Saturday, April 16, 2016

Parquet Courts Human Performance & Show # 599

There’s a certain feeling one gets when late at night you look out into the city. In these late night hours people often have a mixture of emotions, deep thought and abstract thought. It is these things that people think about as their minds drift that Parquet Courts draws inspiration from for their newest album, Human Performance. The band has stated that Human Performance was inspired by “The unavoidable noise of NYC that can be maddening, the kind of the impossible struggle against clutter, whether it’s physical or mental or social”. With musical comparisons to bands such as The Velvet Underground, Pavement, The Modern Lovers and Wire, Parquet Courts have built their own blend of music that combines punk, post-punk, garage and sometimes-psychedelic influences. Lyrically, the band operates at a different level.

“Dust” opens the album with the sounds of an early city morning before a sinewy, scratchy rhythm drifts in with repetitive lyrics. The lyrics and cloudy atmosphere displayed here are combined with the words “Dust is everywhere/Sweep”, which could be in reference to an old city stuck in its own mess or a train of human thought that needs investigating. This is something that Parquet Courts delve into throughout Human Performance’s 13 tracks. “Dust” ends with what sounds like a subway train speeding up really fast before we hear the familiar sounds of busy city traffic. “Human Performance” grooves with mellow, modulating bass melodies, scratchy guitar rhythms and lyrics that are soulful and reflect on the promise of love, forgiveness, and how haunting it can be without it. These heavy lyrics show us a different type of Parquet Courts, where they are often known for their intellectual, witty lyrics, “Human Performance” has lyrics that are emotionally critical. “Outside” sung by Andrew Savage deals with his existence and mortality. This short track is further example of the band’s variety in lyrical content, while musically the song is a quick garage pop gem. It glows with a beaming, yet confused charm.

“Paraphrased” balances between heavy guitar chord structures and more mellow subdued, catchy elements. In this song Savage sings at one point “Sometimes I can’t be repeated/Sometimes I can’t be paraphrased”, he seems to be commenting on the band’s output as of late and perhaps even their craft for their music. Parquet Courts released an EP last year Monastic Living, and two albums in 2014 Sunbathing Animal and Content Nausea, under the name Parkay Quarts. With all of these releases, critics have tried to pin down the band’s sound as punk, indie rock or as the band being slackers, however, with each release the band has revealed something different. “Captive Of The Sun” reveals a more introspective outlook, as musically it reflects the bands garage influence at a simmering, mid-tempo pace. “Steady On My Mind” sung by Austin Brown showcases a slow, hazy, sound, “One Man, One City” features an off-kilter approach with bongos, while “Berlin Got Blurry” features a dusty, western styled guitar riff.

Released as one of the early singles for Human Performance, “Berlin Got Blurry” shows off the bands post-punk influences and scruffy garage dynamics with bouncy, soulful bass riffs. The song itself seems to tell disillusioned tales of human experiences ranging from frustrations with cell phone service to street food. The song taps into a feeling of humour and disgust. “Keep It Even” brings forth a country/folk approach and features guitar contribution from Wilco’s Jeff Tweedy, as does the albums opening track “Dust”. A short punk blast comes in with the track “Two Dead Cops”, while “Pathos Prairie” is a song that questions self-doubt, worry and calls for a personal change amongst its raunchy stop and start garage riffs. “It’s Gonna Happen” ends Human Performance unlike any song in the band’s catalogue. Written by bassist Sean Yeaton, this song features a waltz-like beat as sweeping sounds drift in the background. This sound takes over as the album ends with a chilling nighttime air feeling. Drawing comparisons to Lou Reed and sung in a Leonard Cohen drawl, Yeaton seems to question conventions in Human Performance’s closing track.

Throughout Human Performance, Parquet Courts draw their lyrical inspirations from urban decay, human emotion and critical thoughts of self-doubt. It is here where the band achieves what people love about them the most. Their highly critical and intellectual lyrics are on par with bands such as Wire, Swells Maps, Pere Ubu, The Modern Lovers, and The Fall, among others. The music found on Human Performance also makes connections to the songs and sounds found on 2013’s Light Up Gold. It is also the complete opposite of 2015’s Monastic Living. This noisy/experimental release featured only one song with lyrics. As Parquet Courts gaze away from their thoughts that reflect a look out in New York City, they make broader strokes, finding a larger scope within their lyrical and musical grasp. With Human Performance, Parquet Courts achieve their most realized effort to date.

Saturday Night Playlist:

1. The Panasonics - Panpede
2. Crossfires - Fiberglass Jungle
3. Violent Femmes - Holy Ghost
4. Shotgun Jimmie - Triple Letter Score
5. Notta Comet - Slipstream
6. John Cale & Friends - Ghost Story (Live at the Ocean Club 1976)
7. Prehistoric Cavestrokers - Cavebangin’
8. The Real Kids - Shake Outta Control
9. Sam Coffey & The Iron Lungs - Born 2 Be Abused
10. Strange Attractor - Nature Man
11. Esther Grey - Fried Blood
12. Protomartyr - Dope Cloud
13. Ramones - Ramona
14. Frank Black - I Heard Ramona Sing
15. Metros - In With The Crowd
16. Elvis Costello & The Attractions - This Year’s Girl (Alternate Eden Studios Version)
17. Tacocat - I Hate The Weekend
18. Pylon - Gravity
19. Pylon - Yo-Yo
20. B-Sides - Underground Radio Stars
21. Lounge Lizards - My Clown’s On Fire
22. Operators - Rome
23. The Radiation Flowers - Wall Of Gold
24. Bob Mould - Pray For Rain
25. DIIV - Out Of Mind
26. Young Rival - Let Me Go On
27. Parquet Courts - Paraphrased
28. Parquet Courts - Human Performance

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

Saturday, April 09, 2016

Iggy Pop Post-Pop Depression & Show # 598

Recorded in secret, Iggy Pop’s Post-Pop Depression started with a text message in March of 2014. Iggy contacted Josh Homme about collaborating together and shortly after the process began. The intention was to create not a heavy record, but a content heavy record. It was to be self funded by both Pop and Homme to avoid outside influences. The two exchanged ideas and Pop even provided Homme with a song-by-song breakdown of his 1977 album Lust For Life. The two brought unfinished ideas to each other and they began working as a two-piece then the remainder of the band was brought in. Hand selected by Josh Homme, Royal Oak, Michigan native Dean Fertita (of The Dead Weather, Queens Of The Stone Age) was brought in and contributed guitar, piano, bass and synthesizer to the album and English drummer Matt Helders (of Arctic Monkeys) contributed drums, percussion and backing vocals.

Post-Pop Depression was recorded in approximately three weeks. The recordings were produced by Josh Homme in Rancho De La Luna in Joshua Tree, California and at Pink Duck studios in Burbank, California. “Break Into Your Heart” starts off the album. This dirty garage blues romp was apparently inspired by the path that Iggy Pop set beginning with The Stooges up to 1977’s Lust For Life and can be seen musically as having ties to early Stooges material and some of his more soulful solo offerings. “Gardenia” is a song features rotating synthesizers and a heavy bassline that sounds like it could be a combination of elements from songs found on 1977’s The Idiot and Lust For Life. It sounds like a meeting point of the two, while lyrically the song revolves around an experience that Iggy Pop had in San Francisco that involved an exotic dancer of the same name and Allan Ginsberg. Being the first single released from Post-Pop Depression, “Gardenia” is a perfect example of this album’s content heavy intentions. The lyrics of the song weave in and out of the music like someone reciting a short story from memory after a few drinks. “American Valhalla” begins with xylophone before a sludgy bassline creeps its way in, as lyrically Pop seems to be questioning his own mortality and legacy. This song has quickly skyrocketed up the list of their favourite all time tracks recorded by Iggy Pop.

“In The Lobby” shuffles with the same visceral guitar lines as the ones found on “Sister Midnight” while the bass and drums fill in the background space. Lyrically, Pop talks of “Following his shadow/And It led me here” as he questions temptations, and what seems to be a battle between Iggy Pop and Jim Osterburg. “Sunday” comes in with a Bowian disco groove. The song ends in an orchestral chorus complete with female vocalists and an atmosphere like it could have been lifted from a black and white foreign language film. “Vulture” features acoustic guitar from Mr. Pop and a build up of Western styled instrumentation reminiscent of something from an Enino Morricone soundtrack. ‘German Days” features one of the best intros on this album. A combination of stop and start guitar riffs before descending into hazier rhythms. The song itself seems to be a reflection of a mid 70s period in Berlin as the song drives along with rich, dark textures.

“Chocolate Drops” dips into a soulful groove. Lyrically, the song displays a sense of hopefulness. The character in the story delves into loneliness and passion with a certain intensity. “Paraguay” ends Post-Pop Depression at track number nine. Pop sings of getting away from it all and going to Paraguay for a simpler lifestyle. The song has been discussed in many reviews as it weighs down at the end of the album in a number of ways. Pop has recently stated that this may very well be his last album. And at 17 albums in and being now 68 years old that is understandable. As the music picks up pace with the ending rant, Post Pop-Depression ends with a middle finger, similarly to the way he started with The Stooges. Post-Pop Depression weaves in and out with lyrical content loaded with metaphors, double meanings and musical landscapes that drift between 1877’s The Idiot, Lust For Life and his early solo output. Post-Pop Depression was recorded in the desert in Joshua Tree, California. Perhaps Pop has entered the very same “burning sands” once described in The Stooges “I Wanna Be Your Dog” or maybe it’s just a mirage. With Post-Pop Depression, Iggy Pop engages the listener and redefines what it means to be a musician and an artist on his own terms.

Saturday Night Playlist:

1. The Teardrops - Seeing Double
2. The Regulators - Cat Eyes
3. Minutemen - Dr. Wu
4. Minutemen - Corona
5. Trout - Burning Fire, The House
6. Kim Gray - Perfume Ghost
7. Iggy Pop - American Valhalla
8. Iggy Pop - Don't Look Down
9. Iggy Pop - Tonight
10. Iggy Pop - Sister Midnight
11. Psychedelic Furs - Flowers
12. Julie Doiron - Soon, Coming Closer
13. Julie Doiron - Taller Beauty
14. Merle Haggard - Someone Told My Story
15. Merle Haggard - No Reason To Quit
16. The Magnificent Bastards - She Won't Do It Anymore
17. Johnny West - Sun Comes Up, It's A One-Legged Segal
18. Johnny West - If At First You Don't Suceed, Redefine Success
19. Benowa - Blue Girl
20. Black Mountain - Florian Saucer Attack
21. Parquet Courts - Berlin Got Blurry
22. Iggy Pop - German Days
23. Iggy Pop - The Horse Song
24. Iggy Pop - Ambition
25. Iggy Pop - Kill City
26. Dead Ghosts - Good Love (Is Not Free)
27. Link Wray - Comanche
28. Captain Beefheart And His Magic Band - Here I Am Here I Always Am
29. David Bowie - Breaking Glass (Live)
30. Eric's Trip - Lightly Feeling
31. Eric's Trip - Nevergrow

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

Saturday, April 02, 2016

Ty Segall Emotional Mugger, Middle Sister Shows # 596 & # 597

Ty Segall’s latest release Emotional Mugger differs from all the albums in his catalogue. Being his eighth full-length album Emotional Mugger slides into a seedy world of temptations, desires, addictions and reactions to the world that is instant social media. The accompanying music video for Emotional Mugger is actually a 14-minute short film. In the film Ty Segall wanders through Los Angeles and as he experiences the less than honest characters in the story, he begins to decay and become physically more grotesque looking as the video comes to an end. On the album Emotional Mugger, Ty Segall explores a similar world within the songs he creates that at times are like little short stories themselves. Musically, this album blends elements of garage, hard rock and noise rock. Synthesizers buzz in and out throughout the album’s eleven-song landscape. Additionally, the album and context presented throughout this creative eleven song venture resemble the elements of Devo’s theory of De-evolution. As we jump further into technology people seem to be digressing.

“Squealer” flirts with seductive keyboard sounds, fuzzy bass octaves and synthy guitar sounds as Ty Segall sings in both his normal tone and a deeper, creepier vocal style. The first two songs are a bit slower paced and less heavy and provide more ominous undertones of what is to come. “Californian Hills” lyrically seems to be a commentary on the typical image of the nuclear family in a modern context. As the song picks up with a frantic pace we are taken into the title track “Emotional Mugger/Leopard Priestess”. The song bends with distorted guitar solos, mechanical sounding keyboards, drums and bass drones. This song with lyrics such as “Shotgun, sugar and spice”, “I am emotional mugger/Like a bag of candy” and several others that are delivered on this track, exemplify the frustrations and complications of instantaneous social media based relationships where “people are victims of their emotional purpose”, as stated in one of the promotional videos released prior to this album. As the album progresses, it gets more aggressive with its explorations in fuzz, distortion and noise. “Breakfast Eggs” is loaded with double entendre and is the first track that the wall of noise begins to intensify.

“Diversion” is a song featuring Dale Crover of The Melvins on Drums and bass from fellow Segall collaborator Mikal Cronin. The song is almost unrecognizable as a cover song. It is actually a cover of The Equals song of the same name. The song’s lyrics seem to portray a miss-step in life choices that eventually brings two people back together again. Although the original is a blend of soulful glam rock and fuzzy guitars, Segall’s noised up version of this song is rather fitting in Emotional Muggers orbit. “Big Baby Man (I Want A Mommy)” musically is a song that provides the listener with an overall unsettling tone. “Mandy Cream” is a bit funky featuring drumming by Charles Mootheart and features additional vocals provided by King Tuff. “Candy Sam” is another noisy, yet catchy track. Segall returns to a fuzzy, funky groove with “Squealer Two”, while “The Magazine” ends the album.

“The Magazine” features dominant futuristic and pulsating sounding basslines, handclaps, distant sounding guitars and vocals displaying Segall’s vocal range. The lyrics “You don’t need a reason/It’s all in the magazine” are loaded with several potential meanings. Emotional Mugger is a step in a noisier, more creative direction from Ty Segall. While it does share some of the very same glam rock and more accessible elements that presented themselves on 2014’s Manipulator, this album has the ability to be seen both as a conceptual album and it doesn’t. If you care to look closely into the lyrics that lurk beneath the heavy sounds on Emotional Mugger’s surface you will find a world of characters and meanings inspired by the frustrations of modern society. If not, the album stands on its own as something different, yet provoking within Segall’s catalogue musically. Unlike the character at the end of the 14-minute “Emotional Mugger” video, Segall doesn’t fall flat here. Emotional Mugger builds itself up with the negative energy from which it draws inspiration and is less accessible in many ways than 2014’s Manipulator. With Emotional Mugger Ty Segall steals from his surroundings and showcases a new noisy depth.


Additionally, this week’s episode of Revolution Rock featured a recording from a CJAM Session done with Windsor’s folk rock group Middle Sister. This is the first in what I plan to be a series of videos featuring live off the floor recordings from bands in Windsor and other parts that come to the area. Check out the video below.

Show 597 Playlist:

1. Parquet Courts - Dear Ramona
2. Meat Puppets - Animal Kingdom
3. Meat Puppets - I Can’t Be Counted On
4. Holding Hands - A Tree Without Its Leaves
5. The Pastels - Up For A Bit
6. Courtney Barnett - David
7. Jerry Jerry & The Sons Of Rhythm Orchestra - Yap Yap
8. South River Slim - Blind Lemon Girl
9. Teenage Geese - Howler
10. Middle Sister - I Want To Be The Man (Alternate Take)(CJAM Session January 2016)
11. The Jesus & Mary Chain - Girlfriend
12. Odonis Odonis - Are We Friends
13. The Dirty Nil - Violent Hands
14. The Cramps - People Ain’t No Good
15. Peanuts Wilson - Cast Iron Arm
16. Bruce Springsteen - State Trooper
17. Shotgun Jimmie - Walkman Battery Bleed
16. Five More - Avalanche
18. Special Edisons - Windingo Psychosis
19. Holy Wave - Night Tripper
20. No Age - C'mon Stimmung
21. Iggy Pop - Break Into Your Heart
22. Teenanger - Big Spirit Payback
23. Noble Savages - She’s So Serious
24. Newtown Neurotics - No Sanctuary
25. The Beat - Rock ’N’ Roll Girl
26. Pointed Sticks - It's O.K.
27. Ty Segall - Californian Hills
28. Ty Segall - Candy Sam

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

Show 596 Playlist:

1. Combomatix - Another Shakin’
2. The Malibus - Cry
3. The Hard Times - I Can’t Wait Till Friday Comes
4. Roxy Music - The Thrill Of It All
5. The Pixies - Broken Face
6. The Yips - Orbit
7. Century Palm - Reasons
8. Pavement - Jackals, False Grails: The Lonesome Era
9. Telegram - Rule Number One
10. The Chills - Silver Bullets
11. The Radiation Flowers - Psychic Attack
12. Safeword - Underwater
13. Trout - Salty Waves
14. Tea Leaves - Bipolar Skies
15. Beck - I Just Started Hating Some People Today
16. Mission Of Burma - Academy Fight Song
17. The Undertones - Mars Bar
18. Pere Ubu - I. Will Wait
19. Randy Rampage - Cheap Tragedies
20. Wire - Too True
21. Wire - Just Don’t Care
22. The Hives - Abra Cadaver
23. Ramones - Endless Vacation
24. Ramones - Howling At The Moon (Sha-La-La)
25. The Scenics - Wild Trout
26. Pylon - Recent Title
27. Milk Toast - Ears Around You
28. The Ronald Reagan Story - Revolutionary Girl
29. The Ronald Reagan Story - Just Another Warning

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

Saturday, March 19, 2016

Sam Coffey Interview & Show # 595

Photo by Murad Erzinclioglu

This week’s episode of Revolution Rock featured an interview with Sam Coffey of Sam Coffey & The Iron Lungs. The band played a show at Phog Lounge in Windsor, Ontario on Saturday March 19th, 2016 along with The Holy Gasp and The Greedy Echoes. The band is currently working on finishing up their follow up to their 2014 release, Gates Of Hell. Check out the interview that I did with Sam and videos of “Calgary Hill” and “We Da Best” by Sam Coffey & The Iron Lungs below.

Check out my interview with Sam Coffey here:


Saturday Night Playlist:

1. The Marvelettes - All The Love I Got
2. The Contours - The Stretch
3. Charles Bradley - Good To Be Back Home
4. Iggy Pop - She's A Business
5. John Cale - Reading My Mind
6. Nap Eyes - Stargazer
7. James O-L & The Villains - Back Then
8. The Holy Gasp - The Love Generation
9. The Greedy Echoes - Ancients (Demo)
10. The Lounge Lizards - Bob And Nico
11. Sam Coffey & The Iron Lungs - Violent Girls

Sam Coffey Interview

12. Sam Coffey & The Iron Lungs - Have A 100
13. Flesh Rag - Electric Dream
14. The Good Things - Ring Of Fire
15. Milk Toast - The Dirtiest Apartment In The Petite-Parrie
16. Hinds - Warts
17. The Beatles - Blackbird
18. The Beatles - Think For Yourself
19. The Beatles - Help (Takes 8 & 9)
20. The Beatles - The Night Before
21. The Beatles - And Your Bird Can Sing
22. The Cure - Play For Today
23. Visitors - Electric Heat
24. Patti Smith Group - So You Wanna Be (A Rock 'N' Roll Star)
25. Ty Segall - Squealer

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

Saturday, March 12, 2016

The Slits, Dion Lunadon & Show # 594

The Slits - Typical Girls

Taken from their 1979 album Cut, "Typical Girls" was a song that blended punk and reggae/dub elements. The song itself questioned the stereotypical pre-set gender roles of women and is still relevant today. Cut as mentioned mixed elements of punk, reggae, dub, should and other genres. It is often referred to as post-punk. Still fairly new to their instruments around the time that this album was being created, The Slits took the punk attitude and ethos and reached beyond its borders into the realm of world music. With Ari Up's erratic vocal style, sarcastic, humorous lyrics and the band's DIY attitude, this album exemplified a certain intensity. The album is also an important one as it helped set forth the foundations for females in punk rock music.

Dion Lunadon - Com/Broke

A new single appeared recently from Dion Lunadon. Previously known for his work in the New Zealand garage rock band The D4 and current bassist in the New York based band A Place To Bury Strangers, Dion wrote this song and several others during a short break in the APTBS touring schedule. Limited to 400 copies "Com/Broke" is as Dion stated "about 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. Lyrically, it’s from the perspective of me being resigned to giving up and essentially giving in. Negative.”

Saturday Night Playlist:

1. The Slits - Typical Girls
2. The Raincoats - Fairytale In The Supermarket
3. The Mo-Dettes - Two Can Play
4. Nico - Winter Song
5. Quilt - Searching For
6. Dr. Dog - Good Grief
7. Fat White Family - Hits Hits Hits
8. The Cave Singers - That’s Why
9. Wired Minds - Where You End And I Begin
10. Iggy Pop - In The Lobby
11. Martha & The Muffins - Echo Beach
12. The Dishrags - Carry On
13. !Action Pact! - People
13. The Dirty Nil - Wrestle Yu To Husker Du
14. The Evaporators - United Empire Loyalists
15. Tea Leaves - Empty Head
16. Run Coyote - Stranger (In My Own Home)
17. Sawhorse - Thinking Of You, Drinking For Two
18. The Byrds - One Hundred Years From Now (Rehearsal Version Takes 14 & 15 - Gram Parsons On Vocals)
19. The Moths - Snake Eyes
20. The 427’s - Fake Betty
21. The Special Edisons - Fresh Pots
22. Light Bulb Alley - Mary
23. Gazebos - Maintenance
24. Minotaurs - Weird Waves
25. The Gories - Ghostrider
26. The Cramps - Voodoo Idol
27. Dion Lunadon - Com/Broke

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for March 12. Or subscribe to Revolution Rock as a Podcast.

Saturday, February 27, 2016

The Instrumental Surf Sounds Of Pulp Fiction & Show # 592

In the days when movies actually had soundtracks that were sold and purchased, there was the Pulp Fiction soundtrack. Released in 1994, it accompanied the equally influential Quentin Tarantino film of the same name and many of the songs in the film were from the 50s and 70s. Shades of R&B, soul, 50s rock n’ roll and surf rock music coloured in the sonic landscapes between the frames of Pulp Fiction. As opposed to having a standard film score, Pulp Fiction featured songs from what many may have thought were lost eras of music which was seen as unconventional at the time. Tarantino did this not only with Pulp Fiction, but also with his first film Reservoir Dogs. The title sequence features the song “Misirlou” Dick Dale & His Del-Tones. This track as well as other instrumental surf oriented rock n’ roll tracks were used partly due to budgetary restriction for the film’s soundtrack. The other reason this type of music was used in the film was as Tarantino has stated, surf music is reminiscent of a rock version of the Spaghetti Western music created by Ennio Morricone.

The unconventional story is told in a non-linear order in Pulp Fiction and the characters exemplify an intensity that is at times is characterized by violence and drug use. The music selected for this film is often contrasted with the music selected for the Forest Gump soundtrack, which features several more conventional selections from similar time periods. And although both films have had an impact on popular culture, the soundtrack to Pulp Fiction is still being talked about. When it was originally released, several of the tracks featured in the film were not on the soundtrack. For example, Link Wray’s “Rumble” is not on the soundtrack, The Robins “Since I First Met You” and “The Marketts “Out Of Limits” are not on the original soundtrack album that was released in September 1994. Seven songs in total were not on the original soundtrack. Dusty Springfield’s “Son Of A Preacher Man”, Kool & The Gang’s “Jungle Boogie”, Chuck Berry’s “You Never Can Tell” and Al Green’s “Let’s Stay Together” were all featured in both the film and on the soundtrack and resulted in resurgences of interest.

Urge Overkill’s version of Neil Diamond’s “Girl, You’ll Be A Woman Soon” helped launch them into the mainstream subconscious. They were also one of the only modern bands at the time to be featured in the film and on the soundtrack. Another interesting fact about this film and soundtrack is the song “Waitin’ In School” is performed in the film by Gary Shorelle and is not available commercially. The song was originally recorded by Ricky Nelson and released in 1957. It is often seen as one of Nelson’s best contributions to the rockabilly genre. Most importantly, surf/instrumental music was in high concentration in the film and on the soundtrack. The Tornadoes “Bustin’ Surfboards”, The Lively Ones “Surf Rider”, Link Wray’s “Ace Of Spaces”, The Centurions “Bullwinkle Part II”, The Revels “Comanche” and of course “Misirlou” by Dick Dale & His Del-Tones all were featured in the film and on the soundtrack. Following the release of this film surf music enjoyed a new sense of resurgence and popularity even appearing in commercials.

By 1996, the Pulp Fiction soundtrack had sold over 2 million copies. With this soundtrack surf music was reintroduced to a new generation of film and music enthusiasts. In the film Vincent and Jules have a conversation about how a lot of things are similar in Paris and Europe, but are done differently. Beer can be purchased at McDonald’s and a Quarter Pounder With Cheese is called a Royale With Cheese in Paris. Pulp Fiction’s soundtrack is a bit like a Royale With Cheese and being able to drink a beer at a fast food establishment. It was a film with a soundtrack featuring a collection of music that had been around for a while, but people may not have been aware of it. Pulp Fiction was a film, but it was done differently. It wasn’t just another soundtrack and film and it was more than just your average hamburger.

Revolution Surf Playlist:

1. Dick Dale & His Del-Tones - Miserlou (Summer Surf - 1964/Pulp Fiction Soundtrack - 1994)
2. The Mel-Tones - In Praise Of The Lime (Surf Sensation - 2004)
3. Marell's Marauders - The Maurauder (Surfin' In The Midwest Surf Vol 3 - 1998)
4. Shadowy Men On A Shadowy Planet - Zombie Compromise (Savvy Showstoppers - 1988)
5. Luau Or Die - Coldwar Cowboy (Dead On The Floor Vol 1 - 2015)
6. Yuzo Kayama - Black Sand Beach 94 (Black Sand Beach - 1994)
7. The Bambi Molesters - Long Gun (Dumb Loud Hollow Twang Deluxe -2003)
8. The Mongols - Nautoloid Reef (Time Machine: The History Of Canadian 60's Garage Punk & Surf 1985-1995 - 1996)

Surfphony of Derstruction 2000 Segment:

9. The Mighty Swells - Zissou Twist (Jaguar Shark Mix) (Off The Top With The Mighty Swells! - 2015)
10. The Fathoms - Fathomized (Overboard - 1998)
11. Takeshi Terauchi & His Blue Jeans - Movin' (Surfing - 1963)
12. The Apeman - Crash (Are You Being Surfed? - 1994)
13. Dick Dale & His Del-Tones - Banzai Washout (Summer Surf - 1964)
14. The Lively Ones - High Tide (High Tide/Goofy Foot -1963)
15. The Hollywood Tornadoes - Moon Dawg (Moon Dawg/The Inebriated Surfer - 1963)

16. The Ghastly Ones - Werewolves On Wheels (Unearthed - 2007)
17. Lee Kristofferson - Night Of The Werewolf (Dinner With Drac - 1977)
18. Tarantula - The Tarantulas (Tarantula/Black Widow - 1961)
17. Link Wray - Ace Of Spades (Ace Of Spades/Hidden Charms - 1963)
18. Shadowy Men On A Shadowy Planet - Having An Average Weekend (Savvy Showstoppers - 1988)
19. Trout - Bite The Tow (Salty Waves/Bite The Tow - 2014)
20. This Machine Kills Robots - Tidal Wave From Beyond The Grave (A Horrid Heart Still Beats In Its Mummified Remains - 2013)
21. The New Waves - Surf Macabre (Surf Macabre - 2009)
22. Atomic 7 - Save Your Fork There's Pie (Gowns By Edith Head - 2002)
23. The Sadies - Lay Down Your Arms (Stories Often Told - 2002)
24. The Replacements - Buck Hill (Hootenanny - 1983)
25. Beachmover - Directed Energy (Do The Microwave) (Beachmover - 2014)
26. X-Ray Cat Trio - The Buzzard's Claw (Out For Blood - 2015)
27. The Bell Peppers - The Spray (Sizzling Hot Bell Peppers - 2013)
28. The Revels - Comanche (Intoxica/Comanche - 1964/Pulp Fiction Soundtrack - 1994)
29. La Luz - Hey Papi (Weirdo Shrine - 2015)
30. The Lively Ones - Surf Rider (Surf Rider! - 1963/Pulp Fiction Soundtrack - 1994)

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

As a side note and for those keeping count, episode 593 of Revolution Rock was a repeat episode that originally aired earlier in February 2016. You can download that episode here and find the playlist in this post.

Saturday, February 20, 2016

Music From The City Of Roses & Show # 591

Located South of Detroit, Windsor, Ontario was first established as a city in 1892. Being a border city Windsor has a diverse and storied history. In the 1920’s when prohibition was instituted in Michigan, alcohol was still legal in Windsor, Ontario. As a result rum running became common practice. In addition to this Windsor and Detroit also share a history with the automotive industry. Sometimes known as the “Automotive Capital of Canada”, Windsor has been and still is a major contributor to Canada’s automotive industry. Musically, Windsor has an early history being involved with choral and orchestral music. In the 1950’s Windsor began making a transition to more rock and roll oriented music. Prior to this there were also several big band musical acts.

While it hasn’t always been the best documented, Windsor’s independent music scene saw several influential bands in the 1980s. The Spy’s were one of these influential bands. They were a short lived punk band that only ever released one single “Underground/Machine Shop” in 1980. Several other bands were around at that time as well in the vein of 70s punk rock such as The Dry Heaves among others. The late 80s brought bands such as The Prehistoric Cave Strokers and The Lost Patrol. Other notable bands in Windsor’s history include 50’s rockabilly artist Jack Scott (who was born in Windsor, but raised in Detroit), Luxury Christ (a more of a performance art piece band from the 90s), Hung Jury, Toast, What Seas What Shores, Orphan Choir, The Locusts Have No King, The Golden Hands Before God, Johnny West, Measured In Angles, Citywide Vacuum, Mr. Chill & The Witnesses, James O-L & The Villains, Tara Watts and many others. Windsor’s independent music scene continues to strive and provide a wide range of diversity today ranging from punk and heavy rock bands, to folk, country, blues, acoustic, post-rock and numerous other types of genres. Being South of Detroit, Windsor and Detroit definitely share a sense of diversity in their arts communities. This episode of Revolution Rock focused on some of the more obscure music from Windsor’s past and present independent music scenes.

Windsor Past & Present Playlist:

1. Orphan Choir - New Rituals (Orphan Choir - 2009)
2. Measured In Angles - Method Of Tenacity (Lo Standards For Hi-Fi - 2005)
3. Dry Heaves - I Can’t Puke (Shoot Yourself - 1981)
4. The Prehistoric Cave Strokers - Sold Out (Live At The Coach & Horses - 1991)
5. The Hung Jury - Swingin’ By My Neck (Where The Horse Bit Me EP - 2007)
6. Tara Watts - Pack My Bags (Pale Blue Moon - 2014)
7. Tea Leaves - I Want To Live In The Dirt (Wooden Hands - 2015)
8. The Space Plan - High Noon In Death Valley (The Space Plan - 2000)
9. Luxury Christ - You Could Have Been Nice (Buy Our Love - 1993)
9. The Moon Patrol - We Don’t Care (From The Basement To The Bedroom EP - 1999)
10. GWD - There Is No Us (The Sessions from Stellar - 2002)
11. James O-L & The Villains - One Horse Town (On The Banks Of The Detroit River - 2014)
12. Middle Sister - East 80 (Live CJAM Session - 2016)
13. The Golden Hands Before God - The Ladder (Here EP - 2007)
14. Jack Scott - Leroy (Jack Scott - 1958)
15. Dorothy Collins - It Doesn’t Matter (Everything I Have Is Yours/It Doesn’t Matter - 1959)
16. What Seas What Shores - Gugelhupf (Spiritual Nap Machine - 2015)
17. Elk - Untitled Song 3 (ELK Demo - 2005)
18. Lost Patrol - I’m Not The One (Lost Patrol - 1988)
19. The Nelsons - A Cool One (Unreleased Song - 1980s (Date Unknown))
20. The Ronald Reagan Story - Colorado Drifter (Demo - 1982)
21. The Spy’s - Underground (Underground/Machine Shop - 1980)
22. The Locusts Have No King - Weapon Of Choice (Live Off The Floor At The Walkerville Brewery - 2013)
23. Magic Hall Of Mirrors - Coke MTN (Garage Demo EP - 2010)
24. Paul Jacobs - Mouldy Love (Mouldy Love EP - 2014)
25. Hairspray - I Go To The Ridge (Hairspray Demo - 2004)
26. Cellos - The New Religion (The Accident - 2012)

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