Coming Sept 20th at 2 pm GMT

Episode 30 – Josh Latta’s Rashy Rabbit

Skin You Alive – Midnight Woolf
For Cryin’ Out Loud – Bunny Sigler
Fine As Wine – Willie Kendrick
Baby Baby (LP Version) – Frankie Lymon & The Teenagers
Buzzsaw Twist – the gee cees
Buzz Buzz Buzz – Jonathan Richman And The Modern Lovers
Der Fuehrer’s Face – Spike Jones & His City Slickers
Shake Shake Shake (Bonus Track) – White Denim
Here It Comes – Brian Jonestown Massacre
This Charming Man – The Smiths
This Thing Called Love – Esquerita
I’ve Been Loving You –  Cindy Scott
How Deep Is The Ocean – Lonnie Johnson
Hush-Hush – Jimmy Reed
Bottom Of The Sea –  Billy Childish & Dan Melchior
The Mollusk – Ween
Devil Behind That Bush – The Cramps
Jump in the Line – Harry Belefonte
Beyond The Sea – Bobby Darin
It’s Him! – White Denim

Offically no ,Madd didn't but Casey an I reworked a song of long lost love that I penned as Falling Waters...no copyright of course.It became the first few stanzas of "Go Back" ...We sat at the Mill bar in Iowa City a short time before Casey Fautz's demise and hummed and laughed about my lame lyrics.Without Crabby Appleton this short tune would have fallen into obscurity.

CRAIG MOORE said:

MADD didn't make a record, to the best of my knowledge they never wrote a song, but they were the ultimate garage cover band. SO good, they knocked us out totally. We were still beginner's in the Pagans. I don't think we had met Rex & Brent yet when we first saw MADD, and I had only been playing bass for a couple of months. Barry the bass player looked like McCartney & played a Gibson EB-1 violin shaped bass left handed. He was amazing as were all of them. I asked him how long it was going to take me to get a handle on bass and he told me "oh about 6 months and you'll start to get it, start to 'hear' things." We were practing & learning songs and listening to records 24/7 of course, and I literally watched the calendar and at that 6 month mark 'viola!' I started hearing octaves and such on the records, started to decipher the 1 from a harmonic note, etc. Still had a LONG way to go but that remark was magic. MADD did "Rain" letter perfect when it was NEW, at a time when most bands could only listen in awe to the record. The organist was Casey Foutz who eventually left Ottumwa with Phil Jones (Enoch Smoky) and were founding members in LA of Crabby Appleton, "Go Back" etc. MADD evolved into THE UPSTAIRS PLAYGROUND in 1968 and got very very psychedelic, California acid drenched, guitarist Mike Sexton was beyond fabulous as a guitarist & vocalist, last time I saw him was 1968 or 1969 and he looked exactly like a taller version of Dickie Peterson (Blue Cheer). He's either a highly paid session musician with a huge ranch in Montana, a rocket scientist, born again, or dead. I have no idea. David Bernstein the drummer was one of the greatest unknown shit kickers you could imagine. We did LSD together once, I think David got a little wierded out by that scene. I heard some vague rumblings about him in the early 70's but never knew where he ended up. I hope he's fine and I hope he never lost his love of music, he was great. But MADD's bass player had a huge impact on me personally, and the band was idolized thoroughly by The Pagans and GONN, and in fact they inspired both the spelling of our name AND the fact that we adamantly enforced the "no 'THE'" rule, as did MADD. The fact that we had our own hearse was as close as we could get to being as cool as MADD, in our minds. Until we made a record, anyway.  I saw this hearse ad about 6 months or so ago and sent it out to Phil Jones just as a reminder of the good old days back here in the midwest.  I saw Casey back in Ottumwa about 1983 when my band Ready Steady Go was playing a club there. He had been playing with Pacific Gas & Electric in LA and had a heart attack, moved back to the home town to recuperate and get his head together. It was great to see him, he always reminded me of Gene Clark, but he seemed pretty down and not very happy. I was pleased that he remembered me and the band and all the times we hung out with them. Not too long after that I heard he had another heart attack and died. Very sad. So all you fans of records by GONN, you need to say a 'hail Mary' for Casey and never forget there was a band called MADD that maybe didn't make a record but their impact is with you still, every time you hear GONN or hear another story of the Iowa scene 1965-1968. There were the ultimate Iowa garage band. 

John Perry from this band was interviewed on the "Marrs Bonfire's Smart Set" radio show last Friday (14th Sep) I THINK it will be available on the BayFM website "listen again" page for a while.....(scroll down to the Smart Set section of the page)

http://www.bayfm.co.uk/index.php?option=com_content&view=article&id=125&Itemid=237

It was a pretty good interview...

Experience has proved there isn’t a dead set rule when it comes billing order.  The attendance usually varies depending on the situation. 

The way I like to work out of town gigs is:

If I have been invited by a band/promoter to play on a bill I will request a supporting slot when planning the gig to avoid any uncomfortable or surprising situations.  Gas isn’t getting any cheaper and, in my case, Canadian cities are generally 3-6 hours apart at best.  So, if I am unfamiliar with the history of the promoter/bands involved, I like to research the likelihood the event will reach a satisfactory attendance (subjective of course).  If the other bands on the bill are generally unknown, I usually reference the number of people that clicked ‘going’ on their previous Facebook invites.  No guarantees, but it’s a useful reference.  It’s also good to check if they’ve received any internet media attention.

I only really agree to close out of town shows if there is a bit of hype behind my band coming to play, or the event is reputable, or the promoter is offering a guarantee. If you don’t know the promoter or someone that has previously worked with him/her, get the fee in advance.

Basically, there is nothing more to be had by playing a poorly attended out of town gig as there is an empty room on your home turf.

I didn't think that was harsh and you make some good points. Your post did change my mind a little in the sense that I shouldn't have any expectations and just control the one thing we can control which is making sure we're ready for the show. I also love your point about making a band sorry they put you on first by out-playing them. I always feel a sense of friendly competition at shows to help get myself motivated to play the best I can so I should just extend that to the times where we get the crappy spot in the lineup and use it as motivation rather than let it bother me so thanks for that!

its kind of a slippery slope on this topic. i've been in both situations. and while it’s nice as a touring band to have a prime spot, if my band has never played the town or club and it’s a smaller market city chances are I am just happy to have a show booked. As a smaller /less known group in whatever area you playing you can’t expect to have a good spot on the line up, so the rule your talking about is more of courtesy, then a rule. Whenever I go out of town to play shows, I’m always just happy to play and never worry about anything other than playing a good show.

Personally I would rather play first and be hard to follow by the rest of the acts then sit through the whole show waiting my turn.  Most of the time first band loads right on to the stage and as an out of town band touring sometimes it nice to have the opportunity to fully set up gear right and not be rushed by the later time slots.  Also comes down to just getting paid. If that’s taken care of that’s really all that should matter for the out of town band.

On the flip side, my band plays with a lot touring bands (we are in a big market city: SF, so everybody comes here) so depending on the booker/venue or what not we always try make it a good show and everyone always gets paid.  My big issue about “touring band/prime spot rule” is that; when we play local in our home town we bust ass to make it a good show, promotion fliering, getting people to show up what not. So in a few instances it kind of rubs me the wrong way when a less known touring band gets a primo spot and my band gets stuck either playing to early or really late especially on week night. Just because you drove 500 miles shouldn’t earn you any special privileges. I think bands should get in the mindset of it’s more about putting a good show for the people that show up to support local music, not the bands ego’s because they think they deserve it because they drove 6 hours to play a show.  Maybe your band is a better in the opening slot then later on in the night? Or visa-versa? Work that shit out with the booker and make the best show possible for the people that come out.

Not meaning to sound harsh on any of this. just my two cents. 

I was just curious about how other bands felt outside of my area. I recently finished up a mini-tour and I felt like on some nights the local band on the bill was trying to position themselves in the best spot but I didn't say anything since I wasn't sure if this was a known "rule".

Your example of a record release show is definitely an exception. That's your night to be the center of attention without a doubt.

What's your band called, Doc?

The only time my band didn't offer the out-of-towners the last and prime slot will be when we have our record release party in a few weeks, but I think it's ok to be selfish when you're celebrating yourself. But then we won't take any money but pay the other bands.

Since no one of us is in it for the money, I guess it's fair that the band that spends the most money gets back the most money, and the band that has the most trouble arriving gets the most rewarding slot.

BTW, Ben, why are you asking?

Exactly! You're in it for the fun of it but when it costs you a small fortune and someone is making a lot of money if kinda takes the fun out of it!

I'm glad I'm not alone here! The last band I was in we would even give our cut of the door to the traveling band (which amounts to about a 1/2 tank of gas) but still,  knowing how expensive travel is and how much of a pain in the nutz it can be we felt it was the right thing to do. When you make $0-$80 a show you sure as hell aren't in it for the money anyway! :)

Yeah, I agree though we've seen it work both ways! We played one gig where the rule was that it went in order of who travelled furthest which was good for us since we'd come about 500 miles! :)

That makes sense. Either the out-of-town band gets the middle slot or the last slot, depending on the band's pull (and who else is on the bill). If most of the people coming are there to see one of the local support bands, then that band should play last, otherwise you'll have a mass exodus right before the out-of-town band goes on stage. So the theory is you let the out-of-town band play right before the local with the most pull, thereby ensuring that you have a big audience for them.

I thought the rule was that the out of town band gets a decent spot in the lineup. For example if there's 3 bands that night, shouldn't the out of town band get the middle spot? Maybe I'm expecting too much but I thought this was just common curtsey among bands. Thoughts?

very cool. I think if you put a clear enclosure over the disc and made the switch into a footswitch youd make this a lot more practical.

I thought some of ya might find this interesting. It's a primitive tremelo using interchangable discs. Certainly no hearty enough for gigging, but could be fun in the studio.

The Slits, Au Pairs

This beauty's coming in the mail fast...................

Kopper--no really, Thank YOU.

Gentleman John Battles--Howdy!, and thanks.

Thanks everybody--I appreciate it more than you know.

I'm with you ,Andy. You should be just as able to tour with a competing version of The Devil Dogs , but you've made it clear you would'nt do that.  I met you several years ago when you were in Chicago with The Roller Kings. So......."Hey".

Dammitdave : I know what you mean about From The Jam , but , they are (Or were , when I saw them.) a three piece , Foxton , Buckler and a younger guy who had more than one person saying "Paul WHO?''. I WISH I COULD HAVE SEEN THE JAM , THEN , AND I ONLY MISSED THEM BY A COUPLE OF MONTHS , BEFORE THEY BROKE UP , IN THE MIDDLE OF A  U.S. AND CANADIAN TOUR.  BUT , WELLER , TODAY , I'VE GOT NO INTEREST IN HIM ......

  IT WAS A BIZARRE PREMISE , TO SAY THE LEAST , BUT , THEY WERE'NT PRETENDING TO BE THE JAM , AND THEY SOUNDED GREAT.    IT'D BE JUST AS WELL IF THEY CALLED IT "BRUCE FOXTON'S JAM" , ESPECIALLY NOW , AS HE'S THE ONLY REMAINING ORIGINAL MEMBER.

Reminds me of Wellerless Jam (From Wikipedia):

"In February 2007, Foxton and Buckler announced they would be touring again as From The Jam, with members of Buckler's Jam tribute band The Gift."

Official or not The Devil Dogs are one of my favorite bands of all time.

This week's show featured music from New York Dolls, Johnny Thunders & The Heartbreakers, Jerry Nolan, Cold Warps, The Black Angels, Wire and more!

Download/listen to the podcast here:  http://cjamlog1.cjam.ca/mp3dirnew/36-Revolution_Rock-20120918-1030-t1347960600.mp3

Check out this week's blog post on Jerry Nolan:  http://revrock.blogspot.ca/2012/09/jerry-nolan-take-chance-with-me-show-422.html

This Week's Play List:

1.  Cold Warps – Endless Bummer
2.  Thee Oh Sees – Wax Face
3.  The Mark Inside – Lime Green Monkeys
4.  Eric's Trip - Unnoticed
6.  The Vapids - Mikey Was A Punk
7.  The Shades – New Clientelle
8.  Active Dog – Fun While It Lasts
9.  No Fun – Mindless Agreesion
10. New York Dolls - Jet Boy
11. New York Dolls - There Is Gonna Be A Showdown
12. Ry Cooder – Kool-Aid
13. The Black Angels – Black Grease
14. Richard Hell & The Voidoids – The Kid With The Replaceable Head
15. Johnny Thunders & The Heartbreakers - Take A Chance With Me (Demo)
16. The Pack AD - Lights
17. The Idols – You
18. Johnny Thunders & The Heartbreakers – I Wanna Be Loved
19. Destroyer - The Sublimation Hour
20. Little Girls - Youth Tunes
21. Wire - It's So Obvious
22. Jerry Nolan – Take A Chance With Me
23. Jerry Nolan – Pretty Baby

Will do! Thank you for allowing me on here. Loving the site!

I'm Ben, also a newbie here. I've liked Garage Rock for a while now, I just didn't know it! I got introduced to a bunch of great old school Garage bands via the Nuggets box sets from Rhino and my favorite has to be The Sonics. Also, every since I was a little kid (I'm 34 now) I've been obsessed with The Ramones. For the fist time ever I've started my own band (I was always in someone else's) called Toy Cannons, our style is all over the place but there is definitely a garage and pop-punk influence there. If you wanna check us out you can do so here: