Tuesday, April 15, 2014

Black Lips Underneath The Rainbow & Show # 504


In April 2014, Black Lips released their seventh full-length album. Underneath The Rainbow followed their last album Arabia Mountain, the sixteen track Mick Ronson produced (for the most part) album that showed us Black Lips could have a higher fidelity produced LP and still keep their raunchy Garage “Flower Punk” sleaze. For this release Black Lips recorded with Patrick Carney drummer of The Black Keys and Tommy Brenneck of the Budos Band on a few tracks. The tracks on Underneath The Rainbow have a cleaner production style, but don’t let that fool you as it has for some reviewers, who have written Black Lips off as cleaning up their sound too much. For this release, Black Lips have pulled in some Country Rock and Southern influences in conjunction with the sound they have been known for.

“Drive By Buddy” begins Underneath The Rainbow with its Country/Garage twang and lyrics such as “Well brother what’s the matter/Do you hate the life you chose/Well I hope it doesn’t flatter/When you’re bathing with a hose” and “We’re hanging on a broken T-Bird hood” sung by guitarist Cole Alexander. It starts the album starts off with a sleazy vibe on all fronts setting the tone of the album, and also drawing some comparisons in some reviews to The Monkees’ “Last Train To Clarksville”. “Smiling” is a sloppy Psychedelic Garage track that recollects being thrown in jail, sung by bassist Jared Swilley based on a real life incident that occurred last year, “Make You Mine” is a catchy jangly Garage Pop track that wouldn’t have sounded out of place on 2011’s Arabia Mountain, while “Funny” brings 80s styled synthesizers into the Black Lips fuzzy Garage mix. “Dorner Party” is a fizzy Garage Punk track that is sung by drummer Joe Bradley and is followed by “Justice After All”, another fuzzed out song also sung by Bradley.  It is a more laid back Garage styled track, complete with fuzzed out guitar riffs and lyrics such as “What’s your name? Who you after? Where you gonna go?” and “We’ll take you name and get back to ya/Serve it up/Justice after all”, this song seemingly evokes a social commentary that has musically drawn comparisons to music from Neil Young.

Other highlights include “Boys In The Woods” that attacks with its Southern Blues/Soul drawl regaling us in a tale of drinking bathtub gin and causing mischief. “Waiting” echoes production techniques of The Black Keys, while “I Don’t Wanna Go Home” is a Jared Swilley sung track complete with guitar fuzz a la early 60s Rolling Stones. “Dandelion Dust” features a Blues raunchiness and “Dog Years” ends the album with an agitated weirdness, that comes off as natural within its Psych Garage dynamics. Overall, Underneath The Rainbow comes off with a production style not unlike 2007’s Good Bad Not Evil, but with more twang.

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.

The Play List:

1. Outrageous Cherry - Sign Of The Times
2. The Spooky But Nice - Everytime
3. Guided By Voices - Writer’s Bloc (Psycho All The Time)
4. Bagg Team - Twentieth Century Dog Faced Boy
5. Condition - Wet Shoes
6. Beck - Country Down
7. Tire Swing Co - Pelee Island # 2
8. The Men - Different Days
9. Jacuzzi Boys - You Got It (Roy Orbison Cover)
10. The Rich Kids -Young Girls
11. Damaged Bug - Eggs At Night
12. Female Hands - No One Likes Me
13. The Painted Ship - Audience Reflections
14. Vaguess - Company Ink
15. Paul Jacobs - I Want More
16. The Bureaucrats - The Game
17. Lost Patrol - Grown Up Hard
18. The Professionals - Too Far Too Fall
19. The Drones - The Underdog
20. The Damned - I Feel Alright
21. Victim - Strange Thing By Night
22. Black Lips - Drive By Buddy
23. Black Lips - Dorner Party

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for April 15. Or subscribe to Revolution Rock as a Podcast.

Tuesday, April 08, 2014

Mac DeMarco Salad Days & Show # 503


Mac DeMarco is a Canadian artist who is known for his strange prankster live antics and lyrical content. Currently residing in Brooklyn, New York, but originally from British Columbia, DeMarco has released an EP (Rock And Roll Night Club) and an album entitled 2. The album 2, showed a change in musical style, but still catered to DeMarco’s style. With his newest release, Salad Days, DeMarco shows a growth in his song writing ability still keeping true to his original style, but gravitating more towards maturity at the same time. A good way to describe Salad Days would be that it is maturely playful with more perspective. DeMarco has mentioned Jonathan Richman and Steely Dan as influences, among others. However, he is commonly lumped into the Indie Rock genre. The first single from Salad Days "Passing Out The Pieces" features lazy melodies and synthesizers sounding as if they were slowed down on purpose, but originally recorded at a faster speed. Salad Days was released on April 1st, 2014 on the Captured Tracks label.



This Week's Play List:

1. Pow Wows - You Haven’t Got Me (Live)
2. Fruit Tones - Will My Life Live Without Me
3. 13th Floor Elevators - Thru The Rhythm
4. Jim O'Rourke - Therefore I Am
5. Could Nothings - No Thoughts
6. PJ Harvey - The Letter
7. Jale - 3 Days
8. Jellyfishbabies - Never Really Knew
9. Death - Keep On Knocking
10. Jon Spencer Blues Explosion - Dang
11. Holy Cobra - Feed Yr Head
12. The Dishrags - Love/Hate
13. Teenanger - Off The Beaten Path
14. Dick Dale - Eight ‘Till Midnight
15. The Bell Peppers - Whiskey And Cigarette Blues
16. The Count Five - Psychotic Reaction
17. Parquet Courts - Stoned And Starving
18. Mac DeMarco - Salad Days
19. Mac DeMarco - Let Her Go
20. The Saints - Untitled
21. The Hives - Insane
22. The Gun Club - Sex Beat

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for April 8. Or subscribe to Revolution Rock as a Podcast.

Tuesday, April 01, 2014

Repo Man Soundtrack Revisited & Show # 502


In 1984, Alex Cox released his cult classic film Repo Man, a film that he wrote and directed that took the seedy underworld of a repo man and wrapped it around Punk Rock music and Science Fiction. The film stars a young Emilio Estevez who portrays a visceral performance alongside Harry Dean Stanton who is his mentor throughout the film. Along with the film’s strong memorable characters, there were quotable lines such as: “The life of a repo man is always intense.” “Put it on a plate, son. You’ll enjoy it more.” “The more you drive, the less intelligent you are” and “Look at those assholes, ordinary people. I hate’em.” Repo Man also has a very interesting soundtrack.

The Repo Man soundtrack documents the LA Punk scene at the time, featuring music from The Circle Jerks, Black Flag, Suicidal Tendencies, Fear, The Plugz and others. The Circle Jerks have two tracks featured on the soundtrack “Coup d’Etat” from their 1983 album Golden Shower Of Hits and a lounge/acoustic version of “When The Shit Hits The Fan” also from the same album originally. In the film, the band also makes an appearance as a lounge act performing the soundtrack version of “When The Shit Hits The Fan”. The Plugz also provide quite a few tracks to not only the soundtrack, but also in the film. The band puts their Punk noir spin on Surf Rock covering “Secret Agent Man” and the songs “Reel Ten” and “El Clavo Y La Cruz”. “Reel Ten” significantly creeps in and out of the film, especially in the films ending sequence. It should be noted that along with being a part of the soundtrack, Tito Larriva and Steven Hufsteter of The Plugz created the film score for Repo Man. Along with these tracks there is also the films “Repo Man” theme that drifts in and out of the film like the demented character Dr. J Frank Parnell in his radioactive 1964 Chevy Malibu. The film’s main theme was written and performed by Iggy Pop. When the films director Alex Cox approached Pop, he advised him to do what he felt like for the film’s soundtrack. The result was a song influenced by Davie Allan & The Arrows as Pop mentions on the Criterion edition of the film.

The recording sessions for the theme by Pop, were tracked and done quickly. On the website repomanfilm.com, assistant engineer Chas Ferry discusses the session which took two days to record. The other musicians involved in the recording of the “Repo Man” song were Clem Burke on drums and Nigel Harrison both of which made up the rhythm section of Blondie and Steve Jones on guitar from Sex Pistols. With Pop as director the collection of musicians quickly came up with the parts necessary for the song and laid the track down in two takes. Chas conveyed his excitement:

“We began setting up with the engineer, Bev Jones, and the musicians started to arrive. Clem Burke from Blondie arrived to Play Drums. Then Steve Jones from the Sex Pistols and Nigel Harrison of Blondie arrived. I couldn't believe I was going to be involved in this. Iggy arrived. He came up to me and said, "Hi I'm Jim, nice to meet you". Then he started talking with the band. “

The vocals were recorded the next day due to a drug related misstep. The vocals were recorded in a similar fashion to how they were done on Iggy Pop’s Lust For Life album, which was run through a Fender Champ amplifier and Space Echo. Chas elaborated a bit more on this for his piece once again on repomanfilm.com:

“I knew about the Lust for Life setup and had it ready in the booth. Iggy was totally excited about that and ready for lots of distortion on his voice. Bev Jones arrived and Iggy excitedly told him about the setup. I realized by the look on Bev’s face that I'd just totally screwed up and put him in a very bad position. Now Bev was stuck with Iggy wanting to record his voice through an old Fender Champ and a Space Echo. Bev knew this was probably going to sound like shit, but if he didn't agree to it he might offend Iggy. Bev, being a very cool character, calmly suggested that we put up a good Neumann for Iggy, move the Champ to the bathroom and route the vocal back to the Space Echo/Champ through an aux send. Iggy consulted with Sachi (his wife at the time), and she agreed that it was probably a good idea.”

In 2012, a tribute version of the soundtrack was recorded featuring new artists. While the original 1984 version is long out of print, the soundtrack, along with the film has grown in status since its original release. The film leads fans to the soundtrack and vice versa. Repo Man the film stands as both a document of the LA Punk scene in the 80s, but also a story that is both bizarre, funny, was unconventional and defied classification. The film also pays tribute to the film noir classic Kiss Me Deadly. Its radiating glow was different showing a sense of detachment from mainstream culture and the films soundtrack took us for a ride along the way.



The Play List:

1. The False Poets - A Girl I Know
2. Your 33 Black Angels - Patient Love
3. Dum Dum Girls - Under These Hands
4. Old And Weird - Lamps
5. Os Tartaros - Tartaria
6. The Plugz - Hombre Secreto (Secret Agent Man)
7. The Circle Jerks - When The Shit Hits The Fan
8. The Folk - In Silence
9. The Mods - Coming In And Out Of The Rain
10. The Young Canadians - Don’t Bother Me
11. Teenage Head - Some Kinda Fun
12. BA Johnston & The Moby Dicks - McDonald's Coupon Day
13. Korean Gut - Your Misery, Our Benefit
14. Topless Mongos - Hey My My
15. The Ketamines - You Can't Serve Two Masters
16. Frustrations - Damaged Goods Make History
17. Silicone Injection - At War With Peace
18. Radio Birdman - Do The Pop
19. Generation X - 100 Punks
20. The Libertines - The Good Old Days
21. The Modern Lovers - Old World
22. The Teardrops - Teardrops And Heartaches
23. Iggy Pop - Repo Man Theme
24. The D4 - Mysterex
25. The Rolling Stones - Factory Girl

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for April 1. Or subscribe to Revolution Rock as a Podcast.

Thursday, March 27, 2014

The Stooges Drummer Scott Asheton 1949-2014 & Show # 501


On March 15th, 2014, Scott Asheton, best known as the drummer in the band The Stooges, passed away. Scott performed with The Stooges on all three of their albums along with his brother Ron, who passed away in 2009 due to a heart attack. Scott and his brother Ron, along with original Stooges bassist Dave Alexander formed the core rhythm section of the early line up for The Stooges, which had its beginnings in 1967. In a recent post on Rolling Stone, Iggy talked of his time with Scott Asheton, calling him “magnetic, and having a “boxer’s authority” when playing drums. In the article, Iggy Pop discusses the band’s early stages and his transition from drummer to lead vocalist and taking the center stage. He taught Scott Asheton how to play the drums in the early embryotic stages of The Stooges. Iggy Pop elaborated on this in the very same Rolling Stone article:

“I first met Scott Asheton when I was working at Discount Records in Ann Arbor to augment my drumming. He used to stand with [future Stooges bassist] Dave Alexander at the corner of State Street and Liberty, which is grand central for the University of Michigan campus. Scott impressed me immediately by his obvious physical gift. He remembered this better than I do, but he would bug me to teach him how to play drums.

Following The Stooges first break up in 1971, there was a period of time when Scott along with his brother Ron were in limbo before being recruited by Iggy Pop to reform The Stooges with James Williamson on guitar, and original guitarist Ron Asheton moving to bass. They would record what many feel is The Stooges best album Raw Power in 1973. After the band split again in 1974, Scott Asheton and brother Ron Asheton would continue music separately through with other groups. Scott would go on to play with a variety of other Detroit related groups such as Fred “Sonic” Smith’s post MC5 band Sonic’s Rendezvous Band along with fellow Detroit musician Scott Morgan. Scott Morgan had been in a Detroit Garage group called The Rationals in the mid 60s, but Scott Asheton would go on to play with Scott Morgan and his related projects such as Scot’s Pirates and The Scott Morgan band throughout the 80s. Additionally, Scott Asheton played live with Iggy Pop in 1978, and played with Sonny Vincent & His Rat Race Choir along with Captain Sensible of The Damned, among other bands. The Stooges reunited in 2003 and eventually went on to record two more albums 2007’s The Weirdness, with Ron Asheton on guitar and in 2013 Ready To Die with Raw Power era guitarist James Williamson.

Although The Stooges were overlooked for the most part when active as a band from 1967-1973, they have since gone on to become not only a cult classic band, but also a band responsible for having roots into what was to become Punk Rock. The Stooges are still a highly influential band and important group in Rock history and it was Scott Asheton in the drummer seat. Currently there is a documentary in the works about The Stooges that is to be done by Jim Jarmusch.

This Week's Play List:

1. The Spys - Welcome To The Cruel World My Friend
2. The Poles - CN Tower
3. Blam Blam Blam - Battleship Grey
4. Thee Mighty Caesars - I’ve Got Everything Indeed
5. Dead Drugs - Get Weird
6. The Revelions - Sighs
7. Scott Morgan - 16 With A Bullet
8. Sonic’s Rendezvous Band - You’re So Great
9. The Stooges - TV Eye (Takes 7 & 8)
10. The New Values - Straight Line
11. Damaged Bug - Photograph
12. Papermaps - Poor City
13. Public Image Limited - Memories
14. Johnny West - You Make Me Feel Like An Impotent Squadger
15. Novels - Mr. Foster’s Teenage Daughter
16. Indian Wars - Won't Do A Thing
17. Neil Young, Bob Dylan & The Band - Looking For A Love (Live San Francisco, CA Kezar Stadium 1975)
18. The Polymorphines - Mainstreet Jimmy
19. The Stomach Mouths - Waiting
20. The Pagans - I Don’t Understand
21. The Diodes -We’re Ripped
22. The Skids - Masquerade
23. Richard Hell & The Voidoids - Going Gong Gone

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

Tuesday, March 18, 2014

Revolution Rock: Tales Of A Late Night DJ & Show # 500


This week marked the 500th episode of Revolution Rock to air on CJAM FM’s airwaves in the Windsor/Detroit area. When I originally started the program back in June of 2004, I always wondered if I would make it to 500 episodes, well I suppose that now I have. When Revolution Rock started as a radio program back in 2004 CJAM was still located on 91.5 FM on the FM dial and the show focused specifically on 70s Punk and New Wave music. For approximately two years the show played that genre, rarely venturing outside of the world of the music created during that time period. At the time I created the program, CJAM had many “Punk” programs, but none of them for the most part really featured any music from the late 70s Punk scene specifically, whether in the UK or otherwise. The very first week that I was to be on the air, I recall going to CJAM FM located in the basement of the University of Windsor CAW Centre. I had been given the late night or graveyard shift from Midnight until 2 AM on Thursdays, a position I held for a few years. The very first time I was supposed to be on CJAM, I wasn’t able to get in the building. I told a bunch of my friends that I would be on the radio and they said they would be tuning in that night to hear my program, I was not aware at the time that University was locked on some occasions during late night hours. The next day at the University, some friends told me they heard my radio show, but “didn’t hear much talking from me”. Since I wasn’t there to do my program a CD was put on repeat for the night. It was rather fitting to know that being a radio DJ could be done by a CD player on repeat, but that was a rather short sighted point of view at the time, something that would change with time. This was also before the world of mp3/music playlists could be fully utilized by computers.

The following week I was able to get into the building and actually be on the air. I was extremely nervous to be on the radio live for the first time and when I walked into the studio, some friends of mine from the Universities Communication Studies program were hosting their show. One of my colleagues was shirtless and for some reason sweaty and perhaps there were also some outside influences were at play that night. When I asked my colleague why he wasn’t wearing a shirt his reply was “It makes me perform better”. This was my first real introduction to the world of campus/community radio.

During the late night hours at CJAM FM, I explored the 70s Punk and New Wave genres, the music that influenced those genres in great detail and sometimes newer music. But at the time I was still a bit influenced by the mainstream media and way of thinking. Each week on Thursday night or Friday morning for that matter, I delved deeper into this world and in combination with my education at the Universities Communication Studies program and the CJAM FM community, I began to think differently. I also learned a few valuable things from my experiences. On Thursday nights, the University had “Pub Night” and often confused drunk University students would wander into the lobby of CJAM FM, not located too far away from the bathrooms and the University Pub. They would at times yell out loud both profane and incoherent thoughts while I was talking on air during my program. This is where I learned, lock the door to CJAM when you are programming late at night. You never know who might wander in.

Then there were the late night callers. They would not be unlike the drunken University student wandering in from the Pub, sometimes starting phone calls either as prank calls where no one got the joke, or just to comment on the fact that they really hated what they were hearing. I recall one very specific instance when a caller phoned in, picking up the phone the anonymous caller on the other end said “Why aren’t you playing Techno music?” When I explained that my program focused on 70s Punk Rock they replied with “This makes me want to smash my head against a brick wall. It sucks!” then promptly hung up. As cruel as that sounds, there were also loyal callers that called in to make requests that were sometimes very obscure or just to tell me they liked what they were hearing in general. Some of those loyal listeners followed me when Revolution Rock switched time slots, which it did twice. For another few years, Revolution Rock aired Wednesday nights from 9-10:30 PM, I was followed by the Electronic program The Rhythm Gallery. It was also around this time in 2006, that I created this blog. It was created as a place to profile bands that were featured on the program and as a way to share my program online with a wider, more international audience.

In September of 2008, Revolution Rock moved to its current time slot Tuesday mornings from 10:30 AM – 12 PM. Since those early days in 2004, the program has evolved greatly in terms of content. Revolution Rock grew to incorporate Garage Rock, Surf, Alternative, Indie and many other related sub-genres into the shows format, but still keeping true to the 70s Punk and New Wave attitude and ethos that the genre helped to create. With the 500th, episode of Revolution Rock now over with I can’t help but think back to my first program in June of 2004. My sweaty shirtless friend introduced me to a world that I had not yet been exposed to. The shirt has now been taken off so to speak and I am no longer trapped between the confines of the mainstream way of thinking and the beginnings of my University education. In essence, I now perform better as a programmer with my metaphorical shirt off. I mean after almost ten years and 500 episodes, you would have to be right?

The Play List:

1. Sun Stone Revolvers - Elmore's Surf
2. Action Makes - Nothing For Money
3. Simply Saucer - Get My Thrills
4. 63 Monroe - Twist My Wrist
5. The Victims - Open Your Eyes
6. St. Paul & The Broken Bones - The Glow
7. Holy Wave - How Do You Feel?
8. Them - You Just Can’t Win
9. Thee Oh Sees - Wait Let’s Go
10. Link Wray - Raunchy
11. Paul Jacobs - I Got It
12. No Fun - I Ain’t Got No Face
13. Carbonas - Hate You
14. Pointed Sticks - I’m Numb
15. The Scabs - Don’t Just Sit There
16. Ruefrex - Cross The Line
17. Slow - Have No Been The Same
18. The Replacements - Left Of The Dial
19. The Kinks - Powerman
20. Guided By Voices - A Good Flying Bird
21. The Clash - Deny
22. Ty Segall - Femme Fatale (Velvet Underground Cover)
23. The Black Lips - My Struggle
24. The Velvet Underground - Beginning To See The Light (Early Version)

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

Tuesday, March 11, 2014

Bob Dylan & George Harrison New Morning Sessions & Show # 499


Bob Dylan’s controversial album Self Portrait was released in 1970. The album was meant to be bad on purpose and was known for the infamous lines in Greil Marcus’ Rolling Stone review, which opened with “What is this shit?” The album was a double album of odd covers with bizarre overdubs and some poorly mixed live recordings. The songs were released in this fashion as a reaction to fans harassing Dylan at his family home. Bob said in a 1984 Rolling Stone interview: “'Well, fuck it. I wish these people would just forget about me. I wanna do something they can't possibly like, they can't relate to. They'll see it, and they'll listen, and they'll say, 'Well, let's get on to the next person. He ain't sayin' it no more. He ain't given' us what we want,' you know? They'll go on to somebody else.” The idea didn’t really work out as planned, but around the same time Dylan was working on another album, one that was to become 1970’s New Morning.

Those sessions are known for their beginnings, which took place on May 1st, 1970, with Beatle George Harrison on guitar. The sessions were a mish mash of covers and a few originals and have been widely bootlegged for some time. However, the sessions showcase an interesting point in Dylan’s career, the transition from Self Portrait to New Morning is night and day. New Morning excels where Self Portrait conveys quite the opposite. From these sessions a few songs were considered for release on New Morning, but they were never used. A few of these songs “Working On A Guru”, a version of “Time Passes Slowly” and “If Not For You” have since been released officially.

New Morning was released four months after Self Portrait. Recording sessions for Self Portrait began in April of 1969, and went on until March of 1970. The beginning of the New Morning sessions occurred on May 1st, 1970, before Self Portrait was even released. Dylan even stated in a 1975 interview “We were working on New Morning when the Self Portrait album got put together."

The May 1st session was to be recorded in secret, but even though the rumours spread, the Bob Johnston produced session went down as planned. Musicians on the session included Charlie Daniels on bass, Russ Kunkel on drums, Bob Johnston on keys and of course Bob Dylan and George Harrison. The session is loose and features several tracks that are of a rough around the edges quality. George Harrison’s guitar playing often reflects influences from the early days of The Beatles. Songs such as “I Don’t Believe You”, Carl Perkins “Matchbox”, the muddy “When’s My Swamp Gonna Catch Fire?”, “Honey Just Allow Me Just One More Chance”, a recording of an early still unreleased Bob Dylan original “Mama You’ve Been On My Mind”, a version of The Beatles “Yesterday” which ends with George Harrison saying that they should “put some cello on that”, all serve as candidates in favour of the sessions. There are still some weaker moments, but overall the sessions symbolize a unique point in both musicians’ careers. They also add to the vast and mysterious unreleased catalog that Bob Dylan has created during various points in his career.

As George had just become an ex-Beatle and was beginning work on his All Things Must Pass album, Bob Dylan was dealing with a difficult period with over obsessed fans viewing him as a sight seeing prophet. Both musicians had plenty on their mind. If these loose and for the most part off the cuff sessions show us anything, it is just a collection of musicians having unstructured fun in the studio rediscovering themselves, while the distractions of the outside world remain elsewhere.

Self Portrait and several of the tracks from the New Morning sessions are revisited on 2013’s The Bootleg Series Vol 10: Another Self Portrait (1969-1972), including a full and proper remixed concert from the Isle of Wight with Bob Dylan & The Band.

The Play List:

1. The Rezillos - Somebody’s Gonna Get Their Head Kicked In Tonight
2. Ramones - Highest Trails Above
3. Wire - Just Don’t Care (1977 Demo)
4. Zombie Surfers - Zombie Hand
5. The Orions - Always Clean And Fresh
6. North By North - Burn It Down
7. Deathcats - Aligator
8. Fruit Tones - Just Feeling Lucky
9. Aron D’Alesio - Carousel
10. Picastro - Endlessly
11. The Big Cat Band (Drew from Dead Ghosts and members of Indian Wars) - Jimmy
12. Dead Ghosts - Girl (The Keggs Cover)
13. Bob Dylan (With George Harrison) - When’s My Swamp Gonna Catch Fire?
14. Bob Dylan (With George Harrison) - Mama You’ve Been On My Mind
15. Scattered Bodies - The Many Moments
16. Vaguess - Television Dreams
17. The Zellots - On The Dole
18. Female Hands - Divided By Three
19. Active Dog - Nothing Holding You
20. Tim Ray & AV - Quarter To Eight
21. Private School - Rock & Roll Radio
22. Spizzenergi - Soldier Soldier
23. Magazine - Shot By Both Sides (1977 Definitive Daze Demo)
24. Bob Dylan (With George Harrison) - Working On A Guru
25. Bob Dylan (With George Harrison) - Time Passes Slowly # 1

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

Tuesday, March 04, 2014

Devo's Bob Casale (1952-2014) & Show # 498


On February 17th, 2014, Bob Casale, one of the founding members of Devo passed away due to heart failure. Bob Casale played rhythm guitar, keyboards and provided MIDI sampling in Devo, but also provided back up vocals, and from 1984 served as the band’s sound engineer on their albums. Just last year In June of 2013, Alan Myers passed away due to a battle with cancer. Alan was often referred to as “The Human Metronome” and drummed with Devo until 1984. Both members were part of Devo’s classic line up.

Devo formed in Akron, Ohio in 1972, and were comprised of brothers Mark and Bob Mothersbaugh, Gerald and Bob (referred to as Bob 2) Casale and Alan Myers on drums. Bob initially was a trained medical radiation technician, but was asked by his brother Gerald to join Devo. The band became a seminal New Wave-era band in the late 70s/early 80’s. Most people recognize them for their quirky hit song “Whip It!”, but when the band first started out and even up to their most recent release 2010’s Something For Everybody, the music they made was based on the theory of devolution. Devolution in its simplest explanation is the theory that man was devolving into a regressive and earlier state, as opposed to be advancing in our modern society. The band first caught the attention of David Bowie at the Ann Arbor Film Festival where their short film The Complete Truth About De-Evolution won a prize at the festival. The film was shot by Chuck Statler incorporating Devo’s theories of Devolution and their music. It was essentially a music video, but following that prize at the Ann Arbor Film Festival, the band went forward from there.

Following the initial split of Devo in 1999, Bob along with other members of the band went on to other music related ventures. Most notably Bob joined the music production company Mutato Muzika, along with other members of Devo that was founded by Mark Mothersbaugh. Bob collaborated with Mark and the company on numerous films and television related programs. Some of the company’s credits include the films Happy Gilmore, Rushmore, The Royal Tenenbaums, Rugrats Go Wild, and many others.

The Play List:

1. La Luz - Sure As Spring
3. La Luz - Phantom Feelings
3. Martin Van Ruin - American Moon
4. Holy Wave - Psychological Thriller
5. Temples - Shelter Song
6. Habibi - Far From Right
7. Tire Swing Co. - I Awoke
8. Middle Sister - Maudite
9. Handsome Ned - One Hundred Miles of Open Road
10 The Hidden Cameras - Doom
11. Dum Dum Girls - Cult Of Love
12. Devo - Big Mess
13. Devo - Freedom Of Choice
14. Devo - Through Being Cool
15. Roky Erickson & The Aliens - I Walked with A Zombie
16. The Hoop - Phog Lounge
17. The Vapids - Powerchords and Skateboards
18. Light Bulb Alley - Liquor Store (Rough Mix)
19. The Basements - Wrong
20. The Black Angels - Better Off Alone
21. Teenanger - Psychic Sonya
22. Wanda Jackson - There’s A Party Goin’ On
23. Handsome Ned - One Hundred Miles of Open Road
23. Stompin’ Tom Connors - The Horseshoe Hotel (Live At The Horseshoe 1971)
25. Lou Reed - Nobody’s Business


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