Tuesday, September 25, 2012

Chemical Sound Radio Special & Show # 423

 
When talking of albums that were made at Chemical Sound, Sloan’s Navy Blues usually comes to mind. The album was released in 1998 and was the album to feature their breakthrough Canadian hit “Money City Maniacs”, but there were so many factors that added to the studios dynamics and to why people liked it so much. Chemical Sound was known for its vintage sounds and analogue gear and this spoke to artists that wanted to record there. The studio had its beginnings in 1992 with Daryl Smith who worked closely with Ian Blurton, who is a producer/musician, as was Daryl. Ian has been involved in the studios development since its early beginnings, he has recorded numerous albums there with the bands he has been involved with C’MON, Blurtonia, Change of Heart. The two built up not only an array of quality vintage equipment, but also the reputation of the studio. Chemical Sound has produced many albums by artists to name a few Sloan’s Navy Blues, Death From Above 1979’s You’re A Woman, I’m A Machine, and Lift Your Skinny Fists Like Antennas to Heaven by Godspeed You! Black Emperor.


The second set of owners of the studio were Rudy Rempel and James Heidebrecht, who produced recordings by The Constantines, and Royal City, and in 2006, Dean Marino and Jay Sadlowski took over as owners and operators of the Chemical Sound facility. The studio also moved locations in 2006, the original site of the studio was torn down in order to make way for condominiums. Relocated in Riverdale, Toronto Dean and Jay would produce recordings by artists such as Tokyo Police Club, Born Ruffians, an i-tunes session for The Black Keys, The Schoemberg Fair, C’MON and many others. When they announced they were closing their doors in 2012 this message appeared on their website:

Chemical Sound has been in business for 20 years. Over the years the studio has played host to many important Canadian and International recording artists. Since 2006 Dean and Jay have worked with great bands like The Black Keys, Sharon Jones and the Dap-Kings, Tokyo Police Club, Born Ruffians, C'MON, Sweet Thing, The Elwins, EIMIC, Attack in Black and many many more.

We want to thank everyone who has supported us over the years.



One of the last recordings recorded at Chemical Sound was the Inferior Ghost EP by Papermaps. The EP was recorded at Chemical, but also parts of it were done at Vespa Studios and mixed in what is now Central Audio, a new name for the space that used to be Chemical Sound. The EP represents perseverance through difficult times. Many reasons have been thrown around as to why the studio closed its doors, one being it not being economically viable, but the truth is all things must come to an end at some point. Chemical Sound retired while people still had an interest in it, and at a time where music recording is in a state of transition, the EP literally represents this, it was recorded at two places, one of them being Chemical Sound. It is a rather poignant and fitting release if you consider the EP in that respect.

It is nearly impossible to sum up a studio that for twenty years (from 1992-2012) has had produced so many recordings in a few odd paragraphs. You could say so many things, but the biggest factor that made people return to the studio was the fact that Chemical Sound was always devoted to quality, regardless of the genre of music or band that was recording there and the products spoke for themselves. So when you’re looking through an album and check out to see where it was recorded you can be sure that if it says Chemical Sound, something interesting was done there. I can’t help but return to Sloan’s Navy Blues, which is an album that showed off a different yet exciting side of the band which brought them new successes. But the band also recorded their next album Between The Bridges there as well (it was mixed elsewhere) a fact that few people know without checking out the linear notes, but you can hear it in the sound of the drums on that record. The drum sounds at Chemical were always something of note when considering the studio, they were often referred to as getting really good, if not some of the best drum sounds in Toronto and when you listen to a song such as “Money City Maniacs”, “She Says What She Means”, or even songs by C’MON, Godspeed! You Black Emperor or from any of the albums recorded there, you can hear the room, you can hear the sound of a band playing in that moment when the sound of a band/making music was all that mattered and that’s what you got from Chemical Sound a moment captured and what a great moment it was.

The following interview was done between myself (Dave Konstantino host of Revolution Rock) and Dean Marino and Jay Sadlowski musicians and the owners/operators of Chemical Sound from 2006-2012. We talk of recordings made there, a bit of its history and more.

RR: When did you first hear of Chemical Sound and what was it that interested the both of you about the studio?


D - I was a client. I made my first professional recording there in 2000. I heard that Sloan's Navy Blues was recorded there.

J - I knew about the music that came from the studio, but didn't know about the studio itself till I started talking to Dean about it.

RR: How, why and when did you guys become involved with the recording aspects of Chemical Sound?

D - Both Jay and myself have been recording since we were teenagers (we were in a high school band together). We would rent / steal and borrow equipment to make cassette recordings in our basements or in the music room at school - eventually we graduated from 4-track tape machines to semi pro and then fully pro stuff. After being a client at Chemical for a few years I built up the nerve to ask to intern there. I interned for a few months before they started paying me - all that high school tom foolery and experimentation paid off. I started at the studio in 2003, bought the gear and name in 2005 and we closed in 2012.

RR: Chemical Sound is known for their vintage gear and analog recording techniques, when was Chemical Sound first established as a recording studio and why do you think that the studio put this recording mandate in place to begin with?

D - The studio was established by Daryl Smith in 1992, when analog recording was really the only option - I guess ADATs had been around or a few years, but they were considered sub-standard. The studio just stuck to what worked. They didn't acquire a ProTools rig until 2004! Ian Blurton (Change of Heart, Blurtonia, C'MON) had a lot to do with the gear selection because he was/is heavily into the classic heavy rock sound - he knew what kind of gear works best for that sound. He's the one who tracked down the API console.

J - Yeah, Daryl and Ian really shaped it based on their love of classic records. It's cool. At the time, the 80's, they were really going against the grain in terms of popular sound. A lot of records then were thin and very clean sounding, meanwhile they were building this classic, gritty distorted sound.

RR: Chemical Sound was originally located elsewhere in Toronto for many years. When and why did Chemical Sound switch locations?

D - The location change happened late 2005 early 2006. The original location is now a swank condo.

RR: What are some of your favourite recordings that have come out of Chemical Sound? More specifically, out of all the recordings that you both have worked on which ones are some of your favourites?

D - Black Keys iTunes Session - because it was done so purely, quickly and sounds so good. EIMIC's (Everything is Made in China) first two records, because Jay and myself had full creative production and Tokyo Police Club's Elephant Shell because I made some life-long friends on that gig.

J - Yeah. I like most of the records that came out of Chemical. For sure everything Dean has mentioned. There's really too much to even list, Ruby Coast, Born Ruffians, The Elwins, Dilly Dally... I love all of them! It's been great to be so proud of it. And we've totally made new friends.

RR: Could you both describe a positive recording experience that you have both had during your time working at Chemical Sound?


D - Most of them are positive because you get to witness and aid in someone's creative child being birthed. It's a nice feeling. I really enjoyed meeting and working with Sharon Jones and the Dap-Kings - they were some of the nicest people.

J - I liked working with a lot of people: Graham Wright, EIMIC, Eight Bit Tiger, Ian Blurton, Mike Rocha, The Elwins, etc. too many to mention.

RR: Alternatively, do you have any stranger moments that have occurred during your time at Chemical Sound that you remember fondly?

D - Yes, but why name names?

J - There were many strange moments; band members fighting, laughing etc. We once recorded a karaoke version of an opera song in return for some architecture work!.

RR: What do you remember of the first recordings that the both of you have worked on, whether it was in the producing or engineering role?

D - Jay and I made 3 records together with our high school bands. Then we didn't see each other until after university - we just ran into each other randomly. We reconnected and then when I thought about buying the studio I asked Jay to help me out with some sessions. We did our first proper record together, as a team, at old Chemical I think it was Tugnut's album Ode to Pete. Or it could have been a Magneta Lane track.

J - Yeah, either Magneta Lane or Tugnut was the first time we worked together in Chemical. They were both awesome sessions actually. We did do a lot of stuff before that too.

RR: When and why did you guys take over operations at Chemical Sound? Was owning and operating a recording studio something that you both wanted to do?

D - I've always dreamed of doing that - working in a studio. When I was a kid and I listened to records, I would imagine a studio scene, not a concert scene - if you get what I mean.

J - We took over around 2005 - 6. A combination of factors lead to this. The old space was being sold, the owners were making life changes, Dean was working there, we were both recording a lot.

RR: In February 2012, it was announced that Chemical Sound would be closing for good and retiring their name, what was it that led to this decision and now that Chemical Sound is over with do you plan to continue recording bands?

D - I will always produce records (be them my own or with artists I really like). I've got a new studio setup which I'm keeping private. I'm keeping the location a secret because I'm not in the "commercial studio" game anymore. No phones - no website. My new studio is smaller, with a much smaller overhead, but still quite substantial - for example, the live room is 400 sq ft with 12 foot ceilings and I can still record whole bands live off the floor. I share the space with two other bands I'm involved in. My goal is to cherry pick my clients from now on. If people want to work with me, they can write me.

J - There are many reasons why we closed; we just both agreed it was time for us to try other things. We are already working with other projects. Both Dean and I have been recording forever, I don't think that we will ever stop.

RR: What was the last recording to be officially made at Chemical Sound? When was it and what do you remember of that last recording session?

D - I want to say it's the forthcoming Papermaps EP, Inferior Ghost. Most of it was done at Chemical (with the exception of 3 bed tracks) and I mixed it in what used to be the Chemical Sound control room (Now Central Audio). It was strange to work in that room, not being the owner and not using the API console, which was sold to Rogue Studios.

J - Truth is, it took us a while to move out of the space and in that time we did as much recording as we could, so it really depends on what you count as the end.

RR: Chemical Sound is often referred to as a legendary studio from Toronto with a unique no frills recording approach. Do you agree with that statement and what do you think it was that appealed to so many bands to record their music at Chemical Sound?

D - Yes. I agree. Our rates were incredibly inexpensive for what you got in terms of equipment and especially in terms of service. No we were not posh - we had a very "workshop" or "garage" vibe going and we liked it that way. Graham Wright once told me he liked working with us because he didn't feel inhibited, he liked how we didn't scold him for touching the Hammond organ or playing around with gear - we/are were easy-going.

J - We tried to build the studio to be a comfortable place for artists to work. I think most musicians recognized that we were focused on making the best records we could. We built it knowing what it's like as the person being recorded.

RR: Both of you make music on your own and have lots of recording experience, what are your plans for the future, whether that is in music, recording or both?

D - I plan to concentrate on my band, PAPERMAPS and my songwriting and I would like to produce a few records and EP's each year by bands that I admire and respect.

J - I have a new "Jay Sad" record that Dean produced, recorded on tape at Chemical. It's mixed already, and I'm hoping to release it soon. I also have plans to mix and produce a few records. I recently did the music for a web animation for Amnesty International, and I'm working on a record with James Hicken (Wallscenery Demos).

Chemical Sound Play List:

1. Sloan – C’Mon C’Mon (We're Gonna Get Started) - Navy Blues (1998)
2. Invasions – Atlantic Blvd - Magic EP (2009)
3. C'MON – The Messenger – Midnight Is The Answer (2004)
4. Tokyo Police Club – Nursery Academy - Elephant Shell (2008)
5. Born Ruffians – Hummingbird – Red Yellow & Blue (2008)
6. Everything Made In China – 4 – 4 (2007)
7. Godspeed You! Black Emperor – Storm - Lift Your Skinny Fists Like Antennas to Heaven (2000)
8. Jay Sad & Dean Marino - Best Friend - Chemical Demo (2009)
9. EX~PO – Remember (Live At Chemical Sound April 12, 2008) - Central Meaner Street (Bonus Track) (2008)
10. Jay Sad – Krazy – Krazy (2009)
11. The Superfriendz – Absurd Without It – Slide Show (1996)
12. The Inbreds – T.S. Elliot (Youth Mix) – Hilario (1993)
13. Tricky Woo – Fly The Orient – Sometimes I Cry (1999)
14. Death From Above 1979 - Cold War - You're A Woman, I'm A Machine (2004)
15. Orphan Choir - Burning Ash Again- Unwelcome Guests/Orphan Choir split 7 Inch (2008)
16. The Schomberg Fair – Can’t Go Home - Gospel (2009)
17. Graham Wright – No Hard Feelings – Shirts Vs. Skins (2011)
18. Tin Star Orphans – Let You Down – Yonder (2009)
19. The Black Keys – Chop & Change - i-Tunes Session (2010)
20. Suckerpunch – Let’s Get Evil – Carrots From The Canyon (1995)
21. Jay Sad & Dean Marino - Waiting For The Man - Chemical Outtake/Demo (2007)
22. Ride Theory - Dead Radio, Love - In This City (2005)
23. Papermaps – There Are Wolves - Inferior Ghost EP (2012)

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

Tuesday, September 18, 2012

Jerry Nolan Take A Chance With Me & Show # 422

 
Jerry Nolan is perhaps best known as being the drummer in The New York Dolls and Johnny Thunders & The Heartbreakers, he however has been involved in numerous groups and in 1982 he released a one off single. The single was titled Take A Chance With Me, but the song dates back to the mid 70s. After leaving the New York Dolls due to a number of factors, one being the bands lack of direction Jerry Nolan along with Johnny Thunders left the New York Dolls to form a new group, Johnny Thunders & The Heartbreakers. When forming this group in 1975, then known as The Heartbreakers, the band initially featured Richard Hell on bass, eventually Hell left the group and Walter Lure was added as second guitarist and Billy Rath on bass. With this line up The Heartbreakers became Johnny Thunders and The Heartbreakers. While in The Heartbreakers, Nolan wrote the song “Take A Chance With Me” among others and usually worked with Walter Lure as a song writing partner, before bringing the song to The rest of The Heartbreakers.

While the song was played with Johnny Thunders & The Heartbreakers the song never made it onto their LAMF studio album, it did however appear on the Live At Max’s Kansas City release. Following the release of LAMF in 1977, Jerry Nolan who was disappointed with the result of the mixes, left the group. He would continue to play off and on with Johnny Thunders as a solo artist and also for Heartbreakers reunions in 1979 and 1984. After relocating to Sweden with his wife in 1982, Jerry recorded the Take A Chance With Me single at Decibel Studios in Stockholm, Sweden. The single featured Jerry on vocals and drums, his backing band was the Teneriffa Cowboys, which featured Michael Thimren on guitar/vocals, Bonne Lofman on guitar/vocals, Sylo Eliason on bass. The recording of Take A Chance With Me also features ex-New York Doll Sylvain Sylvain on keyboards. The b-side to this track was a new track at the time penned by Jerry Nolan called “Pretty Baby”. Both tracks exuded elements of his Proto-Punk, and Heartbreakers sound while also featuring what some say are underlying hints of Power Pop. The single was not only produced by Jerry, but also mixed by him. When released in Sweden it sold poorly, it is now a collectable and greatly sought after. Through out this 1982-1983 period Jerry Nolan also recorded two additional tracks with this line up, the Chuck Berry cover “Havana Moon” which was featured on the Sword – The Best In Scandinavian Rock compilation in 1984, and “Countdown Love” which was released posthumously on a split single with Johnny Thunders in 1997, Jerry Passed away in 1992 shortly after his long time friend Johnny Thunders passed in 1991.

The Take A Chance With Me single represents a short period of time in Jerry Nolan’s music career which initially started in the late 60s. Jerry Nolan is often accredited to the bands he had played with The New York Dolls, Johnny Thunders & The Heartbreakers as a great drummer, whenever he played and whoever he played with he was always in the pocket, holding the rhythm section down, but he was also a great musician. This single is evidence of this, Jerry had the ability to keep the beat in the background, but when he came to the forefront he could also deliver. Another element of Jerry’s career and those of the Dolls and Heartbreakers was the role of drugs that played in the music. In an interview for Swedish television’s Studio B in 1982, Jerry had this to say on the connection between drugs and music:

"It kinda varies I guess, you know? Some people might look at it as a romantic type of thing where they say wow I guess they’re that good because they’re on drugs. But that is definitely not so, I think that a musician just sticks to his art and spends more time on that then he does on drugs or anything else."

And that’s exactly what he did in his music career, he stuck to his art regardless of all the other factors surrounding the music. Take A Chance With Me represents exactly that statement. It is a short single backed with “Pretty Baby” that serves as an underrated moment in Nolan’s career, where he stuck to his art.



This Week's Play List:

1. Cold Warps – Endless Bummer
2. Thee Oh Sees – Wax Face
3. The Mark Inside – Lime Green Monkeys
4. Eric's Trip - Unnoticed
6. The Vapids - Mikey Was A Punk
7. The Shades – New Clientelle
8. Active Dog – Fun While It Lasts
9. No Fun – Mindless Agreesion
10. New York Dolls - Jet Boy
11. New York Dolls - There Is Gonna Be A Showdown
12. Ry Cooder – Kool-Aid
13. The Black Angels – Black Grease
14. Richard Hell & The Voidoids – The Kid With The Replaceable Head
15. Johnny Thunders & The Heartbreakers - Take A Chance With Me (Demo)
16. The Pack AD - Lights
17. The Idols – You
18. Johnny Thunders & The Heartbreakers – I Wanna Be Loved
19. Destroyer - The Sublimation Hour
20. Little Girls - Youth Tunes
21. Wire - It's So Obvious
22. Jerry Nolan – Take A Chance With Me
23. Jerry Nolan – Pretty Baby

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

Tuesday, September 11, 2012

Inferior Ghost Papermaps Review & Show # 421

 
On August 28th, 2012 Toronto Indie band Papermaps released their Inferior Ghost EP, stylistically the album is a shift, but Papermaps make a natural progression on this EP. The last single released from Papermaps self titled album was the track “Complicate Things”, which can serve as an indication where this EP takes us, metaphorically and musically. It is nearly impossible to discuss this release without mentioning the giant elephant in the room, which leaves us just a sliver of space. In February 2012, Chemical Sound closed its doors for good after twenty years of operation, Dean Marino the lead singer/song writer in Papermaps owned the studio with Jay Sadlowski who is also a musician, they served as the owners, operators, engineers and producers of this studio. The EP represents as it has been stated in some reviews, perseverance through difficult times.

Inferior Ghost starts off with the track “There Are Wolves”, which was also the lead off single for the EP. The song is a gripping attack on the modern world, with lyrics such as “Sometimes I feel like this town didn’t have the patience for me” and “We were just waiting/we were already there” the song builds and sucks in the listener with its catchy hooks and clever arrangements, the song is crafted and produced so well it is not only a great way to start off the EP, but one of the best sounding recordings that the band has produced. “Wait For Me” follows next, it is a moodier and frantic piece featuring strong choruses, the song overwhelms the listener with its synthesizers that linger in the background of the verses as the choruses pick up into a precise rhythm with plodding basslines and guitar riffs. The title track is a slow, yet unrelenting track, the song has a lot of space, with its ringing guitar chords and pulsating basslines it attracts the listener, while lyrics such as “Well you say it is not a just world” and “You’ve got to take what you’ve got and make the most” make you think. It serves as not only the middle point of this six song EP, but also as the shift in the album musically and lyrically as it questions overcoming difficult circumstances weighing the bad with the good.

“Break” is the fourth track found here on this EP starting us off for side two of this EP which was released on vinyl and CD. The song is another change of mood adding more variety to the EP’s dynamics, on this track Marino sings in a voice which sounds almost like Thom Yorke of Radiohead at certain moments. “Nobody Gets It” picks up the pace a bit, it was along with two other tracks (“There Are Wolves” and “Reaction Formation”) recorded half at Chemical Sound in Toronto and half at Vespa Studios, which is also located in Toronto. The EP ends with the song “Reaction Formation” which ends the album on a positive note, the middle section of this song is reminiscent of the band Television with its dual guitar attacks. The song ends the progression of this EP which as stated earlier is about perseverance. Musically the EP is focused, with strong Pop hooks and while this whole EP can be traced back to our Chemical Sound filled elephant friend it can also be applied to just about any situation in life. Inferior Ghost is an EP that everyone can relate to, it lets us know with its meaningful songs, that we can react and move forward in a new and different direction. The title of Papermaps EP may be "Inferior" Ghost, but after one listen you can tell it is everything but.



This Week's Play List:

1. Seven Story Redhead – Last Big Thing
2. Rivals – I Don’t Believe In Ghoulies
3. The Real Kids – She’s Alright
4. Jack-O & The Tennessee Tearjerkers – Sweet Thang
5. Tenessee Ernie Ford – Sixteen Tons
6. Blind Mamie Forehand – Honey In The Rock
7. Jon & The Nightriders – Man of Mystery
8. Fugazi – Waiting Room
9. Dinosaur Jr. – Rude
10. Big Dipper – You’re Not Patsy
11. Learning – Guns Around Here
12. Jimmy Cliff – World Upside Down
13. Lee Scratch Perry & The Upsetters – Return of The Super Ape
14. The Specials – It's Up To You
15. Television – See No Evil
16. Papermaps – Wait For Me
17. Papermaps – Nobody Gets It
18. The Orwells – Halloween All Year
19. Modernettes – Suicide Club
20. Dee Dee Ramone (Ft. Lux Interior) – Bad Horoscope
21. The Sadies - Tiger Tiger
22. Pow Wows – Four Star
23. The Black Lips – I Saw A Ghost (Lean)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for September 11. Or subscribe to Revolution Rock as a Podcast.

Tuesday, September 04, 2012

Confessin' The Blues ... The Rolling Stones 12 X 5 & Show # 420


Released in 1964, 12 X 5 was the second album released by The Rolling Stones in America. The album was recorded primarily at the legendary Chess Studios in Chicago and the other tracks were from recording sessions taken from Regent Sound in London. The album had its beginnings from an EP that was originally released in the UK. The EP was entitled Five By Five, but since EP’s did not sell well in the US, the EP was expanded into a twelve track album which resulted in the title 12 X 5, twelve songs by a band made up of five musicians. As a whole, the album exemplified The Rolling Stones early R&B/Blues Rock based sound as well as advancement in their song writing abilities. 12 X 5 featured several original compositions alongside cover songs. There were three Jagger/Richards compositions (“Good Times Bad Times”, “Congratulations”, “Grown Up Wrong”), as well as two tracks (“Empty Heart”, “2120 South Michigan Avenue”) accredited to Nanker Phelge which was a pseudonym used by the band when it was a group composition, it was used from 1963-1965. 12 X 5 was not released in the UK it was instead released separately, on the Five By Five EP, the It’s All Over Now single and in part on the The Rolling Stones No. 2 album. UK and US releases were at the time released with different track listings and titles. US releases were different usually to include charting UK singles in hopes that they would sell better.

The album 12 X 5 starts off with “Around and Around” a song originally by Chuck Berry, while it may not have been the first Chuck Berry song for the band to cover it is often called their best Chuck Berry cover, it had been at the time one of the energetic staples of their live sets. The second track found on this album “Confessin’ The Blues” is a slow Blues groove, along with “Good Times Bad Times”, the album also features the UK hit “It’s All Over Now”, which is a rocked up Soul song originally by Bobby Womack that would reflect the bands future Garage R&B sounds. “Time Is On My Side” is another highlight found on the album, and it was yet another hit in the UK, in the US it was their first top ten single. The version of “Time Is On My Side” differs from the single version, it is referred to as the “organ version”, this version features prominent organ parts as opposed to the other version which features more electric guitar, the song was originally by Jerry Ragovoy, that had been covered by Soul artist Irma Thomas.

In terms of The Rolling Stones original compositions found on this album, many people say that it is the band coming into their own, but that they are not so strong. “Empty Heart” is often attacked, but the song is often overlooked for its endearing qualities, the song features a Bo Diddley tremolo-like rhythm with soulful organ and Blues parts added to it, “Congratulations” is the Stones attempt at an early Pop song, while “Grown Up Wrong” bashes along with an Elmore James influenced slide guitar parts, but it is as with other songs found on this album whether covers or originals, reflections of the bands early influences. To have been recording an album at Chess Studios in Chicago which produced many recordings by artists that had a big influence on the band must have had an impact. In fact there is a song found on the album entitled “2120 South Michigan Avenue”, it is not only a rare instrumental from the band but also the address of the legendary Chess studio.

Lyrically the songs were starting to mark the beginnings of the lyrical subject matter that the band would be known for in the late 60's, "Mother's Little Helper", "Satisfaction", "Have You Seen Your Mother, Baby, Standing in the Shadow?", and "Paint It Black" come to mind, they exposed the underside side of suburban life. And while "Empty Heart" may have seemed like filler to some the lyrics "Empty heart is like an empty life" and the lyrics to "Grown Up Wrong" serve as the embryonic structure that was forming within the band context, as Mick, Keith and co. started to questions the very make up of society. Taking into consideration also that at that point in time in 1964, there were very few bands releasing original material it was not only a huge feat for the band, but also something new at the time.  It should however,also be noted that the bands covers were not just merely replications of the originals, "It's All Over Now" exemplifies this best. They took what they knew and made it their own.


12 X 5 has a certain flow to it, a certain synchronization that can be seen as a representation of the band past and future. While the Chess recordings ooze with Blues and Soul the album progresses to the ender “Suzie Q”, yet another cover song. This song is perhaps an important ender because this rocked up version of the Dale Hawkins song ends the album on a loud note, it has an almost Dave Davies-(of The Kinks) like guitar tone quality. And it may be true that this album was mostly put together from two separate recording sessions done at Chess Studios and Regent Studios, but The Rolling Stones are just starting out here, just starting to break out of the cover song mould and they are advancing their sound with better production techniques than their debut album England's Newest Hitmakers. It would be some time before they released an album having all original songs (that would be 1966’s Aftermath), but The Stones would progress from their Blues and Soul influences into their own brand of R&B Rock, which is still today this day trying to be emulated. 12 X 5 marks the beginning of the Jagger/Richards song writing partnership that would dominate the bands music, not unlike the Lennon/McCartney song writing partnership that would dominate their music, it was a sign of things to come.



This Week's Play List:
1. The Visitors - Living World
2. Teenage Head - Top Down
3. Tranzmitors - Concrete Depression
4. Sebadoh - Gimme Indie Rock
5. Sugar - Changes
6. Dog Day - What She Says
7. Craig Martinson - Heartbeat
8. Woods - Military Madness
9. Swans - The Daughter BringsThe Water
10. The Spooky But Nice - Sun Goes
11. Elk - Flowers
12. The Howlies - Stunned
13. King Khan & The Shrines - (How Can I Keep You) Outta Harms Way
14. Kyuss - Hurricane
15. Japandroids - Evils Sway
16. Wolf Parade - You Are A Runner…
17. Tom Waits - Make It Rain
18. Reigning Sound - Shaw
19. Mystics - Can't Be Happy
20. The Rolling Stones - Confessin' The Blues
21. The Rolling Stones - Empty Heart
22. The Rolling Stones - 2120 South Michigan Avenue
23. Light Bulb Alley - Pepper Spray

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