influences into their dynamic, and especially during the chaotic sonic assault that ends the album “L.A. Blues”.

Fun House was named after the band’s house and rehearsal space that they lived in back in Michigan, the album’s songs developed through being played live. Although he initially deemed the band “unrecordable”, Gallucci’s intention was to capture The Stooges live in the studio to try and get down the energy they projected live on tape. The feeling was captured and resulted from having the band perform as if it were a live performance, removing all baffles and carpet from the studio and by having Iggy record his vocals with a handheld microphone, which was unconventional at the time. The music pushed forward and has been described as capturing a sense of instant mayhem.

“Down On The Street” opens Fun House. With guitar and bass slides and a simple drum hit, The Stooges drop into a deep groove as Iggy Pop grunts and howls. As the words come in such as “Down on the street where the faces shine/Floating around/I’m a real low mind” and “Deep in the night I’m lost in love/A thousand lights look at you”, The Stooges don’t so much as project their feelings of unrest and unease on listeners as they suck you into their vortex. “Loose” comes next. Originally intended to be the album’s opening track, “Loose” features a revolving basslines and distorted guitar riffs that lock in with Scott Asheton’s drumbeats. Iggy Pop sings words such as “I took a ride with the pretty music/Now I’m putting it to you straight from hell” and the provocatively dangerous “I’ll stick it deep inside/Cause I’m loose” which sets the tone amongst the music that starts to get even more erratic especially when the searing guitar solo comes in via Ron Asheton. The opening of “T.V. Eye” could be one of the best openings to a rock song. Iggy Pop screams “Lorrrdd!” very loud as a guitar riff comes in then bass and drums join in. The song itself has origins as a phrase coined by the Asheton’s younger sister when someone was staring at them. On this song you really get a feel for the blues influences that the band drew on for this album. There is intensity, groove and sheer desperation found all over this track.

“Dirt” opens with a rolling drum riff before bassist Dave Alexander’s lurking bassline walks in. Throughout this song, Iggy Pop sings lyrics such as “I been dirt/And I don't care/Cause I’m burning/Inside” and “And do you feel it?/Said do you feel it when you touch me?” dealing with dark undercurrents associated with themes of depression and a burning desire for something more that can take on multiple feelings and moods all at once. If that isn’t enough, Ron Asheton’s guitar bends and twists with tense, on edge, soulful guitar riffs. The solo in this more laid back track cuts right through everything and like all of the music on Fun House, evokes a feeling that is inescapable. “1970” has been called a sequel to “1969” from The Stooges debut album the year prior. The song attacks with guitar riffs, fuzzy, sweltering basslines and themes of boredom and excess. It is on this track that Steve MacKay’s saxophone enters the Fun House. Apparently joining just two days before the recording began, MacKay at that point had previously played with Carnal Kitchen and added free jazz styled saxophone in a style compared to Ornette Coleman to The Stooges primal dynamic.

The album’s title track comes in at track six. With a driving bassline it kicks off with moans from Iggy Pop and then dual sax and guitar lines that interconnect while an unstoppable drumbeat from Scott Asheton brings us into this jazz punk classic. As Iggy Pop begs to be let into the fun house, the song, which is over seven minutes, pushes the limits of the music as the band sinks into a real dynamic. As Pop howls overtop with his vocals with the words “Calling from the fun house with my song/We’ve been separated baby for too long” and “I came to play and I mean to play” that dive deep into a wavering tale of love, desperation, determination and chaos, as the musical intensity increases. “Fun House” continues into the album’s final track, “L.A. Blues”. More free jazz influences enter through the rhythms of this song and the title track that precedes it. John Coltrane and Miles Davis’ Bitches Brew come to mind. This track is really an all out meltdown. Originally called “Freak” and clocking in at over seventeen minutes, this live in the studio take descends into free jazz and noise rock in what other reviewers have also described as apocalyptic.

Other words used to describe Fun House have been chaotic, destructive, punk blues, jazz punk, proto-punk and garage meltdown. The album would go on to influence punk and alternative music in the years and decades that followed, setting a blueprint and growing in stature. It has a depth and influence that challenged rock conventions. Being recorded live in the studio with very little overdubs added afterwards, Fun House captures a band in their own world. Fun House went against the norm at the time, stuck in between the end of the 60s and the beginning of the 70s, it is rooted in a sense of reality and mayhem. It has been called the greatest rock and roll album ever by some and is a true cohesive artistic piece. For an album that was virtually ignored by the mainstream following its initial release, Fun House, now 50 years later is revered and identified as a cult classic.

The Stooges Fun House 50th Anniversary Playlist (An Alternate Version of The Stooges, Fun House and Fun House Outtakes):

1. Lost In The Future (Take 1) (1970: The Complete Fun House Sessions - Rhino Handmade - 1999/Fun House (Deluxe Edition) - Rhino Records/Elektra - 2005)
2. “Slide” (“Slidin’ the Blues”) (1970: The Complete Fun House Sessions - Rhino Handmade - 1999/Fun House (Deluxe Edition) - Rhino Records/Elektra - 2005)
3. 1969 (Alternate Vocal) (The Stooges (Deluxe Edition) - Rhino Records/Elektra - 2005)
4. I Wanna Be Your Dog (Original John Cale Mix) (The Stooges (Deluxe Edition) - Rhino Records/Elektra - 2005)
5. We Will Fall (Alternate Version) (The Stooges (50th Anniversary Deluxe Edition) - Rhino Records/Elektra - 2019)
6. No Fun (Full Version) (The Stooges (Deluxe Edition) - Rhino Records/Elektra - 2005)
7. Real Cool Time (Alternate Mix) (The Stooges (Deluxe Edition) - Rhino Records/Elektra - 2005)
8. Ann (The Stooges - Elektra - 1969)
9. Not Right (Alternate Vocal) (The Stooges (Deluxe Edition) - Rhino Records/Elektra - 2005)
10. Little Doll (Original John Cale Mix) (The Stooges (Deluxe Edition) - Rhino Records/Elektra - 2005)
11. Down On The Street (Fun House - Elektra - 1970)
12. Loose (Fun House - Elektra - 1970)
13. T.V. Eye (Fun House - Elektra - 1970)
14. Dirt (Fun House - Elektra - 1970)
15. 1970 (Fun House - Elektra - 1970)
16. Fun House (Fun House - Elektra - 1970)
17. L.A. Blues (Fun House - Elektra - 1970)
18. Loose (Take 27)(1970: The Complete Fun House Sessions - Rhino Handmade - 1999)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for February 22.

Rockin' With Bloodshot Bill: An Interview With Music From Bloodshot Bill's Discography and Other Selections Show # 815

Bloodshot Bill plays his own brand of wild rockabilly and 50s rock influenced music. Originating from Montreal, Bloodshot sometimes plays with a backing band, but also tours and records a lot solo. In recent years he has added to his ongoing list of collaborations by putting out an EP with Deke Dickerson (The Bad Biscuit EP) and a single with Japan’s The 5.6.7.8.’s (My Little Muck Muck), he even has an EP forthcoming with another backing group, The Televisionaires. He has been nominated for an Ameripolitan Award four times. 2019 seemed to bring new interest to Bloodshot's music with Come Get Your Love Right Now released on Goner Records and by having his songs featured in a few commercials. Bloodshot Bill has released music through Norton Records, Ghost Highway Recordings (out of Spain), Transistor 66, Slovenly Recordings and many others. He does things his way and plays and releases a lot of music at a prolific and staggering pace. His music captures the wild, unpredictability and mysteriousness of early rock n’ roll music.

Revolution Rock got a chance to speak with Bloodshot Bill and featured an entire episode of selections from his discography of music. Listen to the interview here and check out the radio show in the link below the playlist:



Bloodshot Bill Playlist:

1. Bloodshot Bill - Come Get Your Love (Come Get Your Love Right Now - Goner Records - 2019)
2. Bloodshot Bill - I'm in Love (I'm in Love EP - Ghost Highway Recordings - 2012)
3. Bloodshot Bill - Martian Chicken (Out of this World Sounds Of Bloodshot Bill - Luna Sounds - 2012)
4. Bloodshot Bill - Creature from the Sky (Unreleased Home Recordings Vol. 1 - 2018)
5. Bloodshot Bill - Rat Fink (Rockabily Trash - 2004)
6. Bloodshot Bill - Five and Ten (Rockabily Trash - 2004)
7. Bloodshot Bill - Wobble (Guitar Boy - Norton Records - 2016)
8. Bloodshot Bill - Love Me Twice (Guitar Boy - Norton Records - 2016)

BLOODSHOT BILL INTERVIEW PART ONE

9. The Ding-Dongs - Ding-Dong Party (The Ding-Dongs - Norton Records - 2010)
10. The Ding-Dongs - Don't Ring, Come On In (The Ding-Dongs - Norton Records - 2010)
11. Tandoori Knights - Bucketful (Curry Up! It's The Tandoori Knights - Norton Records - 2010)
12. Bloodshot Bill & The 5.6.7.8.'s - My Little Muck Muck (My Little Muck Muck - Pig Baby Records - 2019)
13. Bloodshot Bill - Shick Shack (Git High Tonite! - Transistor 66 - 2009)
14. Bloodshot Bill - Blue Days Black Nights (Lonesome Road - Norton Records - 2013)
15. Bloodshot Bill - Know Myself (Come Get Your Love Right Now - Goner Records - 2019)

BLOODSHOT BILL INTERVIEW PART TWO

16. Bloodshot Bill - All the Time (Thunder and Lightning - Norton Records - 2011)
17. Bloodshot Bill - Hang in There (Thunder and Lightning - Norton Records - 2011)
18. Bloodshot Bill - Shark Tank (Hang Ten with Bloodshot Bill EP - Hi-Tide Recordings - 2019)
19. Bloodshot Bill & The Hick-Ups - Slewfoot Sue (This is It! - Sleazy Records - 2018)
20. Bloodshot Bill & His Hub-Caps - Cemetery (Crazy Fever! - Killer Production - 2003)
21. Bloodshot Bill - Tell Me You Love Me (Guitar Boy - Norton Records - 2016)
22. Bloodshot Bill - Wolf Call (So Blue - Transistor 66 - 2013)
23. Bloodshot Bill - Pill Bop (All Messed Up - Hog Maw Records - 2010)
24. Bloodshot Bill - Treat Me Right (All Messed Up - Hog Maw Records - 2010)
25. Bloodshot Bill - Johnny Crap (Boogie All Nite!!! - 2001)
26. Bloodshot Bill - Baby Back (Sex, Blood & Rock n' Roll - 2001)
27. Bloodshot Bill - Angel Trucker (One for the Road - 2002)
28. Tandoori Knights - Temple of Boom (Temple of Boom - Slovenly Recordings - 2019)
29. Bloodshot Bill - Radioactive Flip-flop (Rockin' with Bloodshot Bill EP - Ghost Highway Recordings - 2011)
30. Bloodshot Bill - Midnite on Mars (Out of this World Sounds Of Bloodshot Bill - Luna Sounds - 2012)
31. Bloodshot Bill - Can't Dance Alone (Lemme Rock EP - Squoodge Records - 2010)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for February 15.

Journey Through The Past: Selections from Neil Young's Discography Show # 814

After releasing 1981’s underrated Re-ac-tor with Crazy Horse, Neil Young’s contract ended with Reprise Records. He had been with the label since 1968 and had released thirteen albums with them. The first album that he released on Geffen was 1982’s Trans. The album confused some listeners. It also really bothered his record label. The album was synth rock and electronic based, influenced by bands such as Kraftwerk and featured songs with vocoder vocals. The album itself Young said was about communication and reflected his attempts to communicate with his son Ben, who had been born with cerebral palsy and was unable to speak. The next album that Neil Young recorded for Geffen was a country based record called Old Ways. The label rejected the album and wanted a rock record from Neil Young. He delivered Everybody’s Rockin’.

This album was a rock album, but not the standard kind of rock album that Young had been known for at the time. It was a 50’s rock, rockabilly and doo wop inspired album. The 1983 album was a mix of rockabilly covers and originals. It is also his shortest album. Apparently two more tracks were intended for this release (“Get Gone” and “Don’t Take Your Love Away From Me”), but additional recording session were cancelled and the album was released the way we have it now. These two songs would appear in live form on Young’s compilation album Lucky Thirteen, along with other songs that didn’t make several of the albums from this time period in 1993. The album featured two singles, “Wonderin'” and “Cry Cry Cry”, both Young originals. “Wonderin’” had been performed in live shows and had been around since the 70s, but was reworked for this album. These songs also marked a first for Young, music videos were made for them. They received little airplay on MTV.

The band put together for this album was The Shocking Pinks. They went on a tour, but the result of everything from this album was mixed reviews and confusion. However, the album as Young has said that the songs had little depth and were all “surface” songs, echoing a simpler time in music. He was also going against the grain of what he was known for challenging expectations of what others thought of him. “Payola Blues” despite previous statements of lack of depth, shows a moment of depth on this album or at least some deeper context to what he was dealing with at the time with lyrics such as “Listen to me Mr. D.J./Hear what I've got to say/If a man is making music/They ought to let his record play” and “No matter what I do I’ll never hear my record on the radio”, the song provided insight into the internal workings of being an artist, expectations of artists and ideas of artistic freedom all set against a 50’s rock musical backdrop. There’s even back up choruses of “Cash-a-wala-wala” in a doo wop style hammering the message home.

Of the covers “Mystery Train”, “Rainin’ In My Heart” and Jimmy Reed’s “Bright Lights, Big City” aren’t terrible at all. In fact, they are pretty authentic covers. But, all of this coupled with Young’s desire to not do what was expected of him rubbed people the wrong way. Although this album gets a bad rap and it is not the strongest in Neil Young’s catalog, it isn’t as bad as claims of it are. Everybody’s Rockin’ was so hated by his label that Young was sued by them for making “uncommercial music” that was “unrepresentative of himself”. Young counter sued and the matter eventually was settled and Geffen did apologize publicly. Old Ways followed in 1985, however these three albums and all of the albums that were released during his Geffen years delved into experimentation and challenged preconceived conceptions of what type of musician he was. Even if he was trolling his label throughout these early 80s albums, Neil Young proved he could be himself any way that he wanted, challenging what it means to have artistic control.

Neil Young Playlist:

1. Neil Young With Crazy Horse - Sedan Delivery (Rust Never Sleeps - Reprise - 1979)
2. Neil Young With Crazy Horse - White Line (Ragged Glory - 1990)
3. Neil Young With Crazy Horse- Everybody Knows This is Nowhere (Everybody Knows This is Nowhere - Reprise - 1969)
4. Neil Young With Crazy Horse - Lookin' for Love (Zuma - Reprise - 1975)
5. Neil Young With Crazy Horse - Think of Me (Colorado - Reprise - 2019)
6. Neil Young With Crazy Horse - Sleeps with Angels (Sleeps with Angels - Reprise - 1994)
7. Neil Young - Tell Me Why (After the Gold Rush - Reprise - 1970)
8. Neil Young - L.A. (Time Fades Away - Reprise - 1973)
9. Neil Young - Vampire Blues (On the Beach - Reprise - 1974)
10. Neil Young & The Santa Monica Flyers - World On A String (Tonight's the Night - Reprise - 1975)
11. Neil Young - Hitchhiker (Le Noise - Reprise - 2010)
12. Neil Young - Winterlong (Decade - Reprise - 1977)
13. Neil Young With Crazy Horse - Opera Star (Re-act-or - Reprise - 1981)
14. Neil Young - Computer Cowboy (Trans - Geffen - 1982)
15. Neil Young & The Shocking Pinks - Wonderin' (Everybody's Rockin' - Geffen - 1983)
16. Neil Young - Wonderin' (The Archives Vol. 1 1963–1972 - Reprise - 2009)
17. Neil Young - Pressure (Landing on Water - Geffen - 1986)
18. Neil Young - I've Been Waiting for You (Neil Young - Reprise - 1968)
19. Neil Young - Human Highway (Comes a Time - Reprise - 1978)
20. Neil Young With The Stray Gators - Harvest (Harvest - Reprise - 1972)
21. Neil Young With The Stray Gators - Journey Through the Past (The Archives Vol. 1 1963–1972 - Reprise - 2009/Inherent Vice (Original Motion Picture Soundtrack) - Nonesuch Records - 2014)
22. Neil Young - Powder Finger (The Hitchhiker - Reprise - 2017)
23. Neil Young With The Stray Gators - Old King (Harvest Moon - Reprise - 1992)
24. Neil Young With Crazy Horse - Like a Hurricane (American Stars n' Bars - Reprise - 1977)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for February 8.

What Is This Thing Called Swing: Louis Armstrong and Black History Month Special Show # 813

Born in New Orleans in August of 1901, Louis Armstrong was a jazz trumpeter and an influential figure in jazz music. His career spanned five decades in which Armstrong would be part of different and important eras of jazz music. In addition to his musical abilities on trumpet, Louis Armstrong was also a vocalist, composer and actor. He was one of the first African American entertainers to cross the gap in racially divided America at the time, being accepted by both white and black audiences. Armstrong generally remained neutral when it came to politics, which often resulted in criticism, however, in 1957 he did speak out during a conflict in Little Rock, Arkansas over school desegregation.

Although Armstrong made his first recordings with King Oliver’s Creole Jazz Band in April of 1923, the first recordings that had Armstrong’s name in the title were in 1925 with his backing band, The Hot Five. The recordings were made in Chicago with The Hot Five and The Hot Seven backing him from 1925-1928. These important early works were not only inventive, but allowed for jazz solo opportunities within the song. He would emerge as the first great jazz soloist. Also nicknamed “Satchmo”, “Satch” and “Pops”, Armstrong had a very distinct voice. His voice was usually defined by its rich, gravelly tone. The vocal style that he used also incorporated skat singing, which he was skilled at. Armstrong had a very unique ability to bend lyrics and melody in song when singing. When recording vocals to the 1926 song "Heebie Jeebies", Armstrong put down the first example of skat singing on record. It is rumoured that he dropped his music sheet during the recording session and made up nonsensical syllables on the spot. Whether this is true or not about this song, it is an example of Armstrong’s inventiveness as a musician and can really be felt when listening to the song. One of his most well known songs is perhaps “What A Wonderful World”, in which it displays Armstrong’s gravelly, honeyed vocal style. Although recorded late in his career in 1967, the song was an international success in the UK where it topped the UK Singles charts at #1. The song initially did not sell well in the US, but would eventually reach #16 on the US Billboard singles charts. It has become an enduring song, still associated with Armstrong even to this day.

Louis Armstrong appeared in a large amount of films such as Pennies From Heaven (1936), in the 1956 musical High Society where he did a duet with Bing Crosby, The Five Pennies (1959) and Paris Blues in 1961, which also starred Paul Newman. He appeared in not only movies, but on radio and television. Some of the songs that he was known for were “What A Wonderful World”, “Hello Dolly”, “Jeepers Creepers”, “St. James Infirmary”, “Potato Head Blues”, “Gut Bucket Blues” and “When You’re Smiling”. Armstrong also collaborated with legendary pianist and bandleader Earl “Fatha” Hines, Ella Fitzgerald, Bing Crosby and Duke Ellington. Louis Armstrong’s influence went beyond jazz, resulting in fans calling him one of the first great jazz soloists. He was an influence on soloists in every genre of American popular music.

Black History Month Playlist:

1. Pure Hell - No Rules (Noise Addiction - Welfare Records - 2006)
2. Death - Freakin' Out (...For The Whole World To See - Drag City - 2009)
3. Andre Williams - Agile, Mobile, Hostile (Silky - In The Red - 1998)
4. Andre Williams & The Sadies - My Sister Stole My Woman (Red Dirt - Bloodshot Records - 1999)
5. Andre Williams - Bacon Fat (Mr. Rhythm Is Movin’! (The Original 1955-1960 Fortune Recordings) - Hoodoo Records - 2011)
6. Fats Domino - Let The Four Winds Blow (Let The Four Winds Blow - Imperial - 1961)
7. 8th Day - It's Instrumental to Be Free (You've Got To Crawl (Before You Walk) / It's Instrumental To Be Free - Invictus - 1971)
8. Chairman of the Board - Skin I'm In (Skin I'm In - Invictus - 1974)
9. Eddie Kendricks - My People Hold On (People...Hold On - Tamla Records - 1972)
10. Earth, Wind & Fire - Ain't No Harm To Moan (Slave Song) (Open Our Eyes - Columbia/Legacy - 2001)
11. Gil Scott-Heron - The Liberation Song (Red Black and Green) (The First Minute of a New Day (Midnight Band) - Arista - 1975)
12. Billy Preston - The Bus (I Wrote A Simple Song - A&M - 1972)
13. Louis Armstrong - Gut Bucket Blues (The Complete Hot Five & Hot Seven Recordings - Columbia/Legacy - 2000)
14. Louis Armstrong - Heebie Jeebies (The Complete Hot Five & Hot Seven Recordings - Columbia/Legacy - 2000)
15. Louis Armstrong - Potato Head Blues (The Complete Hot Five & Hot Seven Recordings - Columbia/Legacy - 2000)
16. Louis Armstrong - St. James Infirmary (The Complete Hot Five & Hot Seven Recordings - Columbia/Legacy - 2000)
17. Louis Armstrong & His Orchestra - Ain't Misbehavin' (Ain't Misbehavin'/(What Did I Do To Be) Black And Blue - OKeh - 1929)
18. Louis Armstrong & His Orchestra - Lazy River (Lazy River/Georgia On My Mind - Parlophone - 1931)
19. Duke Ellington - Creole Love Call (Creole Love Call / Black And Tan Fantasie - Victor - 1930)
20. Bo Diddley - Craw-Dad (Walkin' And Talkin'/Crawdad - Checker - 1960)
21. Fela Kuti & Roy Ayers - 2,000 Blacks Got To Be Free (Music of Many Colors - Phonodisk - 1980)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for February 1st.

Coming Up on Revolution Rock in February 2020!

It’s February which means that throughout this month Revolution Rock will devote each episode that airs in February to theme based programming. Dave and co-host Adam have special programming lined up ranging from jazz, punk, post-punk, garage, country, folk and surf. This year’s themed month programming starts off on February 1st with a program focusing on Black History Month that will feature a mix of music from Louis Armstrong, Andre Williams and a variety of other artists from different genres. This episode will also feature a guest host, Graeme Sylvio of CJAM FM’s Sylvio & Soul program. Revolution Rock airs every Saturday from 7-9 PM on CJAM 99.1 FM in Windsor/Detroit. It can be streamed via cjam.ca and be downloaded via the very same website afterwards.

What Is This Thing Called Swing: Revolution Rock Celebrates Black History Month
Saturday February, 1st, 2020
7-9 PM EST
CJAM 99.1 FM (www.cjam.ca)

Born in New Orleans in August of 1901, Louis Armstrong was a jazz trumpeter and an influential figure in jazz music. His career spanned five decades in which Armstrong would be part of different and important eras of jazz music. In addition to his musical abilities on trumpet, Louis Armstrong was also a vocalist, composer and actor. He was one of the first African American entertainers to cross the gap in racially divided America at the time, being accepted by both white and black audiences. Armstrong generally remained neutral when it came to politics, which often resulted in criticism, however, in 1957 he did speak out during a conflict in Little Rock, Arkansas where he stood up for school desegregation. Also nicknamed “Satchmo”, “Satch” and “Pops”, Armstrong had a very distinct voice. His voice was usually defined by its rich, gravelly tone. The vocal style that he used also incorporated skat singing, which he was skilled at. Armstrong had a very unique ability to bend lyrics and melody in song when singing. Louis Armstrong appeared in a large amount of films such as Pennies From Heaven (1936), in the 1956 musical High Society where he did a duet with Bing Crosby, The Five Pennies (1959) and Paris Blues in 1961, which also starred Paul Newman. Some of the songs that he was known for were “What A Wonderful World”, “Hello Dolly”, “Jeepers Creepers” and “When You’re Smiling”. Armstrong also collaborated with legendary pianist and bandleader Earl “Fatha” Hines, Ella Fitzgerald, Bing Crosby and Duke Ellington. Louis Armstrong’s influence went beyond jazz, resulting in fans calling him one of the first great jazz soloists. He was an influence on soloists in every genre of American popular music. This episode will feature a set of music by Louis Armstrong, music from Andre Williams, Jimi Hendrix, Bo Diddley, Junior Wells and more artists in celebration of Black History Month. The program will also feature guest host Graeme Sylvio of CJAM FM’s Sylvio & Soul program.


Journey Through The Past: Selections from Neil Young's Discography
Saturday February, 8th, 2020
7-9 PM EST
CJAM 99.1 FM (www.cjam.ca)

Neil Young is an influential musician/songwriter from Canada. He has played with Buffalo Springfield, Crosby, Stills, Nash & Young, his backing band Crazy Horse, The Stray Gators, Pearl Jam and numerous others. Young has been called the “Godfather of Grunge” by many, the music that he has created has ranged from folk and country to rock, hard rock and noise rock. He even put out rockabilly and synth rock album. His catalogue is vast and there are numerous live albums in addition to the music he created with others and as a solo artist. The Neil Young Archives Volume One was first released as a box set in 2009, but has since become available online as a streaming subscription service featuring a plethora of unreleased material. Some of his best known songs are “Cinnamon Girl”, “Down By The River”, “Old Man”, “Heart of Gold”, “The Needle and the Damage Done”, “Cortez The Killer”, “Rockin’ in the Free World”, there are too many to name. In 1972, Neil Young found critical and commercial success with Harvest. The albums that followed this (Time Fades Away (1973), On The Beach (1974), and Tonight’s The Night (1975)) are referred to as Young’s Ditch Trilogy. Neil Young released Everybody’s Rockin’ in 1983 a rockabilly album and Trans (1982), which explored music with synthesizers and electronic based sounds. In the 80s, Young experimented heavily with his sound. Young has also been involved in film, directing several films such as Journey Through The Past (1974), Human Highway (1982), Greendale (2003) and the documentary CSNY/Déjà Vu in 2008. Young continues to release music, most recently putting out the album Colorado with Crazy Horse. This episode will feature deep cuts and other selections from Neil Young's vast discography.

Rockin’ With Bloodshot Bill: The Music of Bloodshot Bill and Other Selections
Saturday February, 15th, 2020
7-9 PM EST
CJAM 99.1 FM (www.cjam.ca)

Bloodshot Bill emerged out of Montreal around 1998. Starting out as a drummer, Bloodshot Bill began performing with just a guitar and stomp board. Bloodshot Bill often tours and performs as a one man band featuring, guitar, a bass drum, hi-hat and reverb soaked vocals. Live as a one-man band he provides the audience with his own brand of rockabilly music that is unlike any other, while at the same time drawing on the past. He once said that his influences range from early country and rock and roll records to what he refers to as his “holy trinity” of influences "Hasil Adkins, Charlie Feathers, and Link Wray.” Since starting out, Bloodshot Bill has released numerous records on different labels, recorded and collaborated with artists such as King Khan (as The Tandoori Knights and The Bollywood Argyles), Mark Sultan (The Ding Dongs), Deke Dickerson, Shannon Shaw, Jon Spencer and many others. In 2019, he released Come Get Your Love Right Now via Goner Records, Hang Ten With Bloodshot Bill (a surf EP) on Hi-Tide Recordings, an EP of music with legendary rockabilly/roots rock musician Deke Dickerson called The Bad Biscuit EP, a single with The Tandoori Knights (featuring King Khan), and a single with Japan’s the 5.6.7.8’s called My Little Muck Muck. He has also performed all over the US, Canada and parts of Europe. In addition to all this, Bloodshot Bill has performed with the bands The Hubcaps, The Hick-Ups, The Televionaires and Reverend Horton Heat. This episode will feature an interview with Bloodshot Bill in addition to music from Bloodshot Bill’s ever expanding, still potent and prolific catalogue of music.

The Stooges Fun House 50th Anniversary
Saturday February 22nd, 2020
7-9 PM EST
CJAM 99.1 FM (www.cjam.ca)

When it was originally released in July of 1970, Fun House stood out as an album different from its predecessor and from other music at the time. It still does. Produced by Don Gallucci who played keyboards on The Kingsmen’s garage classic “Louie, Louie”, Fun House brought a new sense of groove and intensity to the music of The Stooges. As for influences, the sounds of Howlin’ Wolf and James Brown influenced part of the sound that the band was going for on this album. The band also added Saxophonist Steve MacKay to Fun House and he is found on the album’s second side as the band also pull in free Jazz influences into their dynamic, and especially during the chaotic sonic assault that ends the album “L.A. Blues”. Fun House was named after the band’s house and rehearsal space that they lived in back in Michigan, the album’s songs developed through being played live. Although he initially deemed the band “unrecordable”, Gallucci’s intention was to capture The Stooges live in the studio to try and get down the energy they projected live on tape. The feeling he went for was captured and resulted from having the band perform as if it were a live performance, removing all baffles and carpet from the studio and by having Iggy record with them with a handheld microphone, which was unconventional at the time. The music pushed forward and has been described as capturing a sense of instant mayhem. Other words used to describe this album have been apocalyptic, chaotic, destructive, punk blues, proto-punk and garage meltdown. The album would go on to influence punk and alternative music in the years that followed, setting a blueprint and growing in stature. It has a depth and influence that challenged rock conventions. For an album that was virtually ignored by the mainstream following its initial release, Fun House, now 50 years later is revered and identified as a cult classic. This episode will feature all of the songs from 1970’s Fun House album, plus selections from the 1970: The Complete Fun House Sessions box set and a few other surprises.


Revolution Surf 2020: Intergalactic Instrumentals
Saturday February 29th, 2020
7-9 PM EST
CJAM 99.1 FM (www.cjam.ca)

For the 14th annual Revolution Surf special, the program will focus on intergalactic instrumental themed songs, or in other words surf music with a space theme. One of the first surf/instrumental based songs to have a space or sci-fi theme was the song “Telstar” by The Tornados. Not to be confused with the US band of the same name (spelled “Tornadoes”), this band was from the UK and worked together with producer Joe Meek in the early 60s. Meek wrote and produced the song for The Tornados, utilizing new, pioneering production techniques that created distinctive, and “space age” futuristic sounds. With its use of keyboards and the Clavioline, “Telstar”, which was named after a telecommunications satellite that went into orbit on July 10th, 1962, became an immediate hit when released in August of 1962. In the UK the song was at #1 on the UK singles charts for 25 weeks and #1 in on the US Billboard Hot 100 singles chart. The Tornados were also the first British group to have a number one single in the US. Since then there has been a plethora songs and surf/instrumental bands that have named themselves based on space or sci-fi themes. In 1964, instrumental band The Ventures released their album Ventures in Space. The album explored more experimentation within the band’s classic sound and was influenced by Joe Meek’s space age production style. There has been countless bands with space inspired names such as Man or Astro-Man? who formed in the early 90s, The Metalunas in the 2000’s, and numerous bands with songs falling under this theme such as The Surfaris, The Marketts, Davie Allan & The Arrows, The Challengers, Messer Chups, Luau or Die, and so many others. On February 29th, take a journey into a world of intergalactic surf and instrumental music for Revolution Surf 2020. The show will also feature guest hosts Brady of CJAM FM’s Music From Planet Earth, Carley of CJAM FM’s Everything’s No Good and Derk Brigante of Surf Rock Radio’s The Surfphony of Derstruciton 2000.

Psychic Void Skeleton Paradise and Shows # 810, 811, 812

The sophomore album by Psychic Void, Skeleton Paradise, was released at the end of November 2019 on Vanilla Box. This album follows the Windsor, Ontario four piece’s 2018 album Terminal Vacation. Psychic Void consists of Jesse Knight (vocals), Josh Kaiser (guitar/sythns), Matt Menard (bass) and Sean Carpenter on drums. Peter Garant plays drums on this recording. The sound of Psychic Void is often described as psych punk. The music that they create is punk, but it is also has elements of 80s hardcore, garage and psych music. All of this gets combined with the subversive lyrics sung by Jesse Knight that seep into each track. Recorded, mixed and mastered by guitarist Josh Kaiser, Skeleton Paradise is an album on edge, unnerving, and filled with unease that doesn’t preach to the listener. It just tells it like it is.

“Dirty Hands” opens Skeleton Paradise with a heavy, lurking synthesizer introduction that sounds as if it spawned from an 80s horror movie. As the music comes in, fuzzy bass from bassist Matt Menard drives the track and album forward in between drums and guitar effects. The opening lyrics begin with the words “Fools of illusion/Stuck rats in a maze/Dollar signs expensive wines/They got the good medicine/Such happy smiling people”, which sets the tone for this psych punk track, as lyrically the song delves into addressing the falsities of people with expensive taste that actually reveal that they have no taste at all. When the chorus kicks in with “Numb the beast/Sexual relief/Rinse and repeat/Such dirty hands”, the band propels the point home even further. “Internet Human” picks up the pace in the punk direction as heavy guitar riffs cut deep with Knight’s reverb damaged vocals, driving bass and drums that explore a world of the present. In a recent music video for this song directed by Rob Maslanka, Psychic Void drive to an undisclosed location and destroy old computers with sledgehammers while wearing ski masks and being dressed all black in a Guy Ritchie meets Office Space scenario. This perfectly exemplifies some of the themes not only on this track and Skeleton Paradise, but also in the disconnected situations that are all around us. “Denim Daddy” brings in crunchy riffs ala Keith Morris-era Black Flag that stop and start as the song builds into chaos with lyrics that tap into a mini character study of a denim wearing, cigarette smoking, microdoser.

“Alley Dweller” starts with a combination of trippy synthesizers and guitar effects before fast hardcore punk riffs descend into the listener’s subconscious. With lyrics such as “Don’t go home tonight/Keep your head down” and “I just keep my feet/On the streets/I don’t even bother”, this heavy punk track attacks with a rage and venom for the introspective disaffected, “Sweet Dreams” features heavy garage psych guitar and bass riffs with lyrics such as “We all want something/Us average people with nothing/Kept so many secrets tucked under my bed/Until I was listening to the voices in my head” that are just as heavy in thought, “Boneshaker” rattles with the influence of 80s hardcore punk, while lyrically, the song revels in discord, “Small Talk” is mid-tempo garage punk track with a touch of Motorhead influenced grime featuring stream of consciousness-like lyrics. With words such as “Ya I bet you’re doing great/Ya I bet you’re doing fine/Ya you got married last week/Ya go follow the sheep/I don’t care” and “I don’t think before I speak/You can tell by the weakness in my speech”, “Small Talk” is a song about running into someone from your past at the grocery store that is immersed in their own sense of boring normalcy who won’t stop talking about themselves. All of this is contrasted with the inner dialogue and annoyance of being stuck in this situation, while at the same time looking for a way to escape from it.

“Hazel Eyes” ends Skeleton Paradise with more psych punk dynamics that deliver a blast of reverb-loaded vocals that evoke attitude and intensity. This song seems to end Skeleton Paradise with some sort of redemption to the chaotic, damaged surroundings that are vocalized on this album. However, like many of the songs on this album, it operates on different levels. “Hazel Eyes” also seems to punch holes into an idealized version of happiness that some people can become numb to. It is up to the listener to decide. Throughout Skeleton Paradise, Psychic Void combines a mixture of wit, disdain and anger with their own brand of psych punk music, which, like many of the layered, complex themes that run throughout this album doesn’t easily fit into a defined category. With Skeleton Paradise, Psychic Void shakes the bones of the past while breathing life into the present.

Show 812 (Originally Aired On January 25th, 2020)(Wolf Parade, Dry Cleaning, Clamm, Red Mass, Black Lips, The Sadies):

1. Wolf Parade - Against The Day
2. U.S. Girls - Waiting Room
3. Holy Fuck - No Error
4. Dry Cleaning - New Job
5. Fime - Flores
6. Clamm - Dog
7. Red Mass - Life is a Cabaret
8. Lie - Digging in the Desert
9. Priors - Sunshine
10. XTC - Respectable Street
11. Franz Ferdinand - Shopping for Blood
12. The Pop Group - She is Beyond Good and Evil
13. The Scientists - Nitro
14. Nap Eyes - Mark Zuckerberg
15. Andy Shauf - Neon Skyline
16. The Black Lips - Chainsaw
17. Drive By Truckers - Grievance Merchants
18. Gun Club - Brother and Sister
19. The Sadies - The Most Despicable Man Alive
20. The Beach Boys - Bluebirds Over the Mountain (Live in London 1968)
21. Shadowy Men on a Shadowy Planet - They Don't Call Them Chihuahuas Anymore
22. Shadowy Men on a Shadowy Planet - Vibrolux Deluxe
23. Lost Patrol - That's Your Style
24. Destination Lonely - Out of Your Head
25. Saba Lou - Cherie Sherabou
26. The Libertines - The Boy Looked At Johnny

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for January 25.

Show # 811 (Originally Aired On January 18th, 2020)(The Make-Up, Reigning Sound, The Gonks, Psychic Void):

1. The Make-Up - Blue Is Beautiful
2. Reigning Sound - North Cackalacky Girl
3. Bloodshot Bill - Take me for a Ride
4. The Black Lips - Rumbler
5. Sloan - Keep On Thinkin'
6. Pavement - Elevate Me Later
7. Pixies - Mr. Grieves
8. Pixies - Crackity Jones
9. Sonic Youth - Bubblegum
10. Trout - Scaredy Cat
11. Nap Eyes - It's Only Life (Laginappe Session 2018)
12. Neil Young - Don't Cry No Tears
13. Diamond Rugs - Gimme a Beer
14. The Routes - Split Personality
15. The Gonks - I'm a Leaker
16. The Gonks - Hot Sick Vile and Fun
17. Frank Zappa - Hungry Freaks, Daddy
18. Scott Walker - Plastic Palace People
19. Chad VanGaalen - Pine and Clover
20. Corridor - Junior
21. Run Coyote - The Psychic
22. Family Video - Supergiant
23. Psychic Void - Sweet Dreams
24. Trophy Knife - Mano of Action
25. Fruit Tones - Pop My Clogs
26. The Replacements - Stuck In The Middle
27. Fugazi - Public Witness Program
28. The Jim Carroll Band - Catholic Boy
29. The Jon Spencer Blues Explosion - Dynamite Lover
30. The Eyes - Topological Lies
31. Julie & the Wrong Guys - Calm Before the Storm (CJSW Session)
32. David Bowie - John, I'm Only Dancing

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for January 18.

Show # 810 (Originally Aired On January 11th, 2020)(Nick Cave, Hank Williams Sr. & III, Public Image Limited):

1. Iggy Pop - Success
2. Nick Cave & the Bad Seeds - The Lyre of Orpheus Abbtoir Blues/The Lyre of Orpheus
3. Captain Beefheart - Dali's Car
4. Starlites - I Can't See You
5 Steely Dan - East St. Louis Toodle-Oo
6. The Bobby Tenderloin Universe - Cow Eyes
7. Psychic Void - Internet Human (CJAM Session)
8. Cellos - Mailroom Blues
9. The Velvet Underground - Venus in Furs
10. King James & The Royal Jesters - I Get A Feeling
11. The Painted Ship - Frustration
12. No Museums - Local Cold
13. Sex Pistols - Pretty Vacant
14. David Bowie - It's No Game (Pt. 2)
15. Adaptors - Trust In Technology
16. Paul Jacobs - Sucking On A Cigarette
17. Hank Williams - My Bucket's Got a Hole in It
18. Hank Williams III - Drinkin' Ain't Hard to Do
19. The Obsidians - Le Fiord
20. Nick Cave & the Bad Seeds - Abattoir Blues
21. Johnny Thunders & The Heartbreakers - Pirate Love
22. Public Image Ltd. - Bad Night
23. Pottery - Lady Solinas
24. Walrus - Half Smoke
25. Dumb - Slacker Needs Serious Work
26. The Only Ones - City of Fun
27. Roxy Music - Virginia Plain

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for January 11.

Show 809 was a repeat of a show that aired in October 2019 that also featured an interview with Mark Arm of Mudhoney. Find the download/stream link to this show here and the playlist here.

Show 808 was a repeat of a show that aired in December 2019. You can find a download/stream link to this show here and the playlist here.

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

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

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

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

The Clash - Wessex Studios 1979 (Photo by Pennie Smith)

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

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

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

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

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

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

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

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

Download this episode here!