Saturday, August 05, 2017

Teenanger Steve Sidoli Interview & Show # 668


Toronto’s Teenanger returned with their fifth full-length album, Teenager earlier this summer. The album’s title is a reference to the error from others when pronouncing their band name, whether in articles or on band posters, its something that has been happening since they first began as a band back in 2007. The album was created over a year period beginning in 2016 and produced by the band’s own drummer Steve Sidoli and guitarist Jon Schouten. The album pulls in a lot of elements of previous Teenanger albums, $ingles Don’t Sell and EPLP come to mind, but at the same time this album is different from its predecessors.

Teenager starts with the instrumental track “The Middle Fingers” perhaps titled this way as a jab to people who might want to criticize this track for going full synth. This track sounds like it was lifted from an obscure 80s B-horror movie soundtrack. The track creeps around, roams and infiltrates your speakers and/or listening devices with an undeniable mood. The track drifts into the album’s first track with vocals, “Dawn”. This song establishes a feeling with its steady, Public Image Limited influenced bassline, as watery guitar lines, filter in and out of the bass and in the pocket drum groove. Chris Swimmings sings a vocal that is more laid back, but one that is also tense with his trademark snarling attitude. On a lyrical level words such as “Lost days and I’m feeling awake/This town is gonna suffocate/Price tags are never going down” and a chorus of “A child at 4 AM/The streets are rather tame/At Dawn/Always at dawn”, the listener finds themselves in a reflective, contemplative mood, trying to pin down a feeling, that can’t really be defined by the eerie, empty streets at dawn. “Emoji Kush” brings together several emotional strands into a single musical output. Teenanger attack this song and its subject matter with a cynical look at nightlife, social media, vanity and the like with a mellow tempo juxtaposed with the track’s jagged Gang of Four-like guitars and 80s drum rhythms. “Just Drop It” ups the tempo with vocals from bassist Melissa Ball, as lyrically she addresses a situation, expressing a desire to move forward, despite the protagonist this song employs who has their own ideas, “Media Overload” follows with slower lucid tempos amongst lyrics such as “Hey Siri table for four”, and “Media overload/Taking Too much” that address the immediacy of social media, its many flaws and the sensory overload that can be caused from it.

“Wychwood Heights” starts off with creepy electronic rhythms before launching into an intense clanging groove. The song tells the story of a coward hiding out in this Toronto suburb, amongst its other subtle themes. It is one of a few songs found on Teenager that addresses urban/suburban themes. “It Works With My Body” is a drum and bass dominated track featuring twisting sounding guitar lines, “Weird Money” features biting vocals and heavy basslines, as “The Night Shift” offers up something else entirely. Dominated in industrial post punk sounds, with echoing drums and dominating synthesizers, this track features vocals from drummer Steve Sidoli. The lyrics reflect late night thoughts dealing with employment in a way similar to the song “Dawn”, found earlier on this album. This song employs a synthesizer induced otherworldly feeling. “Pay It Forward” brings up the intensity, while “Fun Forgot” is one of the strongest songs found on this album. With lyrics such as “I like a lot of stuff/But I’m not into much”, Swimmings tells the tale of an uninspired summer, that embodies a slacker rebelliousness and an unexpected realization amongst the songs sprawling guitar-lines that splash in between the crashing drumbeats and unrelenting, sunbaked basslines.

“N.O.B.L.O” ends Teenager. Standing for North of Bloor, Life Onwards, this track addresses the suburban dilemma of Toronto’s real estate situation and being an artist in that area of the city. Sidoli recently stated in Now Toronto: “Now, being forced to move north of Bloor is like a new frontier because you’ve been priced out or you want a bigger place. There’s an analogy there between having to do that and moving into adulthood and other phases of life.” This quote can be utilized to show the general consensus brought forth on this album, but with this album there are a lot of subtle layers that all add up to a greater whole. With the sounds found on Teenager, we see that Teenanger haven’t changed drastically into some unexpected, over-bloated version of what they once were that can be found at a shopping mall. Teenanger isn’t trying to be something that they’re not, but they’re also not repeating themselves here. With the album’s title, Teenanger poke fun at themselves. At the same time they mess with the people in the world that surrounds them on different levels that don’t read between the lines to see what’s actually there.

Check out my interview with Teenanger drummer Steve Sidoli here:



The Play List:

1. The Belle Isles - Summer Song
2. Greg Cartwright - Love Won't Leave You A Song
3. The Oblivians - Bad Man
4. The Stooges - Real Cool Time
5. The Yardbirds - Psycho Daisies
6. The Rolling Stones - Now I've Got A Witness
7. The Beatles - Long Tall Sally (BBC Session)
8. Teenanger - Dawn
9. Teenanger - Just Drop It

TEENANGER STEVE SIDOLI INTERVIEW

10. Teenanger - Fun Forgot
11. Teenanger - The Night Shift
12. Cellos - Demagogue
13. The Birthday Party - Sonnys Burning
14. The Psychic Alliance - I Saw An Aquatic Rat Today
15. Aron D'Alesio - Destroyer
16. Sprinters - What's Done Is Done
17. Dale Crover - Little Brother
18. Guided By Voices - Just To Show You
19. Paul The Tailor - Two Brains
20. Mise En Scene - Light In The Night
21. The Jesus And Mary Chain - Down On Me
22. David Bowie - Shapes Of Things
23. Daniel Romano - Sucking The Old World Dry
24. Johnny West - Spider Ventriloquist
25. Ramones - Ramona
26. Ramones - It's A Long Way Back To Germany


To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for August 5.

Saturday, July 29, 2017

Tom Waits: Frank's Wild Years Trilogy & Shows # 666, 667, 668


I first discovered the album Rain Dogs by Tom Waits in a record store, amongst a pile of other records. I decided to pick up this record for several reasons, I heard that Keith Richards played on it and one of the songs was featured in the 1986 Jim Jarmusch film Down By Law, which Waits also starred in. Upon listening to the record, I soon learned that it was part of a trilogy from Tom Waits that is often referred to as The Frank’s Wild Years Trilogy, or the Island Trilogy (since the albums were released on Island Records). A “rain dog” is believed to be a stray dog that wanders around because it cannot find its way home, the rain has washed away the scent. This is a fitting description of many of the characters found not only in this trilogy, but to characters found in the songs of Tom Waits

In 1982 Waits released the soundtrack to the Francis Ford Coppola film, One From The Heart. Despite being an Oscar nominated soundtrack, the album Swordfishtrombones, which was produced in the same year and was to follow the One From The Heart soundtrack, was deemed not so great by his then record company Elektra-Asylum. The label thought that this would cause Waits to lose fans and not respond well with new audiences. He was dropped from the label. Island picked up the album and released it in 1983. It should also be noted that in 1980, Waits started moving towards a new sound with his album Heartattack and Vine, but it was nothing compared to the level of experimentation on Swordfishtrombones. This album marked a shift in Waits songwriting approach and sound. Swordfishtrombones featured unusual instrumentation and a more abstract approach to songwriting, as opposed to the style Waits had been known for in the 70s, which was a more piano/jazz crooner and string orchestra based style. The songs delve into a dirty blues style with odd instrumentation and features poetry segments. There is also an undeniable Captain Beefheart influence found here. This album not only marked a new style for Waits, but it was also the first album that Waits produced himself. Throughout the album’s tracks we find a world of seedy characters that drift amongst themes of being homesick, deteriorating hometowns and fading into obscurity and myth in some form or another. It is also important to note the influence of Waits wife Kathleen Brennan during this time and even more so in his later songwriting. They would often collaborate with one another, even during this trilogy.

“Underground” starts off Swordfishtrombones with a sideshow growl and is symbolic in terms of the characters that would be brought forth on this album. Musically, it also showcases a change in direction. We are introduced to Frank, a character that shows up within this album and the two the follow it. The song talks of a world going on beneath the surface. It is symbolic for the journey that Frank the sailor will take and the listener. “Shore Leave” is a bizarre, yet vivid blues inspired song laying down another blueprint for the world that Frank has found himself in. Along with “Johnsburg, Illinois”, we find a character lamenting in homesick territory. “16 Shells From a Thirty-Ought Six”, is now perhaps one of the best-known songs in Waits catalogue. It drifts with a steamship-like off kilter blues groove, as Waits growls with an undeniable confidence. The lyrics tell the tale of a man determined to kill a crow, but instead he captures it and tortures it instead for his own amusement “Town With No Cheer” and “In The Neighborhood” display a more morose vibe of a character who has vanished. In these songs we find that there are only myths and rumours of who this wild character was and where he has gone. Musically, “Town With No Cheer” features bagpipes, harmonium and a creepy eeriness to it, while “In The Neighborhood” has a marching band feel. “Frank’s Wild Years” is a humorous spoken word segment. With lyrics portraying Frank “Hanging up his wild years”, but then he burns down his house and “Torched it/Parked across the street/Laughing” before he gets on the Hollywood Freeway and heads north. The title track “Swordfishtrombones”, further tells the myth of Frank, who “Came home from the war with a party in his head” and brings forth strong imagery as the tale of Frank, unpacks itself even further.

Rain Dogs was released in 1985. A loose concept of the “urban dispossessed” finds its way through the songs found on this release. The album features a broad range of musical styles from pre-50’s rock sounds (Brecht often appears in reviews of this album) to blues and even New Orleans funeral brass, combined to make its own unique sound. Rain Dogs also features a variety of instruments such as marimba, accordion, trombone, pump organ, double bass and banjo to help achieve its plethora of sounds. In addition to this, Keith Richards appears on some tracks, Marc Ribot and even Robert Quine (of Richard Hell & The Voidoids), among other musicians. “Singapore” has been described as a grim nightlife memoir, with its off-kilter sounds and lyrics taking the listener into a dangerous world of being a sailor. “Clap Hands” displays a sense of delusion and melancholy amongst its electric guitar, and cold marimba rattles. “Cemetery Polka” features a humorous/fascinating collection of bizarre aging relatives along with the songs polka syncopation. “Jockey Full of Bourbon” is notable for Waits smooth vocals, exotica conga rhythms and steamy, Cuban music inspired guitar lines provided by Marc Ribot. This mood-setting piece appears in the opening of the 1986 film Down By Law. With its vivid film noir dynamics, the lyrics portray a troubled crime induced world and features lyrics such as “Hey little bird fly away from home/Your house is on fire/Your children are alone” which represent a desire to escape, to do nothing, fear and the unknown. The gritty blues of “Big Black Mariah” features Keith Richards undeniable slithery grooves amongst Waits growling Howlin’ Wolf inspired vocal as lyrics tell a tale of a police chase by a “Big Black Mariah” which is actually the name used for an old fashioned police car.

“Hang Down Your Head” is a melodic track that has drawn comparisons to Tom Waits earlier work, while “Time” echoes street corner philosophies (as stated on Tom Waits website), “9th & Hennepin” was inspired by actual events in Minneapolis. Apparently Waits was in an all-night donut shop and found himself stuck in-between a pimp war that involved ammunition fire, this is alluded to in the lyrics to this track that is intense in its instrumentation. “Gun Street Girl” is a rustic folk/blues number relating to small time hustlers, as “Blind Love” features guitar work by guitarist Robert Quine, along with “Downtown Train”. This song is perhaps mentioned the most when referring to this album. It has been covered by many artists, including Rod Stewart, who made it a top ten hit in 1989. “Anywhere I Lay My Head” ends Rain Dogs drawing on the New Orleans funeral jazz influence mentioned earlier. With lyrics such as “The wind is blowing cold”, “I don’t need nobody/Because I learned to be alone”, and “Anywhere I lay my head is home”, Waits evokes a certain melancholic, drunken, epiphany-like atmosphere.

1987’s Frank’s Wild Years is the third album found in this trilogy. The songs featured in this set tell a rags-to-rags story. The songs found here are based on a stage play that Waits and wife Kathleen Brennan wrote of the same name. Several of the songs from that play were rearranged and put on this album. The tale subtitled Un Operachi Romantico in Two Acts, follows Frank on a hazy, ill-fated Orphic journey as musically, Waits gets even more adventurous. The music and themes emphasized here are more theatrical, building on the atmospheric soundscapes that started on 1985’s Rain Dogs. “Hang On St. Christopher” starts off the album with its locomotive like bassline, traffic sounding brass instruments and watery guitar sounds. It paints a picture of a mythic landscape surrounding the automobile and the wild ride that is about to occur. “Straight To The Top” appears in two versions here, first as rhumba, then later subtitled Vegas. Both juxtapose Frank’s journey towards fame in two similar and different ways.

"Temptation”, one of the standout tracks on this album, tells the tell about a character that is surrounded by dizzying temptations and intoxicating imagery before a downward spiral leaves him humbled. Musically, the song is a skewed rhumba of sorts with touches of the blues, as Waits sings in a gruff falsetto throughout this engaging track. “I’ll Be Gone” is a frenetic accordion driven ballad, “Telephone Call From Istanbul” features booming percussion, arpegiated guitars and a smoky, gravely vocal from Waits as he tells us to “Never trust a man in a blue trench coat/Never drive a car when you’re dead” in this tale of the showbiz world, “Cold Cold Ground” is an acoustic based ballad featuring a hazy vocal. In an interview from 1987 with Rip Rense of the New York Post, Waits stated that this song is “Just kind of a hardening back to his earlier times; a romantic song thinking about home, and all that.” “Train Song” is a nostalgic trip with a musical piano/accordion accompaniment, as “Innocent While You Dream (78)” ends the album. This song, is repeated in a different musical form, as was “Straight To The Top”, found earlier on this album. This song with an old timey arrangement repeats a moral that the character Frank learned earlier on this album, but it is one that doesn’t come to realization until the end of this album.

In addition to these three albums, Big Time was a soundtrack released in 1988 that accompanied a film of the same name. This film features performances of songs from this trilogy as well as older songs in Waits catalogue. It is not generally considered as part of the trilogy, but definitely connects with it on some level. Overall, the Frank’s Wild Years Trilogy is a journey on different levels. If Swordfishtrombones found Waits branching out into new experimentations musically, Rain Dogs was where Waits found his voice. Frank’s Wild Years the album shows Waits at top creative form and even more so adventurous. This trilogy of albums revitalized Waits’ career. It has been called a junkyard trilogy, but each album stands on its own and is effective whether separate or together, as part of this trilogy. In a trilogy of self-discovery, it is interesting that the album Rain Dogs wanders around record shops and finds people. Within a pile of records, you never know what will find you. But, the unique atmosphere and mood created within this trilogy is something that hovers over listeners that find themselves in this world that was created by Waits in the 80s. Like Frank, it is a mood that is unpredictable and finds us and leaves a lasting impression in more ways than one.


Show 668 (Frank's Wild Years Part II) (Originally Aired On July 29th, 2017):

1. Tom Waits - Hang On St. Christopher
2. Tom Waits - Temptation
3. Stompin' Tom Connors - Sudbury Saturday Night
4. Stompin' Tom Connors - Luke's Guitar
5. Harry Nilsson - Let The Good Times Roll
6. The Kinks - This Time Tomorrow
7. Thee Grinch - Each Side
8. Dusty Mush - Couch Potato
9. The 14th Wray - Your Face Is In My Mind
10. Times New Viking - Faces On Fire
11. Titus Andronicus - Titus Andronicus Forever
12. The Courtneys - Frankie
13. Broken Social Scene - Vanity Pail Kids
14. The Scenics - I Killed Marx
15. The Diodes - Play With Fire (Live)
16. Tom Waits - Straight To The Top (Rhumba)
17. Tom Waits - Telephone Call From Istanbul (Big Time Version)
18. Tom Waits - Way Down In The Hole (Big Time Version)
19. The Replacements (With Tom Waits) - Date To Church
20. Paul Westerberg (With Tommy Stinson & Tom Waits) - Low Down Monkey Blues
21. Paul Westerberg - Dead Sick Of
22. Prehistoric Cave Strokers - Sold Out (Live At The Coach n' Horses 1991)
23. The Ronald Regan Story - (Your Love Has Turned My Heart Into A) Hand Grenade
24. Revo - Uncontrollable Urge
25. Ancient Shapes - I Wanna Put My Tears Back In
26. The 427's - The Score
27. Tom Waits - Falling Down

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


Show 667 (Frank's Wild Years: Part I) (Originally Aired On July 22nd, 2017):

1. Tom Waits - Underground
2. Tom Waits - 16 Shells From A Thirty-Ought Six
3. Tymon Dogg - Low Down Dirty Weakness
4. The Cramps - Can't Hardly Stand It
5. Catl. - 5 Miles
6. Elvis Costello - I'm Not Angry
7. Elvis Costello - No Action (Demo)
8. Elvis Costello - Mystery Dance (Honky Tonk Demo)
9. Mise En Scene - Closer
10. No Aloha - Work Shirt
11. The Psychic Alliance - No Fixed Address
12. Port Juvee - Mania
13. Tom Waits - Frank's Wild Years
14. Tom Waits - Cemetery Polka
15. Tom Waits - Jockey Full of Bourbon
16. Mogwai - Punk Rock
17. Secret Bad Boy - Chicken
18. Carbonas - Lost Cause
19. Shocked Minds - You Want Me To Stay
20. Durango 95 - Forget About Me
21. Tandoori Knights - Dress On
22. Light Bulb Alley - Cut Me Loose
23. Betrayers - Spit Hood
24. The Fall - Craigness
25. Howlin' Wolf - Mister Airplane Man
26. Tom Waits - Big Black Mariah
27. Tom Waits - Rain Dogs

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


Show 666 (An almost all horror themed episode) (Originally Aired On July 15th, 2017):

1. The Mummies - The House On The Hill
2. The Sadies - Friendly Devil
3. Pow Wows - Shock Corridor
4. Suspicions - Nocturne
5. No Museums - This Western
6. Comet Gain - Ripped Up Suit!
7. Dusty Mush - I Ate Your Dog
8. The Stones - At The Café
9. Damaged Bug - Mood Slime
10. Ty Segall - Black Magick
11. The Belle Isles - Detroit Sound
12. Cat Wranguleur - Little Witch
13. Cub - My Chinchilla
14. The Mockers - Madalena
15. Buddy Lee & The Satellites - Countdown
16. Deja Voodoo - (Some Things Just Don't) Wash Off
17. Deja Voodoo - Monsters In My Garage Got Married
18. Beat Happening - Bury The Hammer
19. Soft Serve - Phantasm
20. Adam Strangler - Crossed
21. The Wooden Sky - Swimming In Strange Waters
22. Dion Lunadon - White Fence
23. 13 Engines - Dirty Little Rat (Brave New Waves Session)
24. Walrus - Later Days
25. Kid Congo Powers & The Pink Monkeybirds - Psychic Future
26. X - Devil Doll
27. Mission Of Burma - Red
28. Misfits - I Turned Into A Martian
29. Black Lips - Occidental Front

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

Saturday, July 08, 2017

Dion Lunadon Interview & Show # 665


For the past seven years, Dion Lunadon has been playing bass in New York’s A Place To Bury Strangers. Prior to exploring the noisy world of A Place To Bury Strangers, Dion played in numerous bands. The D4 are now known as garage legends from New Zealand and were part of the garage revival of the late 90s/early 2000’s. Dion played guitar in this band and would take lead vocals on several tracks at times, trading off with Jimmy Christmas, The D4’s other singer/guitarist. Following the end of this band, Dion relocated to New York, where he started a new group, The True Lovers. This band adopted a more soulful approach, but after about a year and one album they ended too. Beneath the noisy waves and bass grooves in A Place To Bury Strangers, something was rising to the surface. For Dion and was a raw, unbridled blast of songwriting. During a recording/touring break with A Place To Bury Strangers, Dion wrote fifty new songs and from this list he culled eleven tracks (twelve if you count the B-side to 2016’s Com/Broke single) to create what would become his first self-titled and debut album. The songs that make up Dion Lunadon are filled with a certain raw, visceral aesthetic.

Released on the Agitated Records label, the first track on this release is a fuzzy and a distorted exploration in sound, something that is present throughout this release in various forms. “Insurance, Rent and Taxes” is less than a minute and a half, but establishes a noisy beginning to the album reflecting an uncompromising attack. “Reduction Agent” is a stop and start song with a blend of garage and punk influences. With lyrics such as “Much too young to get any older/drop the microphone cry on your shoulder” and a chorus that echoes the words “Feel the pain”, this song displays a sense of determination and fearlessness. “Fire” burns with intensity as drums, dizzying organ and fuzz-driven bass bring us into the song. The guitar leads simmer with a wild intensity as lyrically the song brings forth smoky, vivid metaphors with words such as “You fill it smoke/Behind it you hide/I can’t ever see the whites of your eyes” and other lines like “It sounds like the truth but you know it’s a lie”.

“Com/Broke” was first released as a single back in 2016 on Infinity Cat Recordings. The song features guitar with walls of feedback and intense basslines that suck the listener in. “Com/Broke” musically combines a mix of 70s punk and bands such as Toy Love, Supercar, Gestalt and The Gun Club. When originally released as a 7 inch single, Lunadon described the song as “being anti- what’s expected of someone entering their mid-life. Most people mellow out, but I don’t want that. I want to create music that is even more ugly and more real.” This song is one of the many that stand out on this release. “Hanging By A Thread” is for the most part an instrumental post-punk/industrial influenced track and serves as a good interlude to the chaos that preceded it. “Eliminator” a noisy garage track, seeming to draw on a frustration with lyrics such as “I got a little howl in my heart”. It leads into the next track on this album, “Howl”. This song was the first song written for this album and this spunky song draws on a galloping/danceable drum rhythm, organ, chugging guitars and well, howling screams. Lunadon told Consequence of Sound earlier this year that “Howl” is about finding and being able to freely use my voice literally and creatively”.

Two shorter tracks follow before the album’s final track. “Ripper” is a song drawing on frantic Chuck Berry rhythms and harmonica coming off with an almost early Replacements feel and “White Fence”, which cuts into an angular post-punk/punk direction. Fittingly, the final and eleventh track on Dion Lunadon is a song called “No Control”. The song builds with a slow and hollow sounding bassline as psychedelic guitars and echo-laden vocals swarm the listener’s subconscious. The song ends with a swirling of guitar, vocals with effects, the same penetrating bassline and the haunting lyrics “Never fall in love again/No Control”. With this release, Dion Lunadon explores a noisy world encompassing a variety of influences drawing on punk, garage, psychedelic, post-punk and others while lyrically it taps into urban life and the frustrations and determinations that come along with it. Dion Lunadon is an album that was created within a certain moment in time and it is something that not only grabs, but demands your attention.

Check out my interview with Dion Lunadon here:



The Playlist:

1. The Fads - Dead End Town
2. The Haunted - 1-2-5
3. Painted Ship - Frustration
4. The Ape-ettes - Bless This Mess
5. TOPS - Dayglow Bimbo
6. The Thin Cherries - Dorian Gray
7. The Rainy Days - Uh-Huh!
8. Nothing At All - Get Some
9. Dion Lunadon - Reduction Agent

DION LUNADON INTERVIEW

10. The D4 - Ladies Man
11. The True Lovers - Obsession
12. A Place To Bury Strangers - Straight
13. Dion Lunadon - Howl
14. Teengenerate - Dressed In Black
15. Guitar Wolf - Can Nana Fever
16. Toy Love - Squeeze
17. Teenanger - Dawn
18. The Modernettes - Confidential
19. Dead Ghosts - Girl Across The Street
20. Young Rival - Black Popcorn
21. Betrayers - Hand O' Glory
22. Kevin Morby - 1234
23. The Adverts - One Chord Wonders
24. Sam Coffey & The Iron Lungs - O'Anvil
25. Paul The Tailor - Gold
26. The Cramps - The Way I Walk
27. The Gories - Let Your Daddy Ride

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

Saturday, July 01, 2017

The Diodes John Catto Interview, Canada Day Special & Show # 664

The Diodes formed in Toronto in 1976 and were part of the burgeoning Toronto punk music scene. Before this there wasn’t really a scene there. Inspired by UK bands such as The Clash and US bands such as Ramones, The Diodes blended these influences with a touch of 60s British Invasion sounds and power pop for a sound that was completely their own. The Diodes featured Paul Robinson (vocals), John Catto (guitar), Ian Mackay (bass) and John Hamilton (drums/keyboards). Along with manager Ralph Alfonso, The Diodes opened Canada’s first punk club called the Crash ‘n’ Burn. Many bands within the scene and outside the scene played and hung out there. The Nerves (from LA) along with The Diodes were the first to play the Crash ‘n’ Burn when it opened its doors. Despite now being seen as an iconic venue within Toronto’s music history, it closed in the summer of 1977. Following the demise of the short lived punk club Crash n’ Burn, The Diodes were signed to CBS Records Canada, being the first Canadian punk band to be on a major label.

The Diodes first single “Red Rubber Ball” was a punked up version of the 1966 hit single by The Cyrkle, a song that was co-written by Paul Simon. According to vocalist Paul Robinson, they decided to cover this song after hearing Simon slag punk/new wave music. The Diodes took this love song about looking into the bright future full of a new potential after a break up and gave it a twist musically. In the context of 1977 when it was released, The Diodes first single symbolized something new while not forgetting the past. This was also the first track on their 1977 self-titled release.

Released in October of 1977, The Diodes was recorded in about a week and produced by Bob Gallo, who had previously worked with ? And The Mysterians, The Rascals, Solomon Burke and Ben E. King in the 60s. The sound of the record is immediate and to the point. The band’s power pop sounds seep through their US/UK punk and 60s influences. “Child Star” is a song with rolling drum fills, synthesizers and Ramones influenced power chords. The song is based on the true story of Anissa Jones, who a character named Buffy on the TV show, Family Affair. She died of a fatal drug overdose at the age of 18. “Tennis (Again)” with its back and forth guitar riffs and melodic basslines features lyrics wrapped around a metaphor telling of a doomed/fleeting relationship. “Blonde Fever” plays on the stereotype of blondes having more fun in between stop and start guitar riffs, “Plastic Girls” with lyrics such as ”Plastic girls are so pathetic/Plastic girls with that new aesthetic” is a satirical look at the plastic or “fake” person who tries to be something they’re not. The song can also be seen as a reflection of the mainstream vs. the underground punk/new wave music scenes happening at the time.

“Death In The Suburbs” attacks with a cinematic paranoia lyrically, “Behind Those Eyes” features an almost mod-punk aesthetic musically and lyrics such as “While smiling like a crocodile/Avalanching style/But behind those eyes/Who is watching/What is waiting” which seems to emphasize an eerie determination. The song tells the story of a character that is different than what people think on a surface level. This is something that could be reflecting the outside view that others had of the people involved in the punk music scene at the time, but is also still relevant today in many different contexts. “Midnight Movie Star” addresses late night TV cult movie stars contrasted against more “studio music and lots of tricks”. With ringing guitar leads, creeping synthesizers, sliding guitar and basslines, the song addresses an underground lifestyle and aesthetic. “Shapes of Things To Come” is another cover song found on this album, but like “Red Rubber Ball” it is rearranged in The Diodes own style. The song itself comes from the 1966 counter culture exploitation film, Wild In The Streets. In the movie a fictional band was created called Max Frost & The Troopers, a full-length album was even released featuring members of the 60s surf instrumental band Davie Allan & The Arrows. The song like “Red Rubber Ball”, takes on a different meaning when executed by The Diodes here. The song deals with the future and how it is going to happen regardless of the other factors surrounding it.

“Time Damage” is a more heavy hitting song with strong harmonies and aggressive guitar sounds. I imagine that this song if it were being played live would end in waves of feedback. This is the feeling you get at the end of this album. It was recorded live off the floor and really has the effect of a live show. There is a certain energy in the early recordings found on this album. The Diodes were popular in the Toronto punk music scene at the time, but aimed for something bigger, which also caused some conflict within the music scene. But, The Diodes emitted a large influence. The lyrics that would make up the band’s songs dealt with elements of suburban turmoil and the suburban psyche. They took a look at a different side of the culture at the time, that of the life in the suburbs. These themes permeated their lyrics, amongst other themes/topics in a way that set them apart from the rest.

Continue reading for an interview that I did with Diodes guitarist John Catto.  He talks of the first Diodes album, guitars, recording and the Diodes vinyl box set:

RR:  The music scene in Toronto in 1977 when the first Diodes album came out was a very different time. How would you compare playing in the early Toronto punk music scene as opposed to the way it is now?

JC: Well, very very different. For one thing there was no independent scene as we understand it now, or even as someone living in London or New York then would understand it. While there had been one in the 60's, live music in Ontario had come under the iron grip of the musicians union and the cover band agencies. So you had an entire generation of musicians AND audience who'd never even seen (local) bands playing original material and had even less interest in it happening.

So all this came about outside of the existing music scene. So when we started the ONLY place we could even conceive of playing was OCA (Ontario College of Arts) which led to the rather convoluted solution of booking the Talking Heads so we could open for them. I suppose, that if that opportunity hadn't presented itself to us and another month had gone by we would have looked into playing the Beverley Tavern down the street (where the Dishes and Zoom were getting going) or something similar. Then we would have had a quieter less auspicious debut but it never worked out that way.

RR:  What inspired you to play guitar and who are some of your favourite guitarists? What is your guitar of choice and why?

JC: When I was in High School off the top of my head at least 6 of my best friends played guitar so it was all around me, it was you know, the early 70's. Unlike them I didn't take lessons, I just got Mel Bay book 1 and took on teaching myself and got my friends to show me stuff. I think the first couple of rock things I learned were "Sunshine of Your Love" and Rhinoceros's "Apricot Brandy”.

If quizzed I'd probably always say my favourite guitarists are Townshend, Hendrix and Leslie West, especially Leslie when it comes to actual sound/tone. Over the years I've also been interested in Santana, James Williamson, Brian May and as far as soloing is concerned Robert Fripp's solo on Eno's "Baby's on Fire" has a pretty disproportionate influence that probably no one could ever discern ! Everyone get’s a look in for a moment!

But, right at the very beginning I think it was Jorma Kaukonen. Early on I had this huge fascination with the Jefferson Airplane yet I don't think I've ever tried to play like him, I DO try to play like Jack Casady every time I pick up a bass though!!

Overwhelmingly though it’s the Who. They’re the band I’ve seen more than anyone else and you know circa “I can see for Miles” into “Live at Leeds” is my template for the way I like things to sound.

Guitar of Choice:

I’m a Les Paul guy pretty much all the way, at least that’s where I started and where I ended up! First of all I had the homemade one (basically a body I made with the neck from a Japanese 335 copy and Gibson pickups and hardware) then a number of Les Paul Customs and Juniors. After the second album I started to want a change so I went out and got a Strat which was for me a huge frustration since I never could get it to sound right, stock anyway! Eventually like a lot of people in the late 70’s I settled on this Strat with a humbucker concept, the first one I made was late ‘78, then I had a great Walnut Tele that I built which is the foundation of the 3rd album wherever there wasn’t a tremolo bar or the solos which I cut with a late 50’s junior (Leslie West again!), that album btw I did all of with a 50’s Ampeg "Reverb-o-Rocket” with a greenback Celestion speaker stuffed in in it, great amp! I carried on playing those Strats right through to the early 90’s then had a rethink and put them away forever.

When I got back into playing I went right back to the Les Paul thing where I started. These day’s you may or may not know I build guitars a lot and they are exotica predominantly influenced by Les Paul’s and also similar things like Zemaitis and the Arts & Crafts aesthetic. Many are very fancy with etched metal parts, fancy inlay and so on but at core … it’s a Les Paul.

RR:  Where/when was the first Diodes album recorded and how did you get connected with Bob Gallo to produce it?

JC: The first album was all recorded at Manta Sound (as were the demos for the second). It was Bob's favourite studio and he had a favourite engineer there Hayward Parrott who he worked quite closely with.

Bob came from CBS, he was I suppose our assigned A&R man, in those days the A&R would more often than not produce unless there was some conflict of time. Bob of course had this long and pretty glorious history in both R&B and garage. Which really he'd never talk about, he'd mention 16 candles and 96 tears but to me that was whatever, now if he'd talked about James Brown that's a whole other thing! :)

RR:  What do you remember of recording/working on any of the songs for this album?

JC: Well, especially on the first album Bob gave us a whole lot of guidance and a very long leash. To me it was this incredibly exciting thing and I took to doing stuff in the studio pretty much straight off. I found out for one thing that many of my instincts as to what to do or add were correct and Bob encouraged that the whole way. He was also a guitar player so he'd show me stuff, everything for the fastest route to an end. We hired in a bunch of different Marshall's and I had my Ampeg V4 there and a little Epiphone, sort of like Fender Deluxe size. I had my homemade Les Paul copy and I think Bob didn't trust it so we also hired in a Wine Red custom, but they're about 50/50 on the bed tracks same with the Marshall/Ampeg mix. What they did establish and I think a lot of this was Hayward was a really definitive guitar sound. There are lots of outtakes from the first album, "Noise", "I've Got a Headache" and so on and the thing that is amazing is that guitar sound is right there on the tape in everything. There's a thing there that sounds like it's running through a short decay plate reverb right on the verge of feedback and it's always there. Whatever they did it nailed it, everything has this huge sound and its even there on stuff that wasn't really finished. I really should ask Hayward, he's on my Facebook friends!

There's quite a bit of "unfinished" work that went on and lyric changing. We had a pretty quirky range of song subjects, it wasn't all about getting drunk or dungeons and dragons! China Doll was delivered as a song about Jerry Hall the model and Bob really couldn't work out "why" anyone would even write about that! If only it had stayed and of course for a often accused "poppy" band we had one hell of a lot of songs about murder and suicide! So that was a constant source of discussion and a filter when it came it choosing what would be there.

The second album was a different thing. We'd recorded Tired at Manta in a one off one day session but then Manta wasn't available. So I think rather reticently Bob booked us into Eastern Sound. Probably a mistake for him but we really enjoyed working there. What did happen was that we walked in with all this very disparate material ranging from a sort of John Entwistle type number to these sort of "teen anthems" and lots of science project stuff!! It all sounded amazing while we were working on it but towards the end I think Bob started to get uncomfortable finishing it. So he brought Hayward in to mix it even though he hadn't been there for the recording. Common practice now but perhaps not then. I actually think it would have been better if Hayward had taken the tapes back to Manta and mixed them there in a known space. Still a lot of things still shone, especially the quirky ones which are in the majority anyway. The rockier stuff suffered a bit which we attended to a bit with the choice of versions at the time of the 1999 CD release.

RR:  A lot of the songs on the first album deal with subjects relating to the “suburban psyche” lyrically as stated in the linear notes to your 1998 release Tired of Waking Up Tired: The Best of The Diodes. Was this something consciously that the band wanted to address in their lyrics or was it more of a reflection of what you were going through at the time?

JC: Umm, you write about what you know and sometimes what you don't. Punk was in many ways the tail end of the glam thing and most people involved had emerged out of that whole thing of being attacked on the street or at school or whatever. So when we were writing those songs a lot of the focus really was our past high school days, that feeling of being outsiders constantly under threat. Maybe amusingly, in the earlier punk days up though the summer of '77 it wasn't "that" public a thing so the divisive threat was low since we weren't running around in lurex and platforms. But, by the time we were recording the first album it was now a identified, labeled thing so the trouble with the denim hordes returned with a vengeance. I can remember being attacked on the bus going out to Etobicoke at the end of the day during the recording of the album. It was all this nonsense about "punkers", all coming from people who hadn't even the faintest idea what it was all about.

RR:  The song “Tired of Waking Up Tired” from your 1979 album Released is perhaps The Diodes best-known song. It charted on US alternative radio as an import only release. How did you come up with the idea for this song and what do you think it is about this song that people respond to so much?

JC: Well, the feeling seems to be universal, I can't actually remember much about how I wrote it other than the fact I had almost everything at once, there wasn't this long developing curve where it changed dramatically over a period of time. The song was there, pretty much fully imagined from the beginning, then as soon as we started playing it everyone jumped on it.

In the end it lost a verse and got a bit shorter, and it lost some of the very "Power-pop" inflections it had in the demo. It's about a certain world weariness which is obvious but is also this sort of strutting "I'll take on anything you throw at me" sort of boasting thing like one of those talking blues records, that's more evident in the demo with all its verses.

RR:  The Diodes have a new vinyl box set coming out in September. What can you tell us about this box set and some of the unreleased tracks featured in this set?

JC: Over the years we'd recorded a pretty enormous amount of material, much more than anyone would expect with the number of albums we released. And over time what we "did" changed a fair bit as we went along as well, we always had a prominent experimental edge.

With the box set we've aimed to do two things. One was to present idealized vinyl examples of the 3 albums presented how they should have been, minus any of the compromises that went on.

Then there's the rarities disk. There was so much to pick from here. Part of that is unreleased and even unfinished material especially from the first album period, plenty of which will be familiar to people who saw us at the end of the Crash 'n' Burn period and the first shows after. That's about 2/3 of side one. So you've got stuff like Parasite and Lawnboy Lover and there's also things like the first demo of Tired of Waking up Tired. Then there's demos for all sorts of things. I've often heard comment, especially about the first album, that it's very worked on, that perhaps we didn't sound like that. Well here you get the first demos that we recorded at the Crash 'n Burn (one week after dropping to a 4 piece) and you can hear it's all there, I think a lot of people will get a kick from that. Plus there's some live stuff from the second era of the band, and demos from the very end of all that, I revisited a couple of things that were previously released and remixed them since I didn't think they put their best foot forward. And so on, there's lots of stuff no one has heard before, especially on the CD/download version and then the vinyl version of the rarities is a complete album in its own right that I think gives any of the official ones a run for it's money!

Get a copy of The Diodes vinyl box set by clicking on this image:


Show 664 - The Diodes Canada Day Special

1. Bloodshot Bill - Love Me Twice
2. James OL & The Villains - Foolsome Tourist
3. The Locusts Have No King - Is it or Ain't It
4. Shotgun Jimmie - Used Parts
5. Daniel Romano - Modern Pressure
6. The Diodes - Red Rubber Ball
7. The Diodes - Child Star
8. The Diodes - Tennis (Again)
9. The Diodes - Blonde Fever
10. The Diodes - Plastic Girls
11. The Diodes - Death In The Suburbs
12. The Diodes - Behind Those Eyes
13. The Diodes - Midnight Movie Star
14. The Diodes - We're Ripped
15. The Diodes - China Doll
16. The Diodes - Shapes of Things To Come
17. The Diodes - Time Damage
18. Zoom - Schoolgirl Hitchhiker
19. Johnny & The G-Rays - Put the Blame On Me
20. The Grapes of Wrath - The Weight (Brave New Waves Session)
21. The Band - Jawbone
22. The Sadies - Reward Of Gold
23. The Gruesomes - Whirlpool
24. Deja Voodoo - New Kind of Mambo
25. Deja Voodoo - Pig Fat Papa
26. The Inbreds - Any Sense of Time
27. Trout - High Score
28. Cellos - White Lines
29. Pointed Sticks - New ways (Demo)
30. Shadowy Men On A Shadowy Planet - I Know A Guy Named Larry
31. Shadowy Men On A Shadowy Planet - Exit From Vince Lombardi High School

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

Saturday, June 24, 2017

Ty Segall & Shows # 661, 662, 663


Following Ty Segall’s 2016 noisy concept album Emotional Mugger, Ty Segall released a self-titled full-length album in 2017. This album, is not as noisy as its predecessor, however, that doesn’t mean that there aren’t noisy moments found on this album, there are plenty. This album is also the second full-length album released by Ty Segall that is also a self-titled release. His first was in 2008, at the beginning of his recording and musical garage adventures as a solo artist, with Segall playing the majority of the instrumentation. 2017’s Ty Segall release seems like a new beginning of sorts for Segall. This is the first full-length album where it was recorded with a live band in a room since 2012’s Slaughterhouse, which was recorded with the Ty Segall Band. For the most part all of Segall’s solo albums did not have a steady standard lineup. His live band has switched around several times, but usually featured Mikal Cronin in the lineup. The current band featured on this record consists of Mikal Cronin (bass), Charles Moothart (drums), Emmett Kelly (guitar), Ben Boye (piano), along with Ty Segall (on guitar/vocals). This also seems to be the current live band lineup for Segall, which he is dubbing The Freedom Band.

Ty Segall begins with the song “Break A Guitar”. This fuzz-driven, noisy garage number with a dash of Marc Bolan influence, tells the story of a character who was given a guitar amongst all the other obstacles and represents a shattering of expectations. In the context of this album, Ty Segall shatters the expectations of previous Segall releases. It combines a mixture of all of his styles, noisy, hard rock, glam, garage, punk, psychedelic, acoustic-pop and picks up the pieces to create a warm sounding mix of Segall’s musical abilities and styles. “Freedom” is a striped down acoustic dominated track with fuzzy choruses that builds as the song progresses. With lyrics such as “Taking my freedom/Now I can feel it/I’m getting closer to breathing/I can repeat it over and over/In my head”, this song showcases a determination to a finding of a certain kind of freedom and being comfortable within it. It also serves as a prelude to the album’s third track “Warm Hands (Freedom Returned)”. Clocking in at almost 10 and a half minutes, this song encompasses a collection of Ty Segall’s musical styles into one lengthy song, that doesn’t seem so long. It is definitely a strong point and centrepoint on this album, “Warm Hands (Freedom Returned)” tells the story of jealously, fame, shame and the conquering over those things as it switches styles drawing comparisons to Black Sabbath, The Doors, Cream and a variety of others. Overall, it may seem to have these styles to some, but it is a unique Ty Segall original that has its own things to say musically and lyrically.

“Talkin’” takes the listener into a more folky, twangy, country dynamic. Drawing comparisons to Harry Nilsson with a dose of Neil Young & Crazy Horse, this track is a catchy example of the range of the songwriting abilities of Ty Segall. “The Only One” is a heavier dirge of a song with sludgy guitars, along with “Thank You Mr. K” which is a faster paced song drawing on more punk, Ramones-like influences. Around the 1:20 mark of this song the music stops as something heavy is heard sliding, which is then followed by a series of smashing noises. It appears that these sounds originate from a video that was posted online in November 2016 as an announcement about this album prior to its release. Titled “A Flush Down The Tylet”, the video features Ty Segall waiting with a sledgehammer as recordist/producer Steve Albini pushes a toilet off a ledge. “Orange Color Queen” takes down the pace and tempo next. Written about Ty’s girlfriend who also has orange coloured hair, this song is reminiscent of songs from 2013’s Sleeper, but overall has psych pop elements to it. Segall has stated in interviews for this release that he “rarely write songs like this, because it is so easy to sound disingenuous, but I think this one is pretty good”. The song is more than just a love song, it provides something different from what Segall has been doing lyrically and is a new avenue in which he has ventured down.

“Papers” is a piano and acoustic dominated track. The piano parts on this track played by Ben Boye really sets it apart from other songs on this album. While lyrically it may seem to be a simple statement, the piano parts it is coupled with, provides a complex look at keeping things together. The track as many do on the album contain a Beatles influence, among other influences such as Marc Bolan, Syd Barrett, The Stooges and Dinosaur Jr. “Take Care (To Comb Your Hair)” is a playful song that is one part acoustic, two parts garage rock. The song has a simple message, make the most of what you have and appreciate them now before they “disappear” as it is stated in the chorus of this song.

This album was recorded/engineered by Steve Albini. While coming off with a warm 70s sound and feel, Ty Segall lends itself to a different area of production. Ty has for the most part produced and recorded all of his own material. Despite being produced (or recorded by) Albini, this does not get in the way of the album. It has its own feel. This album isn’t a concept album as was the noisy horror punk of Emotional Mugger and it’s not as glossy sounding as 2014’s Manipulator, but despite what his previous albums have to say, this one has its own thing to say. There is no overarching concept here and the last twelve seconds of this album provide us with a glimpse of an answer to the points I’m bringing up here. The eleventh track on Ty Segall is a twelve second song titled “Untitled”. It is clearly a false start of one of the other songs found on this album, followed by laughter. This ending may seem odd to some, but it also provides a simple sonic example, that Ty Segall may be trying new things and has released multiple albums throughout his career, but, he’s still Ty Segall. He hasn’t forgotten his beginnings and we don’t know where he’ll go next musically.



Playlist for Show 663 (Originally Aired On June 24th, 2017):

1. Pixies - Gouge Away
2. Nick Cave & The Bad Seeds - There She Goes, My Beautiful World
3. Teenanger - Pay It Forward
4. Chad VanGaalen - Old Heads
5. Big Thief - Capacity
6. Algiers - The Underside of Power
7. The Saints - (I'm) Stranded
8. Betrayers - The Devil Doesn't Want You
9. Rolling Blackouts C.F. - French Press
10. Alvvays - Adult Diversion
11. (Sandy) Alex G - Proud Rocket
12. Chuck Berry - Lady B. Goode
13. Juliana Hatfield - Touch You Again
14. Damaged Bug - Bog Dash
15. Priests - Nicki Nothing
16. Hooded Fang - Paramaribo Prince
17. Kim Gray - P.I.G.
18. The Clean - Big Soft Punch
19. The Bats - Antlers
20. Needles/Pins - Sleep
21. Walrus - In Timely Fashion
22. Dion Lunadon - Hanging by a Thread
23. Oblivians - Mad Lover
24. King Gizzard & The Lizard Wizard - Altered Beast III
25. Teenager - It Works With My Body
26. Paul Jacobs - How Did You Find Out

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for June 24.


Playlist for Show 662 June 17 2017 (Repeat of Episode 613: Kid Congo Powers, Allen Vega and Leonard Cohen)

1. Mission Of Burma - Tremelo
2. Sonic Youth - Wolf
3. Vallens - Karen
4. Hot Hot Heat - Sad Sad Situation
5. Heaven For Real - Kill Your Memory
6. Suicide - Ghost Rider
7. Suicide - Mr. Ray
8. Allen Vega - Kung Foo Cowboy
10. Suicide - Jukebox Baby 96
11. Allen Vega - Ghost Rider
12. Nickel Eye - Hey That’s No Way To Say Goodbye
13. Beck - Suzanne
14. Nick Cave - I’m Your Man
15. Nick Cave & The Bad Seeds - Avalanche
16. Leonard Cohen - Jazz Police
17. Leonard Cohen - Bird On A Wire
18. Weird Lines - There Are Never Too Many Matches
19. The Replacements - 20th Century Boy
20. Luau Or Die - Mojave Chaser
21. Atomic 7 - That Leftover Savior Faire
22. The Black Lips - Leroy Faster
23. The Cramps - Don't Eat Stuff Off The Sidewalk
24. The Gun Club - Eternity Is Here
25. Kid Congo Powers & The Pink Monkey Birds - Chicano Studies
26. Kid Congo Powers & The Pink Monkey Birds - La Arana

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for June 17.


Playlist for Show 661 (Originally Aired On June 10 2017):

1. Nick Cave & The Bad Seeds - Nature Boy
2. Nick Cave & The Bad Seeds - Midnight Man
3. Daniel Romano - Roya
4. Nap Eyes - Don't Be Right
5. The Jam - Batman Theme
6. Tape Wolves - Mysterio
7. The Flamethrowers- Suzette
8. No Museums - Surfers Leave
9. Kevin Morby - Tin Can
10. Walrus - Tell Me
11. Planet Creature - Get Along
12. Courtneys - 25
13. 13 Engines - Clean (Brave New Waves Session)
14. The Pursuit of Happiness I'm An Adult Now (Brave New Waves Session)
15. Ty Segall - Warm hands (Freedom Returned)
16. Ty Segall - Pan
17. Iggy Pop - Fortune Teller (79 Rehearsal)
18. Johnny Thunders - Alone In A Crowd
19. Cartoon Lizard - Punk Not Raw
20. Father John Misty - Total Entertainment Forever
21. Flin Flon - Swift Current
22. Hooded Fang - Sister and Suns
23. Thurston Moore - Cusp
24. Black Lips - Rebel Intuition

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for June 10.

Saturday, June 03, 2017

Chris Cornell (1964-2017) & Shows # 659 & 660


Following a concert with Soundgarden in Detroit, it was announced on May 18th, 2017, that Chris Cornell, musician, songwriter, solo artist and member of Soundgarden had passed away. He took his own life and the news of this sent a shock through the music world. The music that Cornell created with Soundgarden was very different and very unique. It set them apart from the other Seattle “Grunge” bands of the 90s. Soundgarden were a heavy rock band, pulling in influences from bands such as Black Sabbath, Led Zeppelin, but also with other influences such as The Beatles, touches of punk and several other elements. Lyrically, Cornell often draped the heavy riffs created by the band that surrounded him with darker imagery. The lyrics, while dark were presented in an intelligent way that at times seemed to deal with personal struggles such as depression, but also other issues that surrounded the world around them. Often at times lyrics were used in conjunction with the music to poke fun at certain issues at times in a humorous, but intelligent way. And while all of these things helped to make up the music that was Soundgarden, they sounded like nothing else.

Soundgarden emerged from the underground into the mainstream in the 90s, along with several other bands from Seattle. Throughout this time and through the rise of Grunge music, as it was called, in the mainstream, Soundgarden had something different to say than the usual overproduced mainstream band did. The 90s were a different time, a lot changed for many reasons and the heaviness and lyrical prowess of the band’s music struck a chord with many people. Cornell originally started playing drums and singing in a band cover band called The Shemps, who played around Seattle in the early 80s. The band also featured Hiro Yamamoto, who would be a bassist on early releases and in the early stages of Soundgarden. Guitarist Kim Thayil joined the group when Yamamoto left The Shemps. When this band broke up, Cornell and Yomamto started jamming together, eventually adding Thayil in the process. In 1984, Soundgarden was formed. Cornell switched to vocals and another drummer joined the group, Scott Sundquist so that he could focus on vocals. Through Sub Pop Records, Soundgarden released two EPs Screaming Life in 1987 and Fopp in 1988. The band lineup would change until 1991, when the lineup featured Matt Cameron on drums (who joined as their drummer in 1986) and Ben Shepherd on bass. The first release with this band lineup was 1991’s Badmotorfinger, it was their third album overall. Also, now signed to A&M Records, the band’s popularity took off and two more albums would follow, 1994’s Superunknown and the 1996 release, Down On The Upside.

Cornell had also released many albums as a solo artist, with other artists such as Temple of The Dog and Audioslave. Recently, Cornell released the single “The Promise”, which was recorded for the soundtrack of the same name. Soundgarden, who originally split in 1997, shortly after the release of their album Down On The Upside, reformed in 2010. An album followed entitled King Animal in 2012. Several reissues of the early band’s albums had followed and the band had been rumoured to be working a new album prior to Cornell’s death. One of the lyrics from a Soundgarden song, “Outshined” inspired the movie Feeling Minnesota. Even Johnny Cash covered “Rusty Cage” in 1996. It’s hard to forget the band’s music videos for songs such as “Black Hole Sun”, “Rusty Cage”, “Blow Up The Outside World” or songs such as Ty Cobb”, “Kickstand”, and “My Wave” to name a few. The imagery was strong in all of these things, whether it was the video or the songs themselves. Fans, friends, actors and many others have since come out to show tribute for Cornell following his death. The music that Cornell created, whether you were a fan or not, you can agree was different and something unique. There was no other band that sounded like Soundgarden. The lyrics in combination with the music were at times seen as odd or weird, but really it was just something different that didn’t fit one particular category. This affected many people. Many people identified with what Cornell had to say and even a long time from now, still will.


Playlist for Show # 660 (Originally Aired June 3rd 2017):

1. Kestrels - Thorn
2. Hooded Fang – Queen of Agusan
3. Dusty Mush - Hot Tomato
4. Girl Pool – Corner Store
5. New Pornographers – High Ticket Attractions
6. Robyn Hitchcock – Virginia Wolfe
7. Soundgarden - Kickstand
8. Soundgarden - Blow Up The Outside
9. Chris Cornell – Spoon Man (Demo)
10. Chris Cornell – Seasons
11. Soundgarden - Face Pollution
12. (Sandy) Alex G – Witch
13. Mount Eerie – Death is Real
14. Mountain Goats – Rain in Soho
15. Craig Finn – Jester & June
16. Canailles – Backflips
17. Neil Young - Looking For A Love
18. Dead Ghosts - All In A Row
19. Los Straitjackets - Heart of the City
20. The Velveteins - Midnight Surf
21. Nap Eyes - Roll It
22. Gang War - These Boots Were Made For Walking (Live)
23. Nick Cave & The Bad Seeds - Jangling Jack
24. Nick Cave & The Bad Seeds - Jesus Alone

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for June 3.


Playlist for Show # 659 (Repeat of Show # 606: Them, Art Bergmann & The Mark Inside):

1. Them - Baby Please Don’t Go (Take 4)
2. Them - Turn On Your Love Light (Alternate Version)
3. Them - Richard Cory
4. Captain Beefheart & His Magic Band - Frying Pan
5. The Standells - Rari
6. The Howlies - She’s In Control
7. The Velveteins - Beach Reprise
8. The North Carolina Music Love Army - Stick To The Plan
9. Papa Ghostface - Samhain
10. Border Patrol - This World
11. Jose Contreras - Psychic Radio
12. Art Bergmann - A Town Called Mean
13. Art Bergmann - In Betweens
14. Daniel Romano - I Had To Hide Your Poem In A Song
15. White Fang - Chunks
16. Monomyth - Transmission
17. The Ronald Reagan Story - Ronnie (I Voted For You)
18. The Minstrels Of Truth - I Want Your Business
19. Generation X - Kiss Me Deadly
20. The Police - No Time This Time
21. Gang Of Four - Call Me Up
22. Dee Dee Ramone & The Chinese Dragons - What About Me?
23. The Vores - Stress
24. The Bureaucrats - Grown Up Age
25. Idols - You
26. Wreckless Eric - Whole Wide World
27. Old Code - Crooked Smile
28. The Mark Inside - Where You Are
29. The Mark Inside - Shark Attack (I Can See Them Circling)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for May 27.

Saturday, May 20, 2017

Danny & The Darleans Bug Out & Shows 656, 657, 658


Bug Out is the second full-length album by Detroit’s Danny & The Darleans. This band features Danny Kroha, who has played with The Gories, Demolition Doll Rods and many others, drummer Richie Wohlfeil who has made a name for himself playing with the Detroit Cobras and numerous other Michigan related bands, and bassist Colleen Burke. Burke previously played keyboards with the Chicago art punk band We Ragazzi and is currently playing bass with another Detroit band, Outrageous Cherry. This line-up of musicians have their share of experience with notable acts, but when together as Danny & The Darleans they project a gritty garage sound influenced by garage music from the 60s, but sounding like something completely their own. It has its own beat, its own vibe and its own attack.

The first track on Bug Out is the song entitled “Bug Out Bag”. The song attacks with fuzzy bass, hard hitting drum grooves, and stop and start guitar riffs. The term “bug out bag” is something from survivalist culture. It is a bag that contains only the essentials for survival in case of a sudden disaster. As the guitar descends from verse, to chorus and into its sneaky razor sharp solo, Kroha sings of a character grabbing only the essentials as he heads for the hills and away from his “scene” that seems to have abandoned him. As he escapes or “bugs out”, for something better, he realizes that he will eventually have to return. “I’m Right Here” swelters with a fuzzy, almost blues urgency, “Outta May Way” with its ringing guitar chords and thrashy drumming features lyrics, such as, “In the heat of the morning/In the cold, cold night/I’m a black panther roaming/And I’m ready to strike”. This song oozes with intensity and determination as the album slows down for the song “Girl”. Originally by The Keggs, Danny & The Darleans take this song and give it added bravado and groove. Kroha sings with a potent cocktail of desperation, hopefulness and urgency, as the song wraps around a tale of a love gone wrong that was supposed to be meant to be.

“Let’s Stomp” attacks with Burke’s dominating bass, handclaps, tambourines catchy drums and other danceable grooves with a proto-punk vibe. Following an R&B rave up version of “Leaving Here”, “Who Dat?:” demonstrates the in the pocket drumming ability of Richie Wohlfeil in a tale of paranoia with a Who inspired fury. “Soul On Ice” is a hard hitting garage number featuring a fiery attack with whirlwind drumming, rolling basslines and slashing guitar chords. With lyrics, such as ,“You put me in a cage/That only fuelled my rage” and “You got my soul/You got my soul on Ice”, the song deals with an oppression, a suspension of high spirits and the desire to overcome it and break free. “Dr. Finger” is a slow bass and drum driven track complete with organ and reverb drenched guitars. Lyrics such as “Dr. Finger/Give me pills” and “I can’t sleep/I need my pills” the song tells the story of a character dependent on pills, addiction and despair. “Wild About My Lovin’” is a song that is just as raucous as its title, featuring word play, howls, guitar solos and a grittiness to it.

The album ends with a version of “Little Black Egg”, a song originally by The Nightcrawlers from Daytona Beach, Florida. Originally released in 1965, the song tells a thinly veiled, yet bizarre fairy tale of what could be several meanings, yet in the context of this album, the song, played at a slightly slower pace, seems to be a victory in survival. Throughout the twelve tracks found on Bug Out, each song in one way or another is a tale of survival, whether overcoming a certain hardship or just moving forward in some fashion. With “Little Black Egg” at the end of this album, we learn that the characters who have been woven throughout these songs are not discarding what they went through, but they are keeping these experiences tucked away in the back of their mind as they escape for something new and better through perseverance. The term “bug out” means to escape or to do something without abandon. That can be found in many forms throughout this album. Bug Out is a musical bag filled with twelve songs, no more or no less. With Bug Out, Danny & The Darleans unleash an album that resonates with sophistication and gritty realism while instilling a bug out state of mind.



Playlist for Show # 656 (Originally Aired On May 6th, 2017:  Danny & The Darleans, Guided By Voices, Beastie Boys & The Rolling Stones):

1. Teenage Head - You’re Tearing Me Apart (Single Version)
2. Young Canadians - Where Are You
3. CLIFFS - Portland To Vermont
4. Sunshine & The Rain - I’m Not Your Girl
5. Soft Serve - Pats Pub Open Blues Jam
6. Mac DeMarco – A Wolf in Sheep's Clothing
7. Bonnie 'Prince' Billy – I'm Always on a Mountain When I Fall
8. Daniel Romano – When I Learned Your Name
9. Courtneys – Iron Deficiency
10. Perfume Genius – Slip Away
11. Lychi - Married
12. Guided By Voices - Glad Girls
13. Guided By Voices - Packing the Deadzone
14. Guided By Voices - Overloaded
15. Bobby Bare Jr. - Strange Bird
16. The Pogues - Gentleman Soldier
17. Craig Brown Band - Overthinking
18. Wire - I Should Have Known Better
19. Beastie Boys - Lee Majors Come Again
19. Sprinters - Don’t Care
20. The Smiths - These Things Take Time
21. Buzzcocks - Friends of Mine
22. Undertones - Here Comes The Summer
23. The Fleshtones - Rick Wakeman’s Cape
24. Checkerlads - Baby Send For Me
25. The Libertines - I Get Along
26. Franz Ferdinand - The Fallen
27. The Rolling Stones - Andrew's Blues
28. The Rolling Stones - No Expectations (Alternate Version)
29. Danny & The Darleans - Bug Out Bag
30. Danny & The Darleans - Little Black Egg


To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for May 6.


Playlist for Show # 657 (Repeat of episode 605:  Fire Engines, Bob Dylan, Shotgun Jimme & Them):

1. Fire Engines - Discord
2. Walrus - Fur Skin Coat
3. The Burning Hell - Nostalgia
4. Simply Saucer - Dance The Mutation
5. White Lung - Dead Weight
6. Supermoon - Stories We Tell Ourselves About Ourselves
7. Frankie Cosmos - Sinclair
8. Car Seat Headrest - Fill In The Blank
9. Adriean Teacher And The Subs - Terminal City
10. Outrageous Cherry - Sign Of The Times
11. Shotgun Jimmie - Province To Province
12. John Lennon - Crippled Inside
13. Bob Dylan - As I Went Out One Morning
14. Bob Dylan - Melancholy Mood
15. Bob Dylan - That Old Black Magic
16. The Velvet Underground - Coney Island Steeplechase
17. The Modern Lovers - She’s Cracked
18. By Divine Right - Que Paso?
19. Radiohead - Identikit
20. John Cale - Barracuda
21. Leonard Cohen - Tonight Will Be Fine
22. Dead Ghosts - That Old Feeling
23. Them - Mystic Eyes
24. Them - Gloria (Demo)
25. Them - Here Comes The Night (Take 2)


To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for May 13.


Playlist for Show # 658 (Repeat of episode 643: The music of Skip Spence):

1. Moby Grape - Indifference (Live) (Live (Historic Live Moby Grape Performances 1966-1969 - 2009)
2. Jefferson Airplane - Blues From An Airplane (Jefferson Airplane Takes Off - 1966)
3. Skip Spence - Books Of Moses (Oar - 1969)
4. Skip Spence - After Gene Autry (Demo For Columbia Records) (After Gene Autry/Motorcycle Irene - 2009)
5. Moby Grape - Skip's Song (Demo) (The Place and The Time - 2009)
6. Moby Grape - Omaha (Moby Grape - 1967)
7. Mudnoney - War In Peace (More Oar: A Tribute - 1999)
8. Outrageous Cherry - Keep Everything Under Your Hat (More Oar: A Tribute - 1999)
9. Moby Grape - Motorcycle Irene (Wow - 1968)
10. Skip Spence - Doodle (Oar Outtake) (Oar - 1969)
11. Skip Spence - Lawrence of Euphoria (Oar - 1969)
12. Skip Spence - Cripple Creek (Oar - 1969)
13. Skip Spence - All Come To Meet Her (Oar - 1969)
14. Skip Spence - Little Hands (Oar - 1969)
15. Skip Spence - Margaret - Tiger Rug (Oar - 1969)
16. Tom Waits - Books Of Moses (More Oar: A Tribute - 1999)
17. Beck - Halo of Gold (More Oar: A Tribute - 1999)
18. Greg Dulli - Dixie Peach Promenade (More Oar: A Tribute - 1999)
19. Mark Lanegan - Cripple Creek (More Oar: A Tribute - 1999)
20. Jefferson Airplane - It's No Secret (Jefferson Airplane Takes Off - 1966)
21. Moby Grape - The Lake (Grape Jam - 1968)
22. Moby Grape - Funky-Tunk (Wow - 1968)
23. Skip Spence - Land of the Sun (More Oar: A Tribute - 1999)
24. Skip Spence - War In Peace (Oar - 1969)


To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for May 20.

Saturday, April 29, 2017

Guided By Voices August By Cake, Doug Gillard Interview & Show # 655


Guided By Voices latest release, August By Cake starts off in a momentous way. It starts with an announcement by singer, songwriter and mainstay of the group since their early beginnings, Robert Pollard. The song itself features horns, handclaps, intertwining guitars and rolling basslines, which at times come off with a John Entwhistle R&B slant. Lyrically, the song seems like it could be partially autobiographical. August By Cake also marks the 100th release by Robert Pollard (when you count all of his affiliated releases with other bands and as a solo artist) since 1986. In addition to this, August By Cake is also the first double album to be released by Guided By Voices. The album appropriately is different from other releases in the Guided By Voices/Robert Pollard cannon, but also has many similarities to past music that has been created.

The previous release by Guided By Voices, 2014’s Please Be Honest, featured instrumentation recorded solely by Robert Pollard. Prior to this GBV released five albums and an EP with the classic 1992-1996 era GBV line-up featuring Tobin Sprout, Mitch Mitchell, Kevin Fennell, Greg Demos and Robert Pollard. This release is a reunion of previous GBV band line-ups as well as a new one. The band lineup features guitarist Doug Gillard (who played with the band initially from 1997-2004), Kevin March (who played drums with the band in the early 2000’s and 2014) and Robert Pollard. The new lineup also features bassist Mark Shue and guitarist Bobby Bare Jr. This album is a strong effort that marks a second reunion of sorts. With 32 tracks clocking in at 71 minutes, there is plenty of material here to sift through.

“When We All Hold Hands At The End of the World” is a short song that seems to poke fun at getting older and adult life, “We Liken The Sun” is a song with plenty of arpeggios and guitar distortion, reflecting a sound from 1996’s Under The Bushes Under The Stars and abstract lyrics, “Packing the Dead Zone” seems to be a social commentary about our current social media trends, “What Begins On New Year’s Day” is an acoustic pop song with heavy segments of drum hits and guitar stabs and chords. This song is reminiscent of 90s era GBV songs and lyrically seems to be addressing proposed promises/failures in a reflective fashion. The song is very short, like many GBV songs they seem like they could be not completed or perhaps a demo in some cases. But, this is part of what makes GBV so interesting, there are hidden gems throughout this release, and all GBV for that matter. They are brief, but memorable.

For this album, Robert Pollard wrote songs initially intending to release a single album, but he had too many songs for a single album. Instead, he decided to proceed with a double album and asked each member of the band to contribute two tracks each. As a result, there is a new freshness to the songs found on this release. “Goodbye Note” is one of two songs written/recorded by guitarist Doug Gillard. With it’s descending guitar patterns the song seems to call for understanding in a relationship that involves life with a band on the road. “Deflect/Project” with lyrics such as “Deflect/project oh your actions are never circumspect” and “Planned obsolescence is the goal” this song emphasizes a dichotomy between being relevant and taking risks in a post-punk musical aesthetic. “Absent the Man” is a song by bassist Mark Shue with lyrics that seems to reflect a disconnect in band life/home life. “Chew The Sand” another Shue track, is an instrumental of sorts with mumbling lyrics, heavy drums and dusty guitar effects that at times drift into prog rock territory (Shue also contributes the song “Sudden Fiction” to this album as well). Bobby Bare Jr.’s contributions include the angsty garage song “High Five Hall of Famers” and “Upon The Circus Bus” an acoustic song with loud talking/banter in the background with allusive lyrics. “Overloaded” a song by drummer Kevin March, is a jangly pop song reflecting a situation showcasing someone that may have put a bit too much on their plate and is sorting through it. “Sentimental Wars” musically is an acoustic, drum filled and organ-dominated affair. Lyrically, March is searching for sentimentality or connection with lyrics such as “We are all fighting/Can we ever find the time to be alone?” and “Just take my hand/I will be with you always”.

All of these songs, whether they are Robert Pollard originals or by other band members, feature a certain cohesion to them. There is a flow to this album, that makes all of the songs seem seamless, but not in a stereotypical way. “Dr. Feelgood Falls Off The Ocean” as do several of the songs on this release, resembles a 90s era GBV sound. Lyrically, the song is a tale about suburban life. “The Laughing Closet” is a melodic track with abstract lyrics, “Whole Tomatoes” is an acoustic song that sounds like it could be a demo, while “Amusement Park is Over” reflects on a past, but once joyous memory.

August By Cake ends with the song “Escape To Phoenix”. An upbeat rock song with lyrics such as “Grand destinies/New hot topics/The escape scene” and “Watching eternity/The people demand an answer”, the song seems to be about a character always wanting to do more. The song ties in with the album’s opening and boisterous track “5 Degrees on the Inside”, but ends with a chant that is taken from lyrics in “Circus Day Hold Out”, another track found on August By Cake. The words “Crank up your monkey and organ without me” end the album. They fade out in what sounds like an abstract phrase and sense of camaraderie. With Guided By Voices, a lot of their songs are like abstract art. There are certain phrases and titles in the songs found on their albums that are open to interpretation and more open ended, despite their usual short length and lo-fi quality at times. This has been something present in all music released by Robert Pollard and Guided By Voices and is part of what sets them apart from other bands.

A lot of areas are covered on this album. A song like “Packing The Dead Zone” for example touches on social commentary on current social trends. There may be a vast amount of data and information out there today, but there is also a limitation. With GBV who have always had lots of material on their releases and many releases for that matter, more GBV is a good thing. For the 100th release featuring Robert Pollard, it certainly doesn’t sound stale. August By Cake has many layers to fill the listeners plate. And while this album features 32 songs, there is not too much on their metaphorical plate here. There is just enough to satisfy newcomers to the band’s music and diehard Guided By Voices fans alike.

Check out my interview with Doug Gillard here:



The Playlist:

1. Juliana Hatfield - Good Enough For Me
2. Tacocat - I Love Seattle
3. Slowdive - Don't Know Why
4. Chad Vangaalen - Clinically Dead
5. No Fun - Planet
6. Gem - Suburban Girl
7. Doug Gillard - No Perspective
8. Guided By Voices - Goodbye Note

DOUG GILLARD INTERVIEW

9. Robert Pollard & Doug GIllard - Pop Zeus
10. ESP Ohio - Royal Cyclopean
11. Guided By Voices - An Unmarketed Product
12. Zoom - Sweet Desperation
13. Cousins - Lullaby
14. Tuns - Throw It All Away
15. Slow Down Molasses - Secret
16. Construction & Deconstruction - Onomatopoeia
17. Shotgun & Jaybird - Borrowed Minivans
18. Woods - Bleeding Blue
19. Warm Soda - Don't Stop Now
20. The Finks - Now
21. The Scenics - Western Hills (Live - Toronto 2016)
22. Sam Coffey & The Iron Lungs - Judy
23. Pavement - Unfair
24. Tim Darcy - You Felt Comfort
25. Guided by Voices - Dr. Feelgood Falls Off the Ocean
26. Guided By Voices - Universal Truths and Cycles
27. Guided By Voices - Hold On Hope


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

Saturday, April 22, 2017

The Universe and Me Tobin Sprout Interview & Show # 654


Tobin Sprout is perhaps best known as being part of the classic era line-up of lo-fi indie rock band Guided By Voices, but Sprout has been releasing solo material, along with other side projects since the mid-90s. The Universe and Me is his seventh full-length album. For this album, the songs take on a more aggressive approach, as opposed to 2010’s Bluebirds of Happiness Tried To Land On My Shoulder, which was a more piano driven affair. One of his strongest efforts to date, The Universe and Me features a selection of older material from songs that were recorded at Sprout’s Michigan based studio in the past and newer material recorded for this album. As a whole, the songs on this album feature a contemplation of past worldviews. It is a coming of age of sorts, however, Sprout is 61 years old. The Universe and Me contains a complex youthfulness that is found within each of the songs maturities.

“Future Boy/Man of Tomorrow” opens up the album. It is a fuzzy driven rock track that recalls a Guided By Voices aesthetic, it is however, not the same. Lyrically, the song deals with a youth fascinated by superheroes as he transitions to adulthood. This is contrasted with the song title for a certain nostalgic feeling as the character in the song puts on his adult uniform. The title track is a piano driven song that pulls from a Beatles musical influence. “A Walk Across the Human Bridge” is another upbeat rock song contrasted with “Manifest Street”, which is a slower jangly pop song. The song with lyrics such as ”Something to do was raised and grew/On manifest street/In a treasure chest of dreams you’ve kept” conveys a sense of maturity from looking back on the past.

“When I Was A Boy” is a wistful, heartfelt song that explains that even though the character in the song is older, he still feels the same and takes on the world and turns out the cold, “Cowboy Curtains” displays a loss of innocence, “Heart of Wax” melts with a jangly, almost R.E.M. influence, while “I Fall You Fall” is executed in a Neil Young and Crazy Horse fashion. The last song recorded for this album, it is sung with, as are all of the songs on this album, a youthful exuberance, this song seems to show a father that comforts his child stating “You fall/I Fall/It’s so simple”. It is also, as many songs on The Universe and Me, one that can take on many meanings.

“Tomorrow From Heaven” is a lush pop song, complete with distorted guitars, as “Just One Kid (Takes On The World)” is a more rock and roll affair. With heavily distorted guitars, handclaps and power pop song dynamics, this song also features strong lyrical prowess. The lyrics are pretty straightforward, matching the song’s title, showing someone with nothing to lose. “Future Boy (Reprise)” ends the album. The song picks up where the beginning of the album started off. Where the first song “Future Boy/Man of Tomorrow” reflected a growing youth that is eventually dressed a uniform symbolizing adulthood, the reprise version of this song reflects the man this character became, one that wanted to forget his past, but decided to learn and grow from it.

The songs on this album are short, but well put together. A good song is a good song. There are 14 of them on this album, all of which contain an undeniable youthful energy. The production is sometimes rough around the edges, but it just further proves the point that a song can be great regardless of the production style, if done properly. The songs on The Universe and Me showcase a complex feeling, one draped in the colours of nostalgia, but also one with a new sense of understanding. This is a feeling that permeates all of the tracks that are found on The Universe and Me. It is one that like the album’s front cover provides the listener with a sense of awe and wonderment.

Check out my interview with Tobin Sprout:



The Playlist:

1. The Clash - Police & Thieves
2. The Congos - Sodom & Gomorrow
3. Robyn Hitchcock - I Pray When I'm Drunk
4. Brain James - Why? Why? Why?
5. Feefawfum - No Content
6. Tobin Sprout - The Universe and Me

TOBIN SPROUT INTERVIEW

7. Tobin Sprout - Moonflower Plastic (You're Here)
8. Tobin Sprout - To My Beloved Martha
9. Guided By Voices - Awful Bliss
10. Fig.4 - Behind Her Eyes
11. The Kinetics - Take A Train
12. Ron Gallo - Pleasure Yourself
13. The Jesus & Mary Chain - Always Sad
14. The Evaporators - Welcome To My Castle
15. Lush Buffalo - Jane The Ripper
16. Jay Som - 1 Billion Dogs
17. Middle Sister - The Sea
18. Beams - Black Shadow
19. Elliot Smith - Speed Trials
20. Spoon - First Caress
21. Blessed - Endure
22. Mad Ones - It Never Rains
23. Iggy & The Stooges - I Got A Right (Raw Power Sessions Outtake)


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