Thursday, January 29, 2015

Coming Up On Revolution Rock in February 2015!

February is theme month once again for Revolution Rock. I will be doing a different themed program for each of the four weeks in February 2015. Each program will air on a Saturday from 7-9 PM and can be streamed/listened to online via or on the FM dial at 99.1 FM in the Windsor/Detroit area.

Here is the scheduled line up:

Rock & Roll Music: Revolution Rock Celebrates Black History Month
February 7th, 2015
7-9 PM
CJAM 99.1 FM (

As with every February, Revolution Rock celebrates Black History Month. This year the program will delve into genres that are not always played on the program such as jazz, reggae, funk, blues, R&B, as well as a mix of some garage and everything in between. Join Dave Konstantino and co-host Adam Peltier for this program that will also feature a focus on the music of Chuck Berry. Being a pioneer of rock music, the program will showcase a selection of Chuck Berry recordings from 1957-1979.

Toronto Then and Now
February 14th, 2015
7-9 PM
CJAM 99.1 FM (

Toronto’s Actual Water has been releasing music of differing genres since 2008. Revolution Rock will feature a selection of recordings from this band’s catalog which spans the genres of noise pop, post punk, post-rock, paisley garage jangle pop and most recently the band's foray into power pop on their album Call 4 Fun. In addition to music from Actual Water, the show will also showcase music from Toronto, Ontario’s past and present with garage rock and punk as a main focus.

Unravelling The Basement Tapes
February 21st, 2015
7-9 PM
CJAM 99.1 FM (

In 1967, Bob Dylan and a group of musicians that would eventually be known as The Band began recording what would be known as The Basement Tapes. The sessions, which ran from approximately May - October of 1967 occurred after Dylan had withdrawn himself from his Woodstock home and following his motorcycle accident in July 1966. Recorded in a house known as Big Pink, songs from these sessions would be bootlegged for decades. Join Dave Konstantino and co-host Adam Peltier as they dig deep into the recently released Bootleg Series volume 11, which compiles a plethora of previously unreleased and greatly sought after recordings from the infamous Basement Tapes Sessions that Bob Dylan recorded with The Band in 1967.

Surfbeat: Revolution Surf (The 9th Edition)
February 28th, 2015
7-9 PM
CJAM 99.1 FM (

The February 28th edition of Revolution Rock continues its tradition featuring a program composed entirely of surf music. This year’s program will feature another guest segment from Derk Brigante of The Surfphony Of Derstruction 2000 as we feature selections of sleazy surf tracks. The 9th edition of Revolution Surf will also feature a focus on the album Surfbeat by LA’s The Challengers. Recorded in a whirlwind 3 ½ hour session, Surfbeat was originally released in January of 1963. This album is notable for its historical importance of helping to bring surf music from the west coast into the mainstream subconscious. It is known as the best-selling instrumental surf album of all time.

Saturday, January 24, 2015

Viet Cong & Show # 544

Viet Cong’s debut self-titled album starts off with “Newspaper Spoons” featuring distorted pounding drums, while reverb vocals penetrate the listener’s subconscious. As the song picks up we hear an icy fuzz pedal that provides a stinging intensity to the song. Towards the end of this track, a synthesizer creeps in and ends the song on a beautiful, somewhat celestial note. The band’s sound has been described as having a post-punk influence and while that is obvious, the remnants of the sounds of Gang Of Four, The Jesus & The Mary Chain, Wire, The Pop Group, This Heat, Joy Division and New Order creep in among this album’s seven-song landscape. Cited as a “winter” album, Viet Cong also takes on an almost industrial aesthetic.

“March of Progress" starts off with an electronic sounding drum pattern, echoing the distorted rhythms of the album’s opening track before a strong melody creeps in with stereo bouncing guitar arpeggios that sound as if they are being played on unplugged instruments. The song shows glimpses of melodies that until this point seem lost amongst the jagged, iced rhythms. Vocalist/bassist Matt Fiegel pours out an impassioned vocal melody near the song's end in between a propelling bassline with lyrics that state “What is the difference between love and hate/We build the buildings and they’re built to break”. This is somewhat appropriate because with each track found here, Viet Cong literally builds and then deconstructs their sound.

“Bunker Buster” appears here in an array of jagged post-punk guitar riffs that bounce back and forth between your speakers in stereoscope. The sounds on this track could be described as Gang Of Four meets Station To Station-era David Bowie. “Continental Shift” was the first single released for this album back in October 2014. This menacing track could perhaps be best described by the visuals provided by the music video created for this song. In the video a man in a space suit travels through a building as a silver suitcase looms with mysterious smoke pillowing out of it. 80s styled navigation graphics cut in and out, as the character gets closer, the suitcase reveals itself to be rather like a more extreme version of what was found at the end the film noir Kiss Me Deadly. On the surface, some may see Viet Cong’s self-titled album as just that, another album by a band that delves deep into their influences. But when you look closer the contents of this album prove to be mysterious, alluring, dark and at times explosive.

“Silhouettes” attacks with up-tempo venom, downplayed with darker sounding bass and vocals as the lyrics “There is no connection left in your head” reverberate within the song's instrumentation. “Death” ends the album appropriately, but in epic proportions. This song is fitting in terms of the subject matter found throughout this release, but it is also notable for melding a series of the band’s influences. This song progresses like an automobile moving through a tunnel on grainy film. It combines the band’s post punk, industrial soundscapes and pop influences all in one. The song ends in a series of aggressive attacks, smooth melodies and dissonance.

Viet Cong is different than its predecessor. The seven song EP entitled Cassette released in 2013, displayed elements of the sounds that would be found on Viet Cong, but on a smaller scale. This album also sets Viet Cong apart from their past. Prior to this album, two of Viet Cong’s members (Matt Fiegel, Mike Wallace) were a part of the band known as Woman. After releasing two albums, Woman split in 2010 and the band ended ultimately with the untimely death of guitarist Christopher Reimer in 2012. When looking at the image on the cover of Viet Cong, we see what appears to be scissors cutting a wrapped up bandaged hand. With seven songs, Calgary’s Viet Cong exposes us to something new as the other hand is revealed.

Saturday's Play List:

1. Dee Dee Ramone - Bad Little Go-Go Girl
2. The Jam - Set The House Ablaze
3. The Fall - Mr.Pharmacist
4. Blitzen Trapper - To Be Young (Is To Be Sad, Is To Be High)
5. The New Pornographers - Another Drug Deal Of The Heart
6. Mike Watt & The Missingmen - Up To My Neck In This
7. Manic Street Preachers - Revol
8. Paul Jacobs - Sharp Dress
9. The Missing Lynx With Lloyd J - 13 Reasons
10. Crododiles - Picture My Face
11. James O-L & The Villains - The Old And The New
12. Silent Movie Type - Souvenirs
13. Orphan Choir - Gene Tierney
14. The Lemonheads - Pittsburgh
16. Viet Cong - Silhouettes
17. Women - Locust Valley
18. Chad Vangaalen - Leaning On Bells
19. Viet Cong - Newspaper Spoons
20. The Government - Portrait
21. The Radiators - Contact
22. The Adverts - My Place
23. Sleater-Kinney - No Anthems
24. Iggy & The Stooges - Till The End Of The Nigh (Detroit Rehearsals Spring 1973)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for January 24. Or subscribe to Revolution Rock as a Podcast.

Saturday, January 17, 2015

The Unseen Green Obscene & Show # 543

Christian Bland & The Revelators released their third album, The Unseen Green Obscene in the summer of 2014. The album continues Bland’s trend of digging into mid 60s garage and psychedelia nugget styled sounds. On this release he pays tribute to many of his influences, wearing them on his sleeve. “Syd Barrett Blues”, “Diddley Stomp” and “Brian Wilson” all echo Bland’s influences through his own psychedelic filter. Elements of The Black Angels, Bland’s main band are heard sporadically throughout this release, but The Unseen Green Obscene shows Christian Bland & The Revelators standing on their own. Songs such as “The Last Summer” drip with echoes of reverb, the sounds of 13th Floor Elevators and The Beach Boys, “Daughters Of The Sun” is a six minute drone featuring reverberations blurring the lines of psychedelia and The Cramps, and “Gnostic Blues” features crunchy guitar fuzz and sliding basslines. Bland pays homage to his love of reverb literally, with the sounds explored on “The Reverberation Appreciation Society” with the lyrics and its title. It is also the name of his own label. In a fuzzed out fashion, The Revelators pay tribute to their love of motorcycles on the track “CB160”.

“Alone In Deer Park” is a lethargic trip, which reveals a haunting melody amongst the guitar lines that sound like they are from a 60s horror film, just before the enemy attacks. “Lifeboat” ends the album in a psychedelic folk fashion. At times the vocals on this track and on several others reflect a distance or disconnect from the songs. This is something that is noticeable on The Psychedelic Sounds of the 13th Floor Elevators, but on this album Christian Bland & The Revelators combine this with sunnier sounding rhythms and dark lyrics for dramatic effect. The album’s artwork features a combination of white, red and green colours, which look like they could be abstract sound waves or birds, The Unseen Green Obscene takes flight in a wave of sounds. The sounds on this album separate this band from Bland’s other projects, most notably The Black Angels who do incorporate all the elements mentioned here, but they also seem to a attach a different type of heaviness to their music. The Unseen Green Obscene shows Bland taking his songwriting to a different place. The songs found here take us to a place that blurs the lines that we have known, a rearranging if you will. The Unseen Green Obscene takes us somewhere in between.

Saturday Night Play List:

1. Christian Bland & The Revelators - Gnostic Blues
2. UFO Club - Wolfman
3. Kid Congo Powers - Haunted Head
4. The Echo Bombs - King Of Uncool
5. Run Coyote - Only Human
6. Guitar Army - Cruel World
7. The Stray Cats - Built For Speed
8. Paul Camplain - Nicotine
9. The Pretty Things - Get Yourself Home
10. The Black Delta Movement - Ivory Shakes
11. The Aquadolls - Tweaker Kidz
12. The Ketamines - Stay Awake
13. Modern Vices - Keep Me Under Your Arms
14. The Mandates - Wastin’ Time
15. Butthole Surfers - Sea Ferring
16. Scratch Acid - The Greatest Gift
17. The Dirty Nil - Cinnamon
18. Viet Cong - Pointless Experience
19. The Nelsons - Never Hated Fun
20. Those Rogues - Wish I Could See You Again
21. Bradfords - Together We Have Stayed
22. Dum Dum Girls - Bhang Bhang, I”m A Burnout
23. Tire Swing Co. - Happy Valentines Day
24. Beastie Boys - Something’s Got To Give
25. Generation X - Stars Look Down
26. The Hot Nasties - This Is Unlove
27. The Dirty Pretty Things - Deadwood
28. The Libertines - The Delaney
29. The Libertines - The Boys In The Band
30. The Velvet Underground - European Son (Alternate Version)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for January 17. Or subscribe to Revolution Rock as a Podcast.

Saturday, January 10, 2015

Jack White's Lazaretto & Show # 542

Jack White’s Lazaretto starts off with the piano, organ and heavy drum filled “Three Woman”, which on the surface appears to be a song about, well, three woman. It has been hinted at in old interviews that this is what Jack refers to his guitars as. In the song he states, “I got three woman/Red, Blonde and Brunette”, each one apparently one of the guitars he uses in the different bands that he plays in. When looking at the song in this context as the words “How come I gotta have a woman/To blow these blues away?” hover between the organ riffs, perhaps this song is a subliminal telling of what’s to come from Jack musically in the future, or maybe it is simply about what the song’s title suggests. “Three Woman” is carefully disguised and structured not giving too much away, but it also leaves enough for the listener to think about to keep you wondering. The song ends in a rave up of blues guitar riffs, dizzying organ, bass and drums.

The title track “Lazaretto” is a combination of funky rhythms and distorted guitar riffs. The song, which was apparently based off of some old poems that Jack wrote at the age of 19, builds up with a solo before ending out in a combination of slow lumbering riffs, distortion and violin. Lazaretto is an old term that references a quarantine hospital that housed people of disease and it dates back to the late 1700’s and decades prior to this. Within this dynamic, the album takes on a new form as we are quarantined through eleven tracks, with subjects and music structures falling within Jack White’s song writing abilities.

“Temporary Ground” starts off with folk and country sounds. It features piano, pedal steel and female vocals from Little Mae Rische. The song has the same lighthearted feeling that we heard on Elephant and on some of the slower songs on earlier White Stripes recordings. “Would You Fight For My Love?” starts off in a cinematic way of sorts, as tom fills, piano and female harmonies start off the track. When the chorus hits we hear loud volumes of electric guitar. The sound is intense and reminiscent of the feel of early guitar riffs from Link Wray and gritty White Stripes recordings. This blends in with haunting organ and backing vocals as throughout the song we hear lyrics such as “I’m getting better at becoming a ghost” which shows us a transparent feeling lyrically. The instrumental “High Ball Stepper”, apparently was written when White had a day off from touring. It sounds like it could be from a Western, as heavy guitar riffs drift amongst backwards sounding pedal steel and creepy chants.

On “Alone In My Home” Jack sings of “Becoming a ghost/Becoming a ghost/So nobody can know me” and “Lost feelings of love/They hover above me”, bringing us back into the transparent feeling that was first reflected on “Would You Fight For My Love?” but in a different context here. “Entitlement” is a slow country ballad. This is another song that showcases the space in which Jack White fills on Lazaretto. He adds more instrumentation and production values filling out the stereophonic gaps, upgrading the once ramshackle lo-fi garage-blues recordings he’s been known for. With lyrics such as “Stop what you’re doing get back in line/If we can’t be happy then you can’t be too” and “Don’t they feel like they’re cheating somehow” Jack expands on bitter feelings of being told you’re wrong, being told what to do and of peoples sense of entitlement amongst the lush country arrangements that float softly like blades of grass on an old Hank Williams record.

“Just One Drink” lyrically seems to address alcohol and bad relationships as musically the song features a foundation built of rock dynamics as a house of country arrangements sit atop. “Want and Able” ends the album musically, by featuring basic bare bone instruments. The track features, piano, acoustic guitar and vocals only as lyrically the song is a folk tale. We hear about two characters that seem to represent the greedy and sensible sides of one’s consciousness as they get entangled in societal conventions.

On Lazaretto, the listener floats from song to song, stuck if you will, until the album’s conclusion. When released on vinyl, Lazaretto was featured on what was called the “Ultra LP”. The album featured one side that plays in reverse, continuous loops of feedback and birds crowing on each side of the album respectively and, a hologram of an angel. The vinyl literally takes on a journey physically like no other record has before and lyrically it is different than 2011’s Blunderbuss. As the needle drops on Lazaretto, the listener is exiled to a haunting, vicious, at times beautiful place we’ve never been before, until we get cast adrift and turn the record over again.

Saturday Night Play List:

1. Marshmallow Overcoat - Groovy Little Trip
2. The Night Beats - 18 Glowing Phantoms
3. Neil Jarvis - Shred Met
4. Denise & Company - Boy, What’ll You Do Then
5. Luke & The Apostles - Been Burnt
6. Los Straitjackets - Fury
7. Parkay Quarts - Pretty Machines
8. The Replacements - I.O.U.
9. The Nils - Banditos Calling
10. Alex G - After Ur Gone
11. The Heart Attack Kids - Platonic Love Bomb
12. Silent Movie Type - Spillkit
13. Lowlife - Leaders
14. The Flesh Columns - Time's Up
15. Marshmallow Overcoat - 13 Ghosts
16. Tara Watts - S.O.S
17. The Mallard - Over And Under
18. Andre Williams - I Still Love You
19. Johnny Bell - The Third Degree
20. White Heat - Nervous Breakdown
21. The Swollen Members - I Like Living In Scarborough
22. Tricky Woo - Rock 'n' Roll Vs. The World
23. Death - Freakin Out
24. The Flesh Rags - Night Stalker
25. REM - Rotary Ten
26. Bad News Boys - Alone Again
27. Deja Voodoo - Wall Of Paisley
28. Ariel Pink - Put Your Number In My Phone
29. Useless Eaters - American Cars
30. Indian Wars - Who Needs A Girl Like You
31. Jack White - Temporary Ground
32. Jack White - Would You Fight For My Love?

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for January 10. Or subscribe to Revolution Rock as a Podcast.

Saturday, January 03, 2015

Roy Orbison At The Rock House & Show # 541

Roy Orbison’s At The Rock House was first released in 1961 by Sun Records at the same time Orbison started gaining success with his singles on the Monument record label. At the time of this album’s release, Orbison had not yet released a full-length album with the Monument record label. Prior to this, a young Roy Orbison cut his early roots in the orbit of Sun Records with the likes of Elvis Presley, Johnny Cash and Carl Perkins. In his brief period with Sun from 1956-1958, Orbison first found success with his single “Ooby Dooby” recorded with his backing band The Teen Kings. The song got Orbison a deal with Sun Records, however, The Teen Kings disbanded shortly after the singles success. Orbison remained on the label as a solo artist recording songs, but also wrote songs for other artists. It wasn’t until he provided The Everly Brothers with the song “Claudette”, also the name of Roy’s first wife, that he was able to buy himself out of his Sun Records contract.

At The Rock House begins with the song “This Kind Of Love” which sets the tone for the album and can be seen as setting the tone for Roy Orbison’s musical style to come. With the lyrics “Our love/Won’t die/Can’t die/This kind of love was meant for you and I”, Orbison reveals a certain emphasis within the song’s structure and context in his voice. It is undeniably Orbison, but at the same time it is more upbeat and more in the presentation of early Sun Records recordings. “Devil Doll”, another early Sun Records song and single cut by Orbison gives us a glimpse of the first signs of the future darker ballad style Orbison would be known for. This song is credited to Sam Phillips, but it was actually written by Roy Orbison. There are several songs on this album that were written by Orbison, but were credited to Phillips. These songs include “This Kind Of Love”, “You’re Gonna Cry”, “I Never Knew” and “Mean Little Mama” to name a few. In addition to this, songwriting credits on this album also feature songs that were written by Johnny Cash “You’re My Baby” and a Harold Jenkins collaboration on “Rock House”. Jenkins is perhaps better known as Conway Twitty.

“It’s Too Late” originally recorded in 1956 and “I Never Knew”, both portray more dramatic elements. “I Never Knew” in particular has the feeling of the Elvis Presley song “Blue Moon”. “You’re Gonna Cry” is a mid-tempo rockabilly ballad showcasing the lyrical style that Orbison fans would identify with. The guitar on this track, (most likely added as an overdub after the fact), adds extra intensity to the song. Other tracks of note here are “You’re My Baby”, a frenetic stop and start track in Sun Records rockabilly style, “Mean Little Mama” with Orbison boasting in a style similar to Elvis Presley and “Rock House”. This song, which is where the album’s title originates from is as mentioned earlier, a song collaborated on with Conway Twitty. This song recorded with The Teen Kings as the backing band, jumps with its rolling treble loaded drum fills and Scotty Moore styled electric guitar licks.

“Problem Child” is the last song found on At The Rock House. On this song Orbison lays his distinctive, impassioned, delicate vocals overtop the tracks wild rock ‘n’ roll foundation. Although the song can be seen as a love song about a problematic relationship, it could also be seen as how Orbison viewed himself at the time. With lyrics such as “Well I do believe in my soul/You’re Out of control with this rock ‘n roll”, these lines emphasize that this could also be a love song in disguise, pulling in more subject matter than it appears when you look beneath the surface. Roy Orbison may have said that he wasn’t comfortable within the rockabilly dynamic, but this song and the eleven others on this release serve as an important document. “Problem Child” and the rest of the songs found on At The Rock House show that Roy Orbison was capable of playing rockabilly, but that he was also a songwriter that had his own distinctive style. His songwriting would eventually be focused on in greater detail, which would lead to Orbison’s own successes in the world of rock music. This album shows his early beginnings with a dash of Sun Records echo and twang.

Saturday Night Play List:

1. 999 - I’m Alive
2. The Tomboys - I’d Rather Fight Than Switch
3. The Len Bright Combo - You’re Gonna Screw My Head Off
4. Young Rival - Elevator
5. Acid Baby Jesus - Who’s First
6. John Otway - Baby’s In The Club
7. Wazmo Nariz - Tele-Tele-Telephone
8. Queen’s Rug - Like A Plague
9. AKA & The Charlatans - 634 Dog
10. Little Richard - Keep A Knockin’
11. Jack Scott - Midgie
12. The Gestics - Invasion
13. Shadowy Men On A Shadowy Planet - Theme From TV
14. Davie Allan & The Arrows - Blues Theme
15. CJ Ramone - Last Chance To Dance
16. Fifth Column - Like This (Brave New Waves Session)
17. The Animals - Don’t Bring Me Down
18. Tire Swing Co. - Time Away
19. The Black Angels - Molly Moves My Generation
20. Sonic Jesus - Lost Reprise
21. The Electric Vomit - Treasure Hunt
22. Elvis Costello & The Attractions - You Belong To Me (Live)
23. The Government - Telephobia
24. Ty Segall - It’s A Problem
25. Actual Water - Waldo Jackson
26. Dead Ghosts - Summer With Phil
27. Dead Ghosts - Cold Stare
28. Roy Orbison - You’re Gonna Cry
29. Roy Orbison - I Never Knew

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for January 3. Or subscribe to Revolution Rock as a Podcast.

Saturday, December 27, 2014

2014 Highlights & Show # 540

The following is a collection of some of my favourite releases from 2014. Songs from these albums plus several others can be heard in the podcast below. It can be downloaded below the play list.

As a bonus, this year Revolution Rock featured a co-host on several occasions. I have included Adam’s (my occasional co-hosts) top ten in this post as well.

1. Thee Oh Sees - Drop

After announcing that the band will be taking a hiatus last year, Thee Oh Sees released their eighth full-length album at the end of April. Entitled Drop, the album brings in an intense focus to the band’s already established San Franciscan psychedelic garage sound. Apparently recorded in a banana ripening factory, there’s gritty garage sounds with scruffy guitars, psychedelic solos, a bit of kraut rock and elements found on 2012’s Putrifiers II and 2013’s Floating Coffin. Drop is victorious in its savage, primitive and unrelenting garage psych riffs, while the pop elements sink in deeper amongst the synthesizers and crude album cover artwork.

2. Teenanger – E P L P

E P L P is Teenanger from Toronto’s fourth studio album. The album has an undeniable garage punk sleaze to it. The sound on this album is one that is difficult to describe specifically, it is the sound of a band in their element. On E P L P the new wave/post punk influence from previous albums is still apparent, but there seems to be more voluminous guitar riffs that are like shards of shrapnel. Basslines sound thick and at times fuzz addled, as analog sounding drums, snotty vocals by Chris Swimmings and backing vocals provided by Melissa Ball add to the overall battlefield of dynamics found here. With E P L P Teenanger does not misfire. Throughout this nine-track launch the band hones their sound and are right on target.

3. White Fence - For The Recently Found Innocent

Aesthetically, For The Recently Found Innocent finds a balance between the last two releases from White Fence, 2013’s Cyclops Reap and Live In San Francisco, the later of which was an album that showcased White Fence in a full band and in a more revved up fashion. The album features not only Segall on some drum tracks, but also Nick Murray from White Fence’s live band further connecting his last set of releases. On the album’s front cover we see a painted self-portrait of Presley, not unlike Bob Dylan’s own self-portrait cover image from the 1970 album Self Portrait, but those two albums only have a connection with the artwork, not the music. We can see the same gritty canvas beneath the smeared messy painting on the cover, it is still the same White Fence. On For The Recently Found Innocent, Tim Presley has merely stepped out of his home and upgraded to a more proper studio environment utilizing an 8 track recorder (instead of a 4 track) with the help of Ty Segall and in the process, displays a new type of innocence.

4. The Black Lips - Underneath The Rainbow

Recorded with Patrick Carney (The Black Keys) and Tommy Brenneck (Budos Band), The Black Lips take their “flower punk” garage sound adding some southern and country influences. There is a brief moment in the music video that was created for the song “Justice After All” that perfectly describes what to expect from Black Lips on this album and more than likely in the future. In the video, we see shots of the band performing live and running down a street. At one point during the solo we see a shot of guitarist Ian Saint Pe playing a solo as another shot of guitarist Cole Alexander slides in and he pukes on the ground. This moment shows the listener and viewer that while they are trying new things, they are still the same band that we have all known. They may have branched out on Underneath The Rainbow, showcasing a slightly different spectrum of sound with Southern twang influences, but they are still the same Black Lips.

5. Ty Segall – Manipulator

Manipulator is a double album that contains a multitude of layers. This 56 minute double album also took fourteen months to record, every other Segall release was recorded and released quickly. Musically the album combines elements of Segall’s most recent projects Fuzz, sounds from the album Slaughterhouse with the Ty Segall Band, acoustic elements, and the garage sounds that he has been known for. Additionally, the influence of 70s glam rock and classic rock sounds dominate this seventeen track release.

6. James O-L & The Villains - On The Banks Of The Detroit River

On The Banks Of The Detroit River was recorded in Kingsville, with Brett Humber at Sound Foundry Studios and overall the album has “More of a bigger sound” and “In general the songs have gotten more aggressive”, as James tells me. Lyrically, this album pulls inspirations from its surroundings. Songs on the album seem to evoke a certain tone, one that comes with living in Essex County. Musically this album draws from the folk/country dynamic that James O-L & The Villains have displayed in the past, but it also mixes with an aggressive, punk/90s rock edge. The songs that make up this album portray the subtleties of a band mixing elements of folk, country and the heavy rains of aggressive feedback.

7. Paul Jacobs - Do It Again

Do It Again was the fourth release by the prolific garage rock machine Paul Jacobs in 2014. His first two releases, a split with Vaguess entitled I’ll Listen To This Later and the full-length I Need A Place To Keep My Stuff, both featured Paul Jacobs in his one-man band setup. Paul released the Mouldy Love EP in June of 2014, doing things a bit differently recording with a traditional full band set up and bass, something that has been absent from his solo recordings. Released in October 2014, Do It Again featured the same full band more traditional setup. This release was a collection of re-recordings from Paul Jacobs back catalog even featuring a song from Raised By Weeds, a three-piece band that he played with back in 2012. With Do It Again, Paul Jacobs reworks some of his best songs, presenting them in a compilation-like fashion. The songs still sound as fresh, exhilarating and sometimes better than the original versions. Paul Jacobs does it again, in more ways than one.

8. Sam Coffey & The Iron Lungs - Gates Of Hell

Four of the album’s tracks were recorded with Ben Cook of the band Fucked Up. Sam Coffey covered the rest of the production, recording in the band’s practice space and a variety of other locations adding to the album’s character, as he has done with previous Iron Lungs recordings. Gates Of Hell covers a lot of topics lyrically and musically adds to the Iron Lungs palate. Sam Coffey originally from Waterloo, Ontario, recently relocated to Toronto and expanded his band to a six-piece group. More people in the band means there could be more complication in the overall sound of the group. The band does not fall into this trap here. The band’s sound may have expanded with more members and higher production values, but on Gates Of Hell, Sam Coffey & The Iron Lungs deliver an album that deals with many hellish complex subjects, whether metaphorically or bluntly throughout the album’s lyrical content. Musically they still keep the rowdy, pub-crawl spirit that drew us to them in the first place.

9. Guided By Voices - Motivational Jumpsuit

The first of two albums that Guided By Voices released in 2014, before their eventual split. This album finds the band in one of their unique, prolific creative pockets featuring songs drawing comparison to 1994’s Bee Thousand, 1995’s Alien Lanes and 1996’s Under The Bushes Under The Stars. With Motivational Jumpsuit, Guided By Voices zip up all the loose ends, but not too tightly. Featuring twenty tracks under forty minutes, this album proves that they can still make a great album twenty-one albums into their career.

10. Parquet Courts - Sunbathing Animal

Sunbathing Animal, the band’s third full-length album was recorded in between touring, the sessions also produced an EP beforehand entitled Tally All The Things You Broke. With Sunbathing Animal, Parquet Courts lean more towards the punk, post punk and garage elements of the band with hints of their early noisy beginnings. The band also released another album Content Nausea near the end of 2014 under the band Name Parkay Quarts. The band features a slightly different line-up, but is primarily the work of Andrew Savage and Austin Brown from Parquet Courts.

Adam’s Top Ten for Revolution Rock:

1. Sun Kil Moon – Benji
2. Swans – To Be Kind
3. Perfume Genius – Too Bright
4. Iceage – Plowing Into The Field Of Love
5. St. Vincent – St. Vincent
6. Aerial Pink – Pom Pom
7. Mac DeMarco – Salad Days
8. Ty Segall – Manipulator
9. White Lung – Deep Fantasy
10. Ought – More Than Any Other Day

Best of 2014 Play List:

1. Parquet Courts - Instant Disassembly (Sunbathing Animal - What's Your Rupture? 2014)
2. Parkay Quarts - Content Nausea (Content Nausea - What's Your Rupture? 2014)
3. Guided By Voices - Planet Score (Motivational Jumpsuit - Guided By Voices Inc. 2014)
4. Sam Coffey & The Iron Lungs - Hold Me Close (Gates Of Hell - South Paw Records 2014)
5. Paul Jacobs - Waking Up (Do It Again - Self Released 2014)
6. James O-L & The Villains - Late Night Drive (On The Banks Of The Detroit River - Famous Last Records 2014)
7. Ought - Weather Song (More Than Any Other Day - Constellation Records 2014)
8. White Lung - Just For You (Deep Fantasy - Domino 2014)
9. Ty Segall - Connection Man (Manipulator - Drag City 2014)
10. Mac DeMarco - Blue Boy (Salad Days - Captured Tracks 2014)
11. Ariel Pink - Nude Beach A Go-Go (Pom Pom - 4AD 2014)
12. King Tuff - Magic Mirror (Black Moon Spell - Sub Pop 2014)
13. OFF! - I Won't Be A Casualty (Wasted Years - Vice 2014)
14. Chad Vangaalen - Leaning On Bells (Shrink Dust - Sub Pop 2014)
15. The Black Angels - The Flop (Clear Lake Forest EP - Blue Horizon Records 2014)
16. Kestrels - Wide Eyes (The Moon Is Shining Our Way EP - Noyes/Sonic Unyon 2014)
17. Ty Segall - Manipulator (Manipulator - Drag City 2014)
18. St. Vincent - Birth In Reverse (St. Vincent - Loma Vista/Republic Records 2014)
19. Iceage - Forever (Plowing Through The Field Of Love - Matador 2014)
20. Perfume Genius - Longpig (Too Bright - Matador 2014)
21. The Black Lips - Dorner Party (Underneath The Rainbow - Vice 2014)
22. White Fence - Anger! Who Keeps You Under (For The Recently Found Innocent - Drag City Records 2014)
23. Swans - A Little God in My Hands (To Be Kind - Young God/Mute Records 2014)
24. Sun Kil Moon - Pray for Newtown (Benji - Caldo Verde Records 2014)
25. Teenanger - Sky Saxon (E P L P - Telephone Explosion 2014)
26. Thee Oh Sees - Drop (Drop - Castle Face 2014)

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

For those keeping track, episode number 538 was a repeat of show number 531.  It can be downloaded here.

Monday, December 22, 2014

The Clash Live - Joe Strummer Day 2014 (Show 539)

For CJAM FM’s 5th annual Joe Strummer Day marathon, where the station addresses issues related to poverty in the Windsor/Detroit area surrounded by the music created by Joe Strummer and The Clash, I hosted a two-hour program featuring a selection of live Clash recordings. These recordings range from a wide variety of Clash bootlegs to material from official Clash live releases From Here To Eternity: Live (1999) and Live At Shea Stadium (2008).

Here are some recordings of note that were featured on this program:

Bonds International Casino 1981

In May-June of 1981, The Clash played a series of live shows in New York City. Initially the band were to play a series of eight live shows throughout the end of May and in early June 1981. Due to the venue reaching over capacity because of tickets being oversold by promoters, the fire department had to intervene. This resulted in a planned May 30th show being cancelled, but the band decided to extend the amount of shows they were to play. The Clash wound up playing a total of 17 live shows during this May-June period, sometimes playing two shows in a day. While widely bootlegged, some of these shows were recorded professionally. Performances from the bands June 13th date turned up on the 1999 From Here To Eternity: Live album. This album compiled various recordings from 1978-1982 from the band’s career. The band’s time at Bonds was also documented in Don Letts’ Westway To The World documentary.

Live At The Agora Theater, Cleveland, Ohio 1979

In February 1979, The Clash embarked on their first US tour. Playing with Bo Diddley as support on this nine-show tour, the band dubbed this tour the “Pearl Harbor” tour. This show features many songs from the band’s Give 'Em Enough Rope period and the songs and singles from the band’s first titled album. All of these songs are prior to the release of the Cost Of Living EP released in May 1979 and London Calling, which would be released in December 1979. Other facts of note during this period in the band’s career are that the first self-titled album was not initially released in the US. As a result, the album was a high selling import album, reportedly selling 100,000 copies. A modified version of The Clash’s first album was released in 1979 for the US market expanding to the original track listing. In reference to the recording of this live show at the Agora Theater, it is from a soundboard source, but it is however rough sounding at times. Despite this, The Clash’s show at The Agora Theater on February 13th, 1979 features an early example of the band in their explosive live glory on one of the dates on their first US tour. Some of these recordings have also been broadcast on the King Biscuit Flower Hour radio program.

JSD 2014 Play List:

1. What’s My Name (Music Machine, London, England - July 27th, 1978 - From Here To Eternity: Live)
2. English Civil War (The Lewisham Odeon, London, England - February 18th, 1980 - From Here To Eternity II)
3. Safe European Home (The Lyceum Theatre, London - December 28, 1978 - From Here To Eternity II)
4. Jail Guitar Doors (The Lyceum Theatre, London - December 28, 1978)
5. Guns Of Brixton (Bonds International Casino - NYC - June 13th, 1981 - From Here To Eternity)
6. (White Man) In Hammersmith Palais (Reital France - June 14th, 1980)
7. Police & Thieves (The Agora - Cleveland, Ohio - February 13th, 1979)
8. The Prisoner (St. Paul, Minnesota - June 12th, 1979)
9. I Never Did It (The 100 Club - London, England - August 31st, 1976)
10. How Can I Understand The Flies (The 100 Club - London, England - August 31st, 1976)
11. Remote Control (Mont De Marsan Festival - France - August 5th, 1977)
12. Cheapskates (The Lyceum Theatre, London - December 28, 1978 - From Here To Eternity II)
13. City Of The Dead (The Agora - Cleveland, Ohio - February 13th, 1979)
14. Jimmy Jazz (The Capitol Theater - Passaic, NJ - March 8th, 1980)
15. Stay Free (The Capitol Theater - Passaic, NJ - March 8th, 1980)
16. Magnificent Seven Armagideon Time Medley (Shea Stadium - October 13th, 1982 - Live At Shea Stadium)
17. Ivan Meets GI Joe (Japp Edenhall - Amsterdam, Netherlands - May 10th, 1981)
18. Bankrobber (Brixton Fair Deal - London, England - July 30, 1982)
19. One More Time (Japp Edenhall - Amsterdam, Netherlands - May 10th, 1981)
20. London Calling (Japp Edenhall - Amsterdam, Netherlands - May 10th, 1981)
21. Radio Clash (Bonds International Casino - NYC - June 9th, 1981)
22. The Call Up (Bonds International Casino - NYC - June 9th, 1981)
23. Complete Control (Bonds International Casino - NYC - June 13th, 1981 - From Here To Eternity)
24. Koka Kola (The Palladium - NYC - September 21, 1979)
25. I'm So Bored With The USA (The Palladium - NYC - September 21, 1979)
26. I Fought The Law (The Lyceum Theatre, London - December 28, 1978)
27. Janie Jones (Aragon Ballroom - Chicago, Illinois - September 14, 1979)
28. Garageland (The Capitol Theater - Passaic, NJ - March 8th, 1980)

Download this program here!

Check out and download some of the other programs from CJAM FM's Joe Strummer Day 2014 here!