Saturday, March 31, 2018

Arc Records & Shows # 712, 713, 714, 715


Arc Records was a Canadian independent record label that had its beginnings in Toronto in 1958. Founded and owned by Philip G. Anderson, Arc Records was a subsidiary of a distribution company called the Arc Sound Company Ltd. that distributed records for many American record companies. Arc Records began pressing their own records in 1959. In 1961, Arc set up Precision Manufacturing Ltd. in order to press their own records and 45 RPM singles. The label released many covers or tributes of pop hit songs of the day performed by Canadian artists and specialized in regional artists. Arc would also find success in the US music market, as well as regionally.

Arc Records released music by many top recordings artists in Canada in the 1960s such as Anne Murray, Terry Black, Abbey Tavern Singers, Dublin Corporation, Catherine McKinnon, Richie Knight & The Mid-Knights, and Ronnie Hawkins to name a few. Two other artists of note to have music released on Arc Records were Newfoundlanders Dick Nolan and Omar Blondahl. Nolan was born in Corner Brook, Newfoundland and the music that he made combined elements of country music, traditional Newfoundland, Maritime and Irish folk music. In 1959, he moved to Toronto where shortly after he and his band, The Blue Valley Boys, performed at The Horseshoe Tavern as the venue’s backing band. They often backed up US country musicians such as Waylon Jennings, Willie Nelson, Bobby Bare and Charley Pride when they came to town. Nolan would sign to Arc Records and record 14 albums for the label between 1959-1969, two of which (I Walk The Line (1962), Folsom Prison Blues and Other Johnny Cash Songs (1968)) were Johnny Cash tribute albums. Some of his notable songs were the Newfoundland folk songs “I’s the B’y” and “Aunt Martha’s Sheep”, in addition to country material that he recorded. Omar Blondahl was born in Wynyard, Saskatchewan, but it wasn’t until getting a job at a radio station in Newfoundland that he discovered the folk songs of Newfoundland. He became fascinated by the then largely unrecorded folk songs of Newfoundland and helped to popularize them. Several albums (Songs of Sea and Shore (1959), Favorite Folk Songs From Here … And There … And Everywhere (1960), Folk Songs From Around The World (1961)) of his were released on Arc Records.

Terry Black was a Vancouver born musician who scored a high charting single with the song “Unless You Care” at the age of 15. The song written by P.F. Sloan and Steve Barri led to an album in 1965 produced for Terry Black called 16. It was released on Arc Records, along with several singles and an album of outtakes and alternate versions of songs in 1966 called, The Black Plague. Richie & The Mid-Knights, an R&B band from Toronto, while they had many songs released through Arc, are perhaps best known for their high charting hit single “Charlena”. The song was originally by the Los Angeles based band The Sevilles and was a song that the band heard at a Toronto dance hall. They learned their own version of this song, mostly from memory. It became a favourite at live shows and caught the attention of Arc Records vice president Bill Gilliland. The song became a number one single on CHUM radio’s chart in Toronto for two weeks straight in the spring of 1963, being the first single by a Toronto band to do so at the time.

A subsidiary of Arc Records was the Yorkville label. This label released more garage rock and psychedelic rock oriented material by artists such as Toronto’s The Ugly Ducklings, Stych In Tyme, The Secrets and many others. Ugly Ducklings had a series of national hits with songs such as “Nothin’”, “10:30 Train” and “She Ain’t No Use To Me”, while Stych In Tyme was a band from Nova Scotia that only ever released a few singles for Arc/Yorkville, but one of their songs, a version of The Beatles “Got To Get You Into My Life”, became a national hit as well. The Secrets are known for recording their 1966 single “Cryin’ Over Her”. Backed with the slower, psychedelic based song “He Treats You Bad”, this single would be the last recorded by the band as The Secrets. The band themselves were another band in the Toronto music scene at the time. Although they formed in 1959, they got their start in recording by recording a novelty song in 1966. “Clear the Track Here Comes Shack” was a song about Toronto Maple Leaf hockey player Eddie Shack and was credited to Douglas Rankine & The Secrets. In addition to their “Cryin’ Over Her” single, The Secrets recorded an album of Monkees covers that was anonymously released through Arc entitled A Little Bit Me (Plus 9 Other Tail-Hanger Favorites) in 1967, an album of Christmas songs entitled The Story of Snoopy’s Christmas and Other Favourite Children’s Songs in 1968 on Arc Records, but by this time the band was going by The Quiet Jungle. Changing their name to avoid association with their early novelty single, as The Quiet Jungle, the band released their first single “Ship of Dreams/Everything” in 1967. The psychedelic tinged track had a modest success, but after their second single, “Too Much in Love”, The Quiet Jungle was essentially over.

These are just some examples of music released by Arc Records. You may not like everything that was released on the label, but there are all sorts of records by different types of bands that have been released with the Arc imprint. The label and its subsidiaries released a wide selection of top 40 covers, novelty songs and music from differing genres such as country, R&B, pop, folk, garage, by Toronto artists at the time, other Canadian artists and artists from the US. A lot of Arc’s material was recorded by Canadian record producer and guitarist Brian Adhern. He left the label in the 70s when he relocated to Nashville and would record material with Johnny Cash, Neil Young and Emmy Lou Harris. Ben Weatherby was also a producer and musician associated with the label. He was the original house producer for Arc and has been credited on numerous releases. In the 70s Arc Sound Ltd. and all of its related subsidiaries were combined into one company called AHED Music Corporation Ltd. and expanded to sell guitars and amplifiers. Arc and AHED ceased operations in 1986. While nowadays you will most likely find Arc Records related releases at thrift shops in used record stores in Canada, they are still around in some way. You just have to know where to look.

For more information on Arc Records, please visit the following websites:
Arc Sound Company
The Canadian Encyclopedia
Garage Hangover (Arc Records)
Garage Hangover (Yorkville)

Show 715 Play List (Arc Records, The Black Angels & The Black Lips)(Originally Aired On March 31st, 2018):

1. The Electric Vomit - Treasure Hunt
2. U.I.C - Lite It N' Fly It
3. Ramones - I Don't Care
4. The Cure - Grinding Halt
5. Papermaps - Terminal
6. Sloan - All of the Voices
7. The Phantoms - Ghost Riders In The Sky
8. Richie Knight & The Mid-Knights - Homework
9. Ronnie & The Hi-Lites - The Fact of the Matter
10. The Cheshyres - Shake Your Money Maker
11. The Cryptones - Lolita
12. Juliana Hatfield - A Little More Love
13. Lou Reed - Wait
14. Baby Giant - Minnesota
15. Baby Giant - She Don't Want To Fall In Love
16. Dick Nolan - Truck Driving Man
17. Dick Nolan - All Over Again
18. Diane Motel - Get Through To You
19. X - I Must Not Think Bad Thoughts
20. Sonic Youth - The Empty Page
21. Syd Barrett - Octopus
22. The Garry's - Burger Buoy
23. The Black Angels - Currency
24. The Black Angels - Phosphene Dream
25. The Black Lips - Drugs
26. The Black Lips - Again & Again
27. The Black Angels - Winter '68
28. The Black Lips - O Katrina!

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for March 31.

Show 714 (Preoccupations, Captain Beefheart & Bob Dylan)(Originally Aired On March 24th, 2018):

1. The Velvetones - Static
2. The Charades Band - Christina
3. Mark Malibu & The Wasagas - Twelve Year Surf Itch
4. Mike Mikus - Figured As Much
5. The Men - The World
6. Superchunk - Dead Photographers
7. The Polymorphines - Saucer Eyes
8. Preoccupations - Solace
9. Preoccupations - Disarray
10. Preoccupations - Newspaper Spoons
11. Melody Fields - Rain Man
12. Ten Million Lights - Red Tornado
13. Razorhouse - Mortality Vs. The Accountant
14. Jeff Rosenstock - All This Useless Energy
15. Lychi - Serf In U.S.A
16. Ricky Hell & The Voidboys - Apartment 9
17. Captain Beefheart - Her Eyes Are A Blue Million Miles
18. The Oblivians - Oblivion
19. The Gories - Smashed
20. Deja Voodoo - Private Eye
21. The Gruesomes - 3 Men 1 Coffin
22. Le Kidd & Les Marinellis - Camille
23. The Cheetahs - Girl of Doom
24. Bob Dylan - Highway 51 Blues
25. Bob Dylan - Talkin' New York
26. Car Seat Headrest - Sober to Death
27. Ponctuation - Unhemlich
28. Simply Saucer - Dance The Mutation

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

Show 713 (St. Patrick's Day, Hot Snakes, Ty Segall & The Ventures)(Originally Aired On March 17th, 2018):

1. Undertones - Wednesday Week
2. U2 - Stories For Boys (Live)
3. The Outcasts - Self-Conscious Over You
4. Protex - (Just Want) Your Attention
5. The Pogues - Streams of Whiskey
6. Guided By Voices - I Love Kangaroos
7. Nap Eyes - Dull Me Line
8. James O-L & The Villains - Wild Goose Jack
9. Titus Andronicus - Above The Bodega (Local Business)
10. Shame - Concrete
11. Ought - Disaffection
12. Hot Snakes - Death of a Sportsman
13. Stiff Little Fingers - Roots, Radicals, Rockers
14. Freak Heat Waves - Moved You Right
15. U.S. Girls - Time
16. Sliver Apples - Oscillations
17. Suuns - Baseline
18. Kim Gray - No Moonlight
19. Rec Centre - Dealer To The Stars
20. La Fete - Marine Malice
21. Microdot - Endless Doubts
22. Mount Eerie - Earth
23. Ty Segall - Alta
24. Deerhunter - Cryptograms
25. The Ventures - Dick Tracy
26. The Ventures - Journey To The Stars

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

Show 712 (International Women's Day 2018)(Originally Aired On March 10th, 2018):

1. La Luz - Sunstroke (It’s Alive - 2013)
2. Cub - Tell Me Now (Betti Cola - 1993)
3. She Trinity - Have I Sinned (Have I Sinned/Wildflower - 1966)
4. The Detroit Cobras - (I Wanna Know) What’s Going On? (Tied & True - 2007)
5. Patsy Cline - Gotta Lot of Rhythm in My Soul (Gotta Lot of Rhythm In My Soul/I'm Blue Again - 1959)
6. Wanda Jackson - Honey Bop (Honey Bop/Just A Queen For A Day - 1958)
7. Courtney Barnett & Kurt Vile - Let It Go (Lotta Sea Lice - 2017)
8. U.S. Girls - Incidental Boogie (In A Poem Unlimited - 2018)
9. Actors - L’appel Du Vide (It Will Come To You - 2018)
10. The Brat - Swift Moves (Attitudes EP - 1980)
11. Suburban Lawns - Gidget Goes To Hell (Gidget Goes To Hell/My Boyfriend - 1979)
12. The Slits - Shoplifting (Peel Session 1977)(The Peel Sessions - 1998)
13. The Adverts - One Chord Wonder (1977 Peel Session)(The Wonder's Don't Care: The Complete Radio Sessions - 1997)
14. Bags - Babylonian Gorgon (Survive/Babylonian Gorgon - 1978)
15. Alice Bag - 77 (Blueprint - 2018)
16. Mary Margaret O’Hara - Body's In Trouble (Miss America - 1988)
17. Mary Margaret O’Hara - Dear Darling (Miss America - 1988)
18. Neko Case - John Saw That Number (Fox Confessor Brings The Flood - 2006)
19. The White Stripes - In The Cold, Cold, Night (Elephant - 2003)
20. The Beverleys - Bad Company (Brutal - 2015)
21. Eric’s Trip - Eyes Shut (Purple Blue - 1996)
22. B-Girls - Who Says Girls Can't Rock (Who Says Girls Can't Rock - 1997)
23. Teenanger - N.O.B.L.O. (Teenager - 2017)
24. The Mo-Dettes - White Mice (The Story So Far - 1981)
25. Erasers - It Was So Funny (That Song That They Sung)(Ork Records: New York, New York - 2015)
26. Danny and The Darleans - Les Fleurs Du Mal (Danny And The Darleans - 2013)
27. The Cramps - Get Off The Road (A Date With Elvis - 1986)

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

Saturday, March 03, 2018

Beach Party: New Surf, Old Surf and Surf in Film & Show # 711


In the early 60s The Beach Party film genre was born. The films were aimed primarily at teen audiences and often dealt with common interests at the time of teens such as surfing, dancing and drag racing. Serious issues of the day were ignored such as political issues and the Vietnam War, instead they just focused on teenagers partying and having a good time. The films also featured music within the film, with characters often performing songs, miming to the music. The first film like this was Beach Party, which was originally released in 1963 by American International Pictures (AIP). It was a surprise success and many of the same actors appeared in the Beach Party film series such as Annette Funicello and Frankie Avalon. Dick Dale and His Del-Tones were featured in the movie and on it’s soundtrack.

Davie Allan & The Arrows are an instrumental rock band that recorded several soundtracks for films in the 60s and have a vast and at times dizzying discography. They recorded several classic instrumental based soundtracks in the 60s. They did the soundtrack to Roger Corman’s 1966 cult-classic, biker movie, The Wild Angels, The Glory Stompers (1966), Skater Dater (1966), Thunderball Alley (1967), Wild In The Streets (1968), and Born Losers (1967) to name a few. Their fuzzed out sound rides alongside surf culture. It mixes instrumental sounds with fuzzed out guitar lines and garage rock dynamics, often combining it with elements of surf music and drifting into other directions.

The Endless Summer was released in 1966 internationally, but initially was put out in 1964. This documentary follows two surfers Mike Hynson and Robert August as they go on a surfing trip around the world. Created by filmmaker Bruce Brown, who also narrates the film, The Endless Summer is often seen as the Citizen Kane of surfing films, as it portrays surfers, surfing in different elements around the world. The soundtrack to this film was composed by the band The Sandals. John Severson was also another influential figure in surf culture. He created and founded Surfer magazine in 1962, in addition to being a photographer, painter, filmmaker and surfer. His films Surf (1960), Surf Fever (1960), and Pacific Vibrations (1970) all were documentaries that helped to modernize and add to surf culture. Surf music was also featured in these films, sometimes alongside other types of rock music.

There have been many other films that have featured surf music in them. Another big one was 1994’s Pulp Fiction. I have already written about this film for a previous episode of Revolution Surf, but this film helped reintroduce the genre to a new generation of people. In 2006, Ron Mann made a film called Tales of The Rat Fink. The documentary film focused on Ed “Big Daddy” Roth, who was a customer car designer. He created the cartoon character The Rat Fink, as an anti-hero to Mickey Mouse and he has become an icon in American culture. Roth was also in a musical novelty group Mr. Weirdo & The Gassers, who released a few bizarre surf rock albums in the 60s. All of this combined with hot rod and surf culture from the 60s and an interest resurged in the Rat Fink character in the 80s/90s. The music for this film was composed by the Canadian band The Sadies. 26 of the 60 compositions created for the film were put out as a soundtrack album entitled, Tales of the Rat Fink. Surf music was once seen as dated and no longer relevant, but it has proven time and time again that it is still influential and relevant. It can still be heard in music today, whether it is an instrumental surf band, a garage band combining surf music elements or just an indie rock band. It can also be found in TV shows, commercials and still in film. Surf music coasts through our culture, regardless of the decade and is here to stay.

Revolution Surf Play List 2018:

1. The Sandals - Driftin' (The Endless Summer (Original Soundtrack to the Motion Picture) - 1966)
2. The Sandals - Theme From "The Endless Summer" (The Endless Summer (Original Soundtrack to the Motion Picture) - 1966)
3. Vic Mizzy - Daybreak At Malibu (Don't Make Waves - 1966)
4. Dick Dale - Secret Surfin' Spot (Annette's Beach Party - 1963)
5. Sting Rays - Surfers Walk (Surfer's Walk/Mad Surfer - 1964)
6. The Swanks - Ghost Train (My College Cry/Ghost Train - 1968)
7. The Intrepides - Golash (Golash/Donna - 1965/The Birth of Surf Vol 2 - 2010)
8. The Sentinals - Big Surf (Sunset Beach: The Best of The Sentinals - 1999)
9. The Separatwists - Commanche (Bar Walking - 2016)
10. Forbidden Dimension - The Shadow Knows (Think Link Vol 2 - 1996)
11. Atomicos - Hotdog! (Surfodelic - 2017)
12. Los Straitjackets - Outta Gear (Viva! Los Straitjackets - 1996)

THE SURFPHONY OF DERSTRUCTION 2000 SEGMENT WITH DERK BRIGANTE:

13. Retrocaine - Baywatch (Back To The 90's - 2017)
14. Tsunamibots - Automaton (The Crushing - 2016)
15. C&C Surf Factory - Planet Mar (Rumbler - 2017)
16. Carlo - Commanche Drive (Carlo - 2018)
17. Surflamingo - Green Hill Zone (Entrepenas Bay Terror - 2017)
18. The Sufrajettes - Mrs. Motto (Surfrajettes EP - 2017)


19. The Centurions - Bullwinkle Pt II (Surfer's Pajama Party - 1963/Music From The Motion Picture Pulp Fiction Soundtrack - 1994)
20. The Mummies - The Fly (Play Their Own Records - 1992)
21. Dusty Mush - Cold Sands (Cheap Entertainment - 2017)
22. Davie Allan & The Arrows - The Chase (The Wild Angels - 1966)
23. Davie Allan & The Arrows - Blues Theme (The Wild Angels - 1966)
24. Davie Allan & The Arrows - Skate Out (Skater Dater - 1966)
25. Ben Vaughn - Main Title (Psycho Beach Party Original Motion Picture Soundtrack - 2000)
26. The Fathoms - Overboard (Overboard - 1998/Psycho Beach Party Original Motion Picture Soundtrack - 2000)
27. Bloodshot Bill - Release The Beast (Home Recordings Vol 1 - 2018)
28. Jan Davis - The Snow Surfing Matador (The Snow Surfing Matador/Scramble - 1964/Jungle Exotica - 1991)
29. Mark Malibu And The Wasagas - Psychedelic Summer (The Original Surf Punk Recordings - 2014)
30. The Shoobies - Spy Kill Tito (The Shoobies EP - 2018)
31. Huevos Rancheros - Secret Recipe (Dig In! - 1995)
32. The 5.6.7.8's - Harlem Nocturne (The 5.6.7.8's - 1994)
33. The Sadies The Mowhawk (Tales of the Rat Fink Original Soundtrack - 2006)
34. The Sadies The Bug Jar (Tales of the Rat Fink Original Soundtrack - 2006)
35. The Sadies The Double Wide (Tales of the Rat Fink Original Soundtrack - 2006)

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

Saturday, February 24, 2018

Northern Passages: The Sadies Radio Special, Travis Good Interview & Show # 710


The Sadies are described as a Canadian rock/country and western band. Coming from Toronto, Canada, the band is comprised of brothers Dallas and Travis Good, Sean Dean and Mike Belitsky. Dallas and Travis come from a country music family. They are the sons of Margaret and Bruce Good, as well as the nephews of Brian and Larry Good who are members of the Canadian country band, The Good Brothers. Forming in 1994, The Sadies developed their own take on country and western music, incorporating elements of surf and garage rock with a punk infused energy. Their first album was released in 1998, and was entitled Precious Moments. Songs on the album Precious Moments featured a large amount of instrumental tracks, combined with songs with vocals, but all the elements of The Sadies are there. Songs such as “Glass of Wine”, features an almost R&B garage sound, “Little Sadie” is their take on the traditional song of the same name, giving it a psychedelic folk spin, “Cowhand” is a slow creeping folk song with fiddle and guest vocals by Neko Case and “Barbarosa” is a bombastic garage track. This combined with their instrumental surf tracks such as “Cheat”, the Eninio Morricone styled “Dying Is Easy”, “Snow Squadron” and “Rapid Monkey”, all add to the landscape they first painted in 1998. The album was recorded by Steve Albini, along with several other early albums in the band’s catalog (Pure Diamond Gold (1999), In Concert Vol.1 (2006)).

As The Sadies albums progressed so did their sound. Known for their live shows, their undeniable chemistry is something that is always present on their recordings, but as their albums and sound progressed, so did their songwriting. It still is for that matter. 2002’s Stories Often Told, fleshed out their sound to include more psychedelic, folk, bluegrass, country and blues elements. This is apparent on songs such as “The Story’s Often Told”, “A Steep Climb" and “Within A Stone”. 2004’s Favourite Colours upped the ante, balancing their sound while also featuring collaborations with Rick White (of Eric’s Trip), and Robyn Hitchcock. In 2007 their album New Seasons earned a Polaris Prize nomination. New Seasons featured a focus on the slower side of the band’s country/folk influences. The harmonies and songwriting strengthened even further on this album, which was co-produced by The Jayhawks Gary Louris with The Sadies. Songs such as “Anna Leigh”, “What’s Left Behind”, and “The Trial”, displayed a haunting sense of atmosphere.

2010’s Darker Circles was nominated for a Polaris Prize as well. It was produced once again by Jawhawk guitarist Gary Louris with The Sadies and is often seen as a companion album to New Seasons. However, this album took on more layers within the music and lyrics. The lyrics have been said to be darker than usual on this album. The Sadies have always had darker elements in their sound and lyrics, but this album took it to a new level. Darker Circles is nuanced, with something always seeming to rumble beneath the surface. Songs such as “Another Year Again”, and “Cut Corners” are psychedelic-garage tinged tracks, while songs such as “Tell Her What I Said” combine psychedelia and country, “Postcards” takes on a Byrds influence, “Idle Tomorrows”, and “Choosing To Fly” drift into country and bluegrass territories. In addition to releasing numerous albums, The Sadies have also collaborated, performed and recorded with other musicians such as Andre Williams, Neko Case, Blue Rodeo, Garth Hudson, John Doe, Neil Young and Gord Downie. This is in addition to being involved with other bands such as The Unintended, Heavy Trash, Shadowy Men On A Shadowy Planet and other groups.

In 2017, The Sadies released Northern Passages, their 10th full-length album. Recorded in the Good parents' basement and produced by Dallas Good, Northern Passages mixes up a complex pairing of thoughts and reflectiveness, while at the same time displaying a sense of hopefulness. With an overall sound that can be described as an “acid-folk-country-punk trip”, Northern Passages finds The Sadies navigating through familiar and new territories, building on their sound and atmosphere. Whether it is with the string of collaborations, their own albums or their live shows, The Sadies are always approaching their music from different directions. Since their beginnings they have always found their own path and still continue to do so.

Check out my interview with Sadies member Travis Good here:



The Sadies Play List:

1. The Sadies - Cheat (Live) (In Concert Vol. 1 - 2006)
2. The Sadies - Little Sadie (Precious Moments - 1998)
3. Jon Langford & His Sadies - Strange Birds (Mayors of the Moon - 2002)
4. The Sadies - What's Left Behind (New Seasons - 2007)
5. The Sadies - Postcards (Darker Circles - 2010)
6. The Sadies - Translucent Sparrow (Favourite Colours - 2004)
7. The Sadies - The Story's Often Told (Stories Often Told - 2002)
8. The Sadies - Questions I've Never Asked (Northern Passages - 2017)
9. The Sadies - Dying Ain't No Way To Make A Living (Dying Ain't No Way To Make A Living - 1996)
10. The Unintended - The Collaspse (The Unintended - 2004)
11. Andre Williams & The Sadies - She's a Bag of Potato Chips (Red Dirt - 1999)
12. The Sadies - There's a Higher Power (Pure Diamond Gold - 1999)
13. The Sadies - Reward of Gold (Pure Diamond Gold - 1999)
14. The Sadies - The 400 (Tales of the Rat Fink - 2006)
15. The Sadies - Flash (Tremendous Efforts - 2001)
16. The Sadies - Wasn't Born To Follow (Tremendous Efforts - 2001)
17. John Doe & The Sadies - The Cold Hard Facts of Life (Country Club - 2009)
18. Neko Case - Hold On, Hold On (Fox Confessor Brings the Flood - 2006)

TRAVIS GOOD INTERVIEW

19. The Sadies - Leave Me Alone (Live) (In Concert Vol. 1 - 2006)
20. Garth Hudson Ft. Neil Young & The Sadies - This Wheel's On Fire (Garth Hudson Presents A Canadian Celebration of The Band - 2010)
21. Gord Downie & The Sadies - The Conquering Sun (And The Conquering Sun - 2014)
22. The Sadies - Leave This World Behind (Internal Sounds - 2013)
23. The Good Family - Taller Than The Pines (The Good Family Album - 2015)
24. The Sadies Ft. Kurt Vile - It's Easy (Like Walking) (Northern Passages - 2017)
25. The Sadies - Anna Leigh (New Seasons - 2007)
26. The Sadies - Locust Eater (Demo) (Archives Vol 1 (Rarities, Oddities and Radio: 1995-2015) - 2015)
27. The Sadies - Lay Down your Arms (Stories Often Told - 2002)
28. The Sadies - Cut Corners (Darker Circles - 2010)

Download/listen to this program here.

Saturday, February 17, 2018

Rebellious Jukebox: The Music of The Fall & Show # 709

Article Written by Adam Peltier & Dave Konstantino

“Always different, always the same” - John Peel on The Fall

“It could be worse; you could be the singer of The Fall” - Tony Wilson on Mark E. Smith

“People only need me when they’re down and gone to seed” - Mark E. Smith, “Hip Priest”


Mark E. Smith was one of post-punk’s great deconstructionist agitators. In his forty year career with The Fall, Smith didn’t so much act as a band leader as much as a sonic provoker. While The Fall has literally hundreds of tracks to its name, the compositions arranged by Mark E. Smith and his ever-rotating roster of musical accomplices rarely felt like songs in the traditional sense. The angular and abrasive music made by the band, led by Smith’s idiosyncratic style of spoken/sung fractured rambling, felt more like odd aural experiments, strange tone poems, and at its most extremes, broadcasts from some alien radio station. Smith, while lazily attributed the status of rock-poet, hardly used language to elucidate or beautify. Smith’s strength was in demonstrating the malleability of language, fracturing familiar phrases, garbling syllables, and patch-working words to create a seemingly new variant of English. If anything, Smith showed the arbitrariness of spoken language, taking a piss of the idea of the songwriter/poet, while paradoxically demonstrating astonishing creativity in his heedlessly irreverent compositions. It makes sense he titled an album Perverted by Language. He saw conventional language as bondage, a form of restriction that he rallied against throughout his artistic career. To be blunt, Mark E. Smith was the great anti-poet of post-punk, holding more in common with the likes of William S. Burroughs and Thomas Pynchon, kindred souls who also saw language as bondage and art as an exercise of escaping these bonds.

The Fall’s career was an interesting one to say the least. The band’s first EP, Bingo Master’s Break-Out! was released in 1978 and featured three songs. Of these songs, “Bingo Master”, seemed like a character sketch out of some short story about a dejected bingo caller. “Psycho Mafia”, is a song that seems to reference the then rabid, audience of the late 70s punk scene, who also would spit on bands in a disgusting display of admiration and “Repetition” operates like a band ethos, as the lyrics attack the listener on a different level altogether. As stated earlier the lyrics of The Fall, played with language, but were also cryptic in some ways. Mark E. Smith never liked to discuss the meanings behind his songs or lyrics, he left it open to interpretation. Live At Witch Trials was The Fall’s full-length debut album. The debut featured an altered line up from their first EP. This is something that would happen often within The Fall, they would over the years have 66 different band members in the group with Mark E. Smith remaining the only constant member. Despite its title, Live At Witch Trials was not a live album. It displayed an energetic focus and was at the same time rough sounding. With songs such as “Rebellious Jukebox”, “No Xmas For John Quays” and “Industrial Estate”, The Fall set their own path. Lyrically and musically, The Fall seemed to come from a different place.

There are many different eras of The Fall that could be looked at. They released 31 studio albums in their lifetime. There were 32 live albums and that’s not counting singles and EPs. With the line up changes often came a change in sound. Going back to John Peel’s quote, they were “Always different, always the same”. Brix Smith was part the band from 1983-1989 and helped to shape the sound of The Fall during this time period. It should also be noted that bassist Steve Hanley played bass with The Fall from 1979-1998 and there are many other band members that were with the band for extended periods of time, but there are far too many to name. The sound during the Brix Smith era of The Fall adopted more of a conventional approach, often adding pop hooks to the Fall’s already established sound. A string of critically acclaimed albums and singles followed such as This Nation’s Saving Grace (1985), Bend Sinister (1986), The Frenz Experiment (1988) and I Am Kurious, Oranj (1988), which was the product of a collaboration of Smith and dancer Michael Clark, for the ballet. These are just some of the examples of music that was released from the band’s long career that even featured an album in 2017 called New Facts Emerge. It would prove to be The Fall’s last full-length album released during Mark E. Smith’s lifetime.

As admirable an artist that he was, Smith was far from a flawless human being. Smith endured a life of substance abuse, frayed friendships, and failing health. The Manchurian musician passed away too young, at the age of sixty, undoubtedly the suddenness of his passing exacerbated by the lifestyle he lived. While Smith was not a perfect man, he was one who forever changed the way a lot of us saw what music was and how it could be made. In a statement made by the musician’s ex-wife and former band member Brix Smith, she stated that “He never once compromised...how many others can leave this life with such a singularity of vision?” It's hard to think of very few others. Nobody can say exactly what legacy the future will hold for Smith and The Fall, but perhaps it is much like the alienated young people who find solace in reading Naked Lunch or The Crying of Lot 49, that same type of person will find solace and inspiration in records like Perverted by Language, Hex Enduction Hour, and This Nation’s Saving Grace. For how he changed that way we listened to music and what we thought was possible for a singer to do, all we can say is thank you Mark E. Smith. RIP

The Fall Play List:

1. The Fall - Bingo Master (Bingo Master's Break-Out! - 1978)
2. The Fall - Industrial Estate (Peel Session - May 30, 1978) (The Complete Peel Sessions 1978-2004 - 2005)
3. The Fall - Rebellious Jukebox (Live At Witch Trials - 1979)
4. The Fall - A Figure Walks (Dragnet - 1979)
5. The Fall - I Feel Voxish (Perverted By Language - 1983)
6. The Fall - Coach And Horses (Reformation Post TLC - 2007)
7. The Fall - Funnel Of Love (Your Future Our Clutter - 2010)
8. The Fall - Theme From Sparta F.C.#2 (The Real New Fall LP - 2003)
9. The Fall - There's A Ghost In My House (The Frenz Experiment - 1988)
10. The Fall - C.R.E.E.P. (C.R.E.E.P. Single - 1984)
11. The Fall - Kinder of Spine (Re-Mit - 2013)
12. The Fall - Fol De Rol (New Facts Emerge - 2017)
13. The Fall - Strychnine (Peel Session - February 28, 1993) (The Complete Peel Sessions 1978-2004 - 2005)
14. The Fall - Victoria (The Frenz Experiment - 1988)
15. The Fall - Mr. Pharmacist (Bend Sinister - 1986)
16. The Fall - Cruisers Creek (This Nation's Saving Grace - 1985)
17. The Fall - New Big Prinz (I Am Kurious, Oranj - 1988)
18. The Fall - Hip Priest (Hex Enduction Hour - 1982)
19. The Fall - How I Wrote Elastic Man (Grotesque - 1980)
20. The Fall - Totally Wired (Totally Wired Single - 1980)
21. The Fall - What You Need (This Nation's Saving Grace - 1985)
22. The Fall - Stepping Out (Live) (77 - The Early Years - 79 - 1981)
23. The Fall - Psycho Mafia (Bingo Master's Break-Out! - 1978)
24. The Fall - Repetition (Bingo Master's Break-Out! - 1978)

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

On February 10th, a previous episode of Revolution Rock aired due to weather conditions. That episode was a repeat of a Black History Month episode from 2017's theme month programming. That show can be downloaded here (Show # 708) and the play list can be found here.

Saturday, February 03, 2018

Revolution Jazz: Miles Davis & Show # 707

Article Written by Adam Peltier

In recent years, jazz has unfortunately been regarded as an erudite musical form, something for academics and intellectuals to pursue in a curricular fashion. There is an unfortunate truth to this. The institutionalization of this genre has led jazz to be integrated in conservatories and theory, academizing (and by extension, neutering) this art form. When jazz is not relegated to the esoteric, it is tossed off as chintz, ersatz music meant for elevators and cocktail lounges. What is often forgotten about the genre is how dangerous and volatile it can be. Listen to the right album and you’ll hear it: the syncopation of the drums hammering harder and fiercer than any metal record, the horns lacerating as much as any cut by the Stooges or Velvets, the bass as bellowing and emotive as the most soulful of human voices. Jazz is dangerous, not only in its possibility to defy musical conventions (tonality, melody, and predictable chord changes have all been subverted within this genre, and sometimes simultaneously), but in the volatile performances of its creators. With this said, few jazz musicians have been as dangerous, or for that matter as influential, as Miles Davis.

Davis was a pioneer, not only of jazz music, but of 20th century music in general. Could UK Jungle have developed without the fearless polyrhythms of Dark Magus, ambient music without the sustained vamps of Bitches Brew, or hip-hop without the hypnotic beats of On the Corner? Yes, we may have eventually developed those genres, but it definitely would have taken a lot longer without the constant experimentation of Davis. The man has played a crucial role in almost every major development in jazz since the 1940’s. He treated the genre not as a set of parameters to follow, but a fluid forum to explore an infinity of possibilities.

To appraise the legacy of Miles Davis, it would be too restrictive to simply focus on one album or even a single era of his career. His exercises in “cool jazz” (see Birth of the Cool) from the 1950’s marked a major shift in post-bebop jazz, introducing a range of classical music techniques into both Davis’ sound and the genre itself. ‘Round About Midnight defined the hard bop subgenre, along with the works of fellow legends like Coltrane and Rollins. Kind of Blue not only changed the landscape of jazz again through its use of modality (using musical modes as opposed to standard chord progressions), but the record also remains the best selling jazz album of all time. His late 1960’s collaborations with producer Teo Macero (In a Silent Way, Bitches Brew, and A Tribute to Jack Johnson) not only invented jazz fusion, but caused an uproar amongst fans equal to the controversy of Dylan’s “electric era”. Then there are his later era experiments in augmenting jazz and electronic music, resulting in groundbreaking and boundary defying records like On the Corner and Doo-Bop. To say the least, it’s hard to pin Davis down as simply a musician of one movement or style. His music was always in flux, never static, never the same. Like the compositions he poured so much energy into, he refused to travel the safe road or follow the path expected of him. Davis was a musical subversive, never resting on his laurels and never satisfied in repeating himself.

There is a great amount of passion in Davis’ music. His compositions contain a lot of sadness, humour, anger, and pride. This pride also acted as a type of armour he had to wear to defend against the arrows of bigotry and racism slung his way. There are numerous accounts of Davis facing discrimination during his career, often in the form violence. Perhaps part of what motivated Davis and his preternatural creativity was the desire to prove that a black American man could not only be a great musician, but THE great musician of the 20th century. Without question, representation of the African Diaspora was a huge element in Davis’ music, as evidenced in his song titles, musical movements, and album artwork. This is also what moved Davis to compose the titular tribute to Jack Johnson, the peerless black American boxing champion. Johnson was quoted for the record as stating “I’m Jack Johnson, heavyweight champion of the world. I’m black. They never let me forget it. I’m black all right! I’ll never let them forget it!” I don’t doubt for a second that Davis saw himself and the music he made in the same light.

Davis took pride in his who he was, and provoked conservative white America and the patriarchal-colonial ideas they stood for. This is part of what made Davis so dangerous: not only his defiance of musical conventions, but his defiance of the conventions of the world he lived in. He was unwavering, unafraid, and brazen. No peer was as bold as Davis was during his life, and no one has been since the artist’s passing in 1991. However, the ghost of the trumpeter lingers and continues to haunt the musical landscape of our 21st century. He can be heard in the harrowing hip-hop of Kendrick Lamar, in the fractured electronics of Jlin, the dreary atmospheres of King Krule, and the fuzzed out noise of Ty Segall. Even those who have never listened to Davis’ music are still indirectly influenced by what he forged. Anyone who found solace in the music of Bowie, James Brown, the Stooges, Prince, Eno, or Hendrix has Miles to thank for that.

Miles Davis truly does deserve to be regarded as a legend. For his groundbreaking work in musical experimentation, his profound influence in numerous musical genres, and his constant defiance of the world he lived in, Davis will always remain one of the greatest and most dangerous of musicians who ever lived.

Miles Davis Play List:

1. Miles Davis All Stars - Milestones (Milestones/Sippin' At Bells - Savoy Records - 1946)
2. Miles Davis - 'Round Midnight ('Round About Midnight - Columbia Records - 1957)
3. Miles Davis - Red China Blues (Get Up With It - Columbia Records - 1974)
4. Miles Davis - Water Babies (Water Babies - Columbia Records - 1976)
5. Miles Davis - Jeru (The Birth Of The Cool - Capitol records - 1957)
6. Miles Davis - Will O' The Wisp (Sketches of Spain - Columbia Records - 1960)
7. Miles Davis - Riot (Nefertiti - Columbia Records - 1968)
8. Miles Davis Quintet - Orbits (Miles Smiles - Columbia Records - 1967)
9. Miles Davis - Come Get It (Star People - Columbia Records - 1983)
10. Miles Davis - Miles Runs The Voodoo Down (Bitches Brew - Columbia Records - 1970)
11. Miles Davis - Moja (Dark Magus - CBS-Sony - 1977)
12. Miles Davis - Chocolate Chip (Doo-Bop - Warner Bros Records - 1992)
13. Miles Davis - Shhh (In A Silent Way - Columbia Records - 1969)
14. Miles Davis - Black Satin (On The Corner - Columbia Records - 1972)
15. Miles Davis - Right Off (Jack Johnson/A Tribute To Jack Johnson - Columbia Records - 1971)
16. Miles Davis - Blue In Green (Kind of Blue - Columbia Records - 1959)

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

Thursday, February 01, 2018

Coming Up on Revolution Rock in 2018!

It’s February which means that throughout this month Revolution Rock will devote each episode that airs in February to theme based programming. Dave and co-host Adam have special programming lined up ranging from jazz, punk, post-punk, garage, country, folk and surf. This year’s themed month programming starts off on February 3rd with a program focusing on jazz musician Miles Davis. Revolution Rock airs every Saturday from 7-9 PM on CJAM 99.1 FM in Windsor/Detroit. It can be streamed via cjam.ca and be downloaded via the very same website afterwards.

Revolution Jazz. The Music of Miles Davis
Saturday February 3rd
7-9 PM
CJAM 99.1 FM (www.cjam.ca)

Miles Davis was a pioneer, not only of jazz music, but also of 20th century music in general. The man has played a crucial role in almost every major development in jazz since the 1940’s. He treated the genre not as a set of parameters to follow, but a fluid forum to explore an infinity of possibilities. To appraise the legacy of Miles Davis, it would be too restrictive to simply focus on one album or even a single era of his career. His exercises in “cool jazz” (see Birth of the Cool) from the 1950’s marked a major shift in post-bebop jazz, introducing a range of classical music techniques into both Davis’ sound and the genre itself. ‘Round About Midnight defined the hard bop subgenre, along with the works of fellow legends like Coltrane and Rollins. Kind of Blue not only changed the landscape of jazz again through its use of modality (using musical modes as opposed to standard chord progressions), but the record also remains the best selling jazz album of all time.

His late 1960’s collaborations with producer Teo Macero (In a Silent Way, Bitches Brew, and A Tribute to Jack Johnson) not only invented jazz fusion, but also caused an uproar amongst fans equal to the controversy of Dylan’s “electric era”. Then there are his later era experiments in augmenting jazz and electronic music, resulting in groundbreaking and boundary defying records like On the Corner and Doo-Bop. To say the least, it’s hard to pin Davis down as simply a musician of one movement or style. His music was always in flux, never static, never the same. Like the compositions he poured so much energy into, he refused to travel the safe road or follow the path expected of him. Davis was a musical subversive, never resting on his laurels and never satisfied with repeating himself. To celebrate Black History Month, Revolution Rock will feature a program devoted to the music of Miles Davis. This episode will focus on a selection of his recordings throughout his long career.

Rebellious Jukebox: The Music of The Fall and Mark E. Smith
Saturday February 17th
7-9 PM
CJAM 99.1 FM (www.cjam.ca)

Mark E. Smith was one of post-punk’s great deconstructionist agitators. In his forty year career with The Fall, Smith didn’t so much act as a band leader as much as a sonic provoker. While The Fall has literally hundreds of tracks to its name, the compositions arranged by Mark E. Smith and his ever-rotating roster of musical accomplices rarely felt like songs in the traditional sense. The angular and abrasive music made by the band, led by Smith’s idiosyncratic style of spoken/sung fractured rambling, felt more like odd aural experiments, strange tone poems, and at its most extremes, broadcasts from some alien radio station. Smith, while lazily attributed the status of rock-poet, hardly used language to elucidate or beautify. Smith’s strength was in demonstrating the malleability of language, fracturing familiar phrases, garbling syllables, and patch-working words to create a seemingly new variant of English. If anything, Smith showed the arbitrariness of spoken language, taking a piss of the idea of the songwriter/poet, while paradoxically demonstrating astonishing creativity in his heedlessly irreverent compositions. The Fall have released 31 full-length albums, 32 live albums, 40 compilation albums, and many other variants on the recorded album format. This show will feature a selection of songs from The Fall’s prolific, daunting discography.

Northern Passages: The Sadies Radio Special & An Interview With Travis Good
February 24th, 2017
7-9 PM
CJAM 99.1 FM (www.cjam.ca)

The Sadies are described as a Canadian rock/country and western band. Coming from Toronto, Canada, the band is comprised of brothers Dallas and Travis Good, Sean Dean and Mike Belitsky. Dallas and Travis come from a country music family. They are the sons of Margaret and Bruce Good, as well as the nephews of Brian and Larry Good who are members of the Canadian country band, The Good Brothers. Forming in 1994, The Sadies developed their own take on country and western music, incorporating elements of surf, garage rock and other genres. Their first album was released in 1998, and was entitled Precious Moments. In 2007 their album New Seasons earned a Polaris Prize nomination, 2010’s Darker Circles was nominated as well. In addition to releasing numerous albums (their 10th full-length album Northern Passages was released in 2017), The Sadies have also collaborated, performed and recorded with other musicians such as Andre Williams, Neko Case, Blue Rodeo, Garth Hudson, John Doe, and Gord Downie. This is in addition to being involved with other bands such as The Unintended, Heavy Trash, Shadowy Men On A Shadowy Planet and other groups. This episode will focus on the discography of music involving The Sadies and some of the other artists they have collaborated and recorded with. This episode will also feature an exclusive interview with Travis Good of The Sadies!

Revolution Surf: The 12th Edition: New Surf, Old Surf and Surf in Film
March 3rd, 2017
7-9 PM
CJAM 99.1 FM (www.cjam.ca)

Surf music started out by branching off as a subgenre of rock music in the late 50s. The songs were instrumental, had no vocals and were dominated by electric guitars drenched with reverb sound effects. It became associated with surf culture, initially in Southern California. It was first popular from about 1962-1964, and branched off itself into other forms, instrumental and vocal based. Since then, surf music has re-emerged into rock music, in yet other forms. It is sometimes subtle, combined with other forms of rock and sometimes it is still instrumental. On February 24th, the 12th edition of Revolution Surf, a program made up entirely of surf and instrumental music will air on CJAM FM. The music on this episode will take a dive into the world of surf songs that have been featured on movie soundtracks and will also feature a collection of new and older surf/instrumental tracks. Expect to hear some music from films such as 1963’s Beach Party, Don’t Make Waves (1967), The Endless Summer (1966), Tales of The Rat Fink (2006), Psycho Beach Party (1996), as well as other films and more! Derk of Surf Rock Radio’s, The Surfphony of Derstruction 2000 will also make an appearance on this program, broadcasting his own playlist of newer surf tracks.

*Note: Due to weather related issues, the February 10th edition of Revolution Rock was a repeat of one of last year's theme month programs. This year's theme month will end on March 3rd with the annual surf rock special.

Saturday, January 27, 2018

Visitors Poet's End & shows # 704, 705, 706


Visitors were a band from Edinburgh, Scotland that formed in 1978. Initially known as The Deleted, the band’s original sound was that of a garage band and was influenced by the early music of The Clash, Sex Pistols, Buzzcocks and others. When they changed their name to Visitors, the band also changed the sound of their music. Relying more on influences such as Wire, Teardrop Explodes and Joy Division, Visitors were made up of brothers John McVay (keyboards/guitar/vocals) and Derek McVay (bass/vocals), as well as Colin Cragie (guitar/vocals) and rotating drummers Alan Laing and Keith Wilson. Their sound was more atmospheric, adding the element of keyboards, and could be described as post-punk. Their first release, Electric Heat, was put out on the Deep Cuts record label in 1979. This short-lived label was run by Johnny Waller, who in addition to managing the band also ran a music/punk fanzine called Kingdom Come.

“Electric Heat” is dominated by creepy sounding keyboards, fiery electric guitar, bass parts and military-like drumbeats that simmer in the verses and engulf the listener in the choruses. “Moth”, the second song on Electric Heat, reflects a desire to not be like everybody else and to follow your own direction, amongst fluctuating keyboards that fly throughout the verses and choruses, in between the distorted guitar and thumping basslines, while the third song on this release, “One Line” changes the mood and pace. The song, originally titled “The Circle” pulls in an almost Magazine influence, with lyrics such as “Atmosphere/Contained in a box”, “What did they do to deserve no pain/A cavern of echoes” and “Circles are vicious/But results remain the same”, is about situations that come back to you that you can’t get out of and that always follow you around (as stated in a Kingdom Come interview in 1979). This song also ventures into what was eventually called dark wave music.

These three songs drew the attention of legendary DJ John Peel, who played these tracks on his BBC radio program several times. The band would do three Peel Sessions for his program due to the momentum that this release gained. The band’s second and third singles were funded by Peel himself and the recordings came from session tracks that were recorded for the John Peel radio program. 1980’s Empty Rooms single, also featured three tracks, “Empty Rooms” which benefited from stronger production and was dominated by a more produced sound, dominated by bass and subtle keyboards that lurk in the background, “The Orcadian” features wild guitar stabs, revolving basslines and emphatic vocals, “Visitor” sounds like it could have been written for a B-horror movie. Visitors third single, Compatibility, was culled from the band’s second Peel Session and featured the song “Compatibility”, that attacks with a more angular/funkier groove and “Poet’s End”, which is an anthemic, almost seven-minute track. With this single, the band explored their sound and lyrics with further depth, but it would be their last single that was released while they were still a band. Following a shift in the band line-up and one more Peel session, which produced three more tracks, Visitors were essentially over. They had an arrangement to record a full-length record with 4AD, but disbanded before they could record it.

Enter 2016, when Toronto based label, Telephone Explosion compiled Visitors three singles and four unreleased tracks from the band’s John Peel sessions for a compilation retrospective release entitled Poet’s End. Of the four unreleased tracks, “Our Glass” digs in with a deep bass groove, echoing drums, modulating keyboards, sparse guitar work and strong vocals. As a whole the song evokes a disturbing landscape with lyrics such as “Search out the grain/All sad within/Within our truth”. “Pattern” brings forth claustrophobic rhythms and keyboard/synth sounds, “Exploiting The Masters”, and “Distance” both add to the bands moody, darker post-punk sounds. Poet’s End is a well-compiled retrospective from a band that would have otherwise been lost in the roster of Scotland’s punk/post-punk era.

Pick up a copy of Poet's End from Telephone Explosion here!

Show 706 Play List (Nap Eyes, The Fall, David Byrne)(Originally Aired On January 27th, 2017):

1. Nap Eyes - Every Time The Feeling
2. Supergrass - Kick In The Teeth
3. Sufis - Another Way
4. Orange Kyte - Microdose
5. Raleigh - Dead In Tracks
6. The Fall - Hot Cake
7. The Fall - Couldn't Get Ahead
8. The Fall - Jawbone and The Air Rifle
9. The Fall - Living Too Late
10. The Fall - Your Heart Out
11. Storc - Recalibrate
12. William Shatner- Garbageman
13. Deja Voodoo - Bound For Glory
14. Dik Van Dykes - (I Was A) Teenage Gumby
15. The Nelsons - State Police (Demo)
16. Lost Patrol - See Me Now
17. Laps - Essential
18. David Byrne - Everybody's Coming To My House
19. Talking Heads - Warning Sign
20. Ty Segall - Main Pretender
21. Tough Age - Piquant Freeze
22. The O-Voids - Next Week
23. Danny & The Darleans - Dr. Finger
24. Bobby Fuller & The Fanatics - Our Favorite Martian
25. The Try-Umphs - The Incomplete Enchantres
26. The Fall - Neighbourhood Of Infinity
27. The Fall - To Nkroachment: Yarbles

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

Show 705 Play List (Mudhoney, The Replacements, Daniele Lupi, AC/DC and Motorhead)(Originally Aired On January 20th, 2017):

1. Mudhoney - In The Blood
2. Mudhoney - Six Two One
3. Klazo - Restrictions
4. Klazo - Med-Functions
5. Pow Wows - Surfin' Dirge
6. The Shin-Diggers - The Mummy Walk
7. Huevos Rancheros - American Sunset
8. Urban Surf Kings - Surf Vs. The Flying Saucers
9. Tweedy - Low Key
10. Yellow Feather - If You Ain't Cheatin'
11. Johnny Cash - Big River (1964 Columbia Version)
12. Dragsville - That Girl
13. Baby Giant - Wyoming
14. John Cale - You Know More Then I Know (John Peel Session 1975)
15. The Replacements - Bent Out Of Shape
16. The Replacements - Someone Take The Wheel
17. The Replacements - Nobody
18. AC/DC - Show Business
19. AC/DC - Rocker
20. Motorhead - I'll Be your Sister
21. Motorhead - (We Are) The Road Crew
22. The O-Voids - One-Two
23. The O-Voids - On Fire
24. Preoccupations - Espionage
25. Tim Darcy - You Felt Comfort
26. King Khan - Born In 77
27. Hot Snakes - Six Wave Hold Down
28. King Gizzard & The Lizard Wizard - The Castle In The Air
29. Daniele Luppi & Parquet Courts - Talisa
30. Daniele Luppi & Parquet Courts - Memphis Blues Again

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

Show 704 (The Rolling Stones On Air, Bloodshot Bill, Visitors)(Originally Aired On January 13th, 2017):


1. The Black Angels - Comanche Moon
2. Nick Cave & The Bad Seeds - Moonland
3. Le Kidd & Les Marinellis - T'es Pas D'ici
4. Phil Jones & The Unknown Blues - If I Had A Ticket
5. Van Morrison - Goodbye Baby (Baby Goodbye)
6. The Tornadoes - Jungle Fever
7. Jeff Rosenstock - Beating My Head Against The Wall
8. Buzzcocks - Nostalgia
9. Pixies - Tony's Theme
10. No Fix - Local Boys
11. Paul Jacobs - Worn Out Working
12. Wine Lips - Opera Ghost
13. Bloodshot Bill - Gonna Get Gone
14. Bloodshot Bill - Don't Wanna See You Anymore
15. Hank Williams - Ramblin' Man
16. Townes Van Zandt - Mr. Mudd & Mr. Gold (Live At The Old Quarter)
17. Tom Waits - Buzz Fledderjohn
18. Bob Dylan & The Band - 2 Dollars and 99 Cents
19. Devo - Jerkin' Back and Forth
20. Wire - Practice Makes Perfect
21. Preoccupations - Degraded
22. Teenage Head - Teenage Beer Drinking Party
23. Grassy Knoll & The Magic Bullit - In The Distance
24. The Zombies - Friends of Mine
25. The Rolling Stones - Come On (BBC Session)
26. The Rolling Stones - (I Can't Get No) Satisfaction (BBC Session)
27. The Tornadoes - The Gremmie
28. The Oblivians - You Better Behave
29. The Oblivians - Trouble
30. Visitors - Electric Heat
31. Visitors - Our Glass

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

Saturday, January 06, 2018

2017 Highlights & Shows # 702 & 703

For my best of 2017, me and my co-host selected 10 albums that we each liked and played these and other selections from 2017 across two episodes. You can download these episodes under the playlists below. I’ve included each of our top 10 lists in this post, followed by a little write-up of each of our top five albums that we liked from 2017.

Dave’s Top 10 Albums of 2017:

1. The Sadies - Northern Passages
2. Chad VanGaalen - Light Information
3. Ty Segall - Ty Segall
4. Dion Lunadon - Dion Lunadon
5. King Khan Murderburgers
6. Oh Sees - Orc/OCS - Memory of a Cut Off Head
7. Protomartyr - Relatives In Descent
8. The Courtneys - II
9. Black Lips - Satan’s Graffiti or God’s Art?
10. Teenanger - Teenager

Adam’s Top 10 Albums of 2017:

1. Mount Eerie - A Crow Looked At Me
2. LCD Soundsystem - American Dream
3. Ty Segall - Ty Segall
4. King Drule - The Ooz
5. Slowdive - Slowdive
6. Priests - Nothing Feels Natural
7. Perfume Genius - No Shape
8. The Courtneys - II
9. Protomartyr - Relatives In Descent
10. Father John Misty - Pure Comedy

A Few Write-ups From A Selection of Our Top 10 Lists:

Dave's Top Five:


1. The Sadies – Northern Passages


Northern Passages is the 10th full-length album released by Toronto’s The Sadies, who formed in 1994. This album makes connections with the band’s past, musically and spiritually as well as connecting with the present and future. Several of the songs on Northern Passages are like walking into a wide-open field. With each track The Sadies make new paths and breathe new life into previous paths that they’ve travelled through in the past. “Riverview Fog” opens Northern Passages in a psychedelic folk fashion. It is slow and conjures up the feeling of walking on an overcast day prior to a rainfall. Lyrically the song acts as a letter and combination of thoughts to an old reclusive friend that you haven’t spoken to in a while. “Riverview Fog” is said to be about Rick White of Eric’s Trip/Elevator, who alongside Greg Keelor (of Blue Rodeo), Dallas Good, Travis Good, Sean Dean and Mike Belitsky of The Sadies played in The Unintended. With lyrics such as “I know that’s not where you’re at today/Stay calm in your quiet getaway”, “Long gone are the days/They’ve all passed away” and “But I know you’re where you need to be/Out in the country”, “Riverview Fog” mixes up a complex pairing of thoughts and reflectiveness, while at the same time displaying a hopefulness. With an overall sound that can be described as an “acid-folk-country-punk trip”, Northern Passages finds The Sadies navigating through familiar and new territories. The Sadies are not travelling through a path less travelled here, but they are creating their own.

2. Chad VanGaalen – Light Information

Chad VanGaalen has always been known for his own unique style, one many call off-kilter indie rock. Recorded and produced by himself (with the exceptions of a few parts on a few tracks), the music on Light Information predates 2014’s Shrink Dust. As usual, VanGaalen’s music takes provides the listener with a different, often darker perspective on many things. Musically, the album produces its own unique rhythms, but at the same time seeming to have more catchy melodies, combined with many of the creepy, paranoid induced lyrics. “Mind Hijackers Curse”, is a warbly post-punk inspired track, “Locked In The Phase” gets more psychedelic, as “Host Body” tells the haunting tale of parasitic demons that “Eat me from the inside/I can already hear them chewing”, but one that seems to bring forth a tale of someone taken over by one of these parasites, to represent and save (or doom) the others. This can be seen as a look into our modern, Internet, quick spread information driven world. A subject that is touched upon in many different ways on Light Information.

“Mystery Elementals” is a fuzz driven track, “Old Heads” is an off-kilter pop song that only VanGaalen could write. Songs about how technologies need to constantly replace, or regenerate itself. “Golden Oceans” dips into garage punk waters, as “Pine And Clover” is a haunting ballad, as the album closer “Static Shape”, combines folk with synthesizer sounds. Light Information as VanGaalen stated in a press release is about “not being comfortable with anything really”. As a result, Light Information revels in unease, producing tales of paranoia, isolation, and alienation, among other themes reflecting our modern technological landscape.

3. Ty Segall – Ty Segall

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. Despite being produced (or recorded by) Steve 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.

4. Dion Lunadon – Dion Lunadon

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. 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.

5. King Khan - Murderburgers

Murderburgers is the first solo album released by King Khan. Khan, who has been releasing music usually of the garage, punk and soul/R&B variety since the early 2000’s, has been part of many bands including King Khan & The Shrines as well as The King Khan & BBQ and countless others. For this album, Khan was backed by Oakland, California band The Gris Gris. Recorded in about a week, the album was produced by Greg Ashley at his Creamery Studio, which is no more. At just ten tracks, the album shows a new depth to the music created by Khan. “Discrete Disguise” is a soulful island ballad, “It’s Just Begin” gives the listener a taste of folk rock, “Run Doggy Run” adds some psychedelic soul sounds to this album’s palate, while “It’s A Lie” brings garage rock flavours. “Born In 77” is a proto-punk Stooges rave-up, “Teeth Are Shite” is a sleazy garage punk track, “Desert Mile” delves into the blues, and “Winter Weather”, the album’s closer, is a slow garage soul ballad. When all ten tracks are put together, the combination of musical ingredients may surprise some, but Murderburgers provides the listener with an eclectic platter of King Khan’s musical abilities.

Adam's Top Five:

1. Mount Eerie – A Crow Looked at Me


There is a clear distinction between A Crow Looked at Me and other recent releases that address leaving behind this mortal coil, such as Blackstar or You Want it Darker. The later albums are exercises in accepting mortality. Elverum’s record details the experience of losing a loved one. In 2016, Elverum’s wife Geneviève Castrée the Washington based singer, performer, and visual artist passed away from pancreatic cancer. A Crow Looked at Me is the aftermath of this loss, recounting in excruciating detail the process of mourning Phil Elverum went through. There is something so pure and raw in his depiction of the day-to-day aspects of life after his wife’s death that truly underscore the loss. It is these minor details, the eruption of grief that comes from the most seeming mundane of events, that tangibly relay this experience: trying to remember whether she liked Canadian Geese, sorting items in her vacant room, and crying after receiving a backpack in the mail she had ordered for their daughter.

For anyone who has dealt with the death of a loved one, A Crow Looked at Me will resonate all too strongly. Elverum never obfuscates or embellishes, but gives direct and impactful descriptions in his songs. On the album’s final song, Elverum recounts a trek with his daughter where they spot a crow circling overhead. Rather than a sign of resolution, the crow acts as a reminder of the presence death constantly has over them. It is a sobering admittance that there is neither consolation nor closure. To the album’s credit it offers no instructions on how to deal with grief, for there are none. A Crow Looked at Me is a painful record. However, it may be the most crucial record of 2017. During a polemic year in which the divisions of politics, race, class, gender, and privilege have been reminded to us again and again, Elverum has produced a work that talks about one of the few truly universal subjects that crosses all divisions and boundaries. By articulating his personal pain, Elverum reminds us of the one aspect in which we are the same.

2. LCD Soundsystem – American Dream

If you would have asked me at the beginning of the year whether the world needed another LCD Soundsystem album, my answer would have been a resounding “no.” I thought I had my full of the nostalgia-drenched, new wave tinged dance-rock that the band helped to popularize in the late 2000’s. Yes, Murphy is still pilfering riffs from late 70’s art-rock (the grinding guitars of “Change Yr Mind” take liberally from Brian Eno’s “No One Receiving”). Yes, the album still permeates with fat, warm sounding synths. And yes, Murphy still waxes philosophically over his growing alienation from the youth culture he once inhabited. However, for all the familiarity there is also a lot of change. The album is less dance-oriented than its predecessors, marked by slower paced songs and darker textures. There has never been so much atmosphere on an LCD Soundsystem record before. As a result the album projects a very serious mood that is all too appropriate for the matured lyrical focus of James Murphy.

As one would suspect from a title like American Dream, the album sees Murphy casting a critical eye towards the society around him. Online, commercial, and youth culture are thoroughly scrutinized, all the while Murphy tackles these subjects with humour, nuance, and refreshing self-awareness. Some topics broached include government surveillance (“Other Voices”), the escalating political and ideological rifts within America (“Call the Police”), and the false promises of individual identity offered by consumer culture (“Tonite”). While darker in scope than any of the band’s previous releases, the album’s bleakest moment is left for its closer: “Blank Screen,” a slow pulsing eulogy for Murphy’s deceased friend and musical idol David Bowie. More than just an acceptable return to the studio, American Dream acts as a revitalization for the group. It is a warts-and-all snapshot of what it means to live in America in 2017, and perhaps the band’s best and most mature record.

3. Ty Segall – Ty Segall

Ty Segall is the logical culmination of the artist’s past ten years of output. For 36 glorious minutes the garage-rocker rummages through the sounds of The Beatles, Stooges, and Syd Barrett to create a kaleidoscopic sonic experience.“Break a Guitar” is not so much a song but an anthem, celebrating the destructive and creative powers of rock. “Orange Colour Queen” is Segall’s most beautiful and emotive ballad to date. Then there is the 10 minute freak out “Warm Hands (Freedom Returned)”, the definitive moment of the rocker’s career - Ty sounds like he is exorcising the ghosts of Hendrix, Bolan, and Ashton throughout with his incendiary playing. In a year when rock music seems to be losing its presence in the van guard of modern popular music, Ty Segall is an electrifying reminder of the energy, passion, and rawness that makes this music so powerful.

4. King Krule – The Ooz

On The Ooz, Archy Marshall does the inexplicable: the artist doesn’t so much create an album, but a country of sound. In this new land the searing psychobilly of the Birthday Party sits comfortably beside icy Wu-Tang hip-hop, ambient soundscapes merge into indie-guitar freak outs, and the line between dissonance and melody is irrevocably blurred. This 70 minute downer-rock suite takes the best of what Marshall did in the past and magnifies it; Marshall has never sounded as melancholic as on “Slush Puppy,” as contemplative as on “Half Man Half Shark,” or as vicious as on “Dum Surfer.” An epic and immersive listen.



5. Slowdive – Slowdive

Slowdive could have been a simple cash-in, banking on 90’s indie nostalgia for the band’s signature guitar based dream-pop. Instead, it turned out to be one of the most powerful statements of the group’s career. Familiar shoegaze guitars and hazy vocals are paired with more innovative arrangements, vaster atmospheres, and an increased focus on volume. While most bands tend to soften with age, Slowdive have never sounded as explorative or self-assured as on “Roving Star” and “Slomo.” These intense numbers are aided by the album’s production, which relies on live-recording rather than the processed textures of their earlier work. The result is Slowdive’s rawest record to date, an album that pays homage to the band’s legacy while simultaneously striving for innovation.


Show 703 (Best of 2017 Part Two):

1. James O-L & The Villains - Back Then (Wild Goose Jack EP - Famous Last Records - 2017)
2. Diane Motel - Get Through To You (Lonesome For The Colour - 2017)
3. Ariel Pink - Bubblegum Dreams (Dedicated Bobby Jameson - Mexican Summer - 2017)
4. Tough Age - Everyday Life (Shame - Mint Records - 2017)
5. Cellos - Demagogue (The Great Leap Backward - Harbour House - 2017)
6. Tobin Sprout - Future Boy/Man of Tomorrow (The Universe and Me - Burger Records - 2017)
7. Sprinters - Young As Me (Sprinters - Icecapades - 2017)
8. Thee Rum Coves - Behind Your Smile (Out Tonight EP - Aeroplane - 2017)
9. Chain & The Gang - Rome Wasn't Burned In A Day (Experimental Music - Radical Elite Records - 2017)
10. Alvvays - Hey (Antisocialities - Polyvinyl Record Co. - 2017)
11. Kevin Morby - 1234 (City Music - Dead Oceans - 2017)
12. Slowdive - Star Roving (Slowdive - Dead Oceans - 2017)
13. King Khan - Winter Weather (Murderburgers - Khannibalism - 2017)
14. King Krule - Half Man Half Shark (The Ooz - True Panther Sounds - 2017)
15. Dion Lunadon - Com/Broke (Dion Lunadon - Agitated Records - 2017)
16. Ty Segall - Paper (Ty Segall - Drag City Records - 2017)
17. Ty Segall - Warm Hands (Freedom Returned) (Ty Segall - Drag City Records - 2017)
18. LCD Soundsystem - Emotional Haircut (American Dream - DFA Records/Columbia - 2017)
19. Chad VanGaalen - Old Heads (Light Information - Sub Pop - 2017
20. Mount Eerie - Ravens (A Crow Looked At Me - P.W. Elverum & Sun - 2017)
21. The Sadies - There Are No Words (Northern Passages - Yep Roc Records/Dine Alone Records - 2017)
22. The Sadies - It's Easy (Like Walking)(Northern Passages - Yep Roc Records/Dine Alone Records - 2017)

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Show 702 (Best of 2017 Part One):

1. The National - Turtleneck (Sleep Well Beast - 4AD - 2017)
2. Tim Darcy - Tall Glass of Water (Saturday Night - Jagjaguwar - 2017)
3. Aron D'Alesio - Where You Going To (Aron D'Alesio - Paper Bag Records - 2017)
4. Paul The Tailor - Two Brains (Paul The Tailor - 2017)
5. Lucille Furs - Please, Give Her The Letter (Lucille Furs - 2017)
6. (Sandy) Alex G. - Judge (Rocket - Domino Recording Co. - 2017)
7. Courtney Barnett & Kurt Vile - Fear Is Like A Forest (Lotta Sea Lice - Matador Records - 2017)
8. Daniel Romano - Roya (Modern Pressure - New West Records - 2017)
9. Deer Tick - Jumpstarting (Vol. 1/Vol. 2 - Partisan Records - 2017)
10. Sam Coffey & The Iron Lungs - Judy (Sam Coffey & The Iron Lungs - Burger Records/Dine Alone Records - 2017)
11. Guided By Voices - Keep Me Down (August By Cake - Guided By Voices Inc. - 2017)
12. Dusty Mush - I Ate your Dog (Cheap Entertainment - Stolen Body Records - 2017)
13. Wolf Parade - Valley Boy (Cry Cry Cry - Sub Pop - 2017)
14. Father John Misty - Total Entertainment Forever (Pure Comedy - Sub Pop - 2017)
15. Teenanger - Fun Forgot (Teenager - Telephone Explosion - 2017)
16. Protomartyr - Here Is The Thing (Relatives In Descent - Domino Records - 2017)
17. Black Lips - Crystal Night (Satan's Graffiti Or God's Art? - Vice Records - 2017)
18. Black Lips - Wayne (Satan's Graffiti Or God's Art? - Vice Records - 2017)
19. The Courtneys - Silver Velvet (II - Flying Nun Records - 2017)
20. The Courtneys - Country Song (II - Flying Nun Records - 2017)
21. The Courtneys - Minnesota (II - Flying Nun Records - 2017)
22. Perfume Genius - Slip Away (No Shape - Matador Records - 2017)
23. Protomartyr - A Private Understanding (Relatives In Descent - Domino Records - 2017)
24. Priests - Appropriate (Nothing Feels Natural - Sister Polygon Records - 2017)
25. OCS - The Chopping Block (Memory Of A Cut Off Head - Castle Face Records - 2017)
26. Oh Sees - Jettisoned (Orc - Castle Face Records - 2017)

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