I will be returning to the airwaves on Saturday July 5th from 1:00-3:00PM EST. You can listen at 89.7 WITR-FM in Rochester, NY or streaming live at http://witr.rit.edu.

Summer's here and the time is right for dancing in the streets. Not to mention sun, surf, hotdogs, BBQ and, best of all Voodoo orgies!

http://www.bigenchiladapodcast.com/2011/06/podcast-37-summer-voodoo-fun.html

Hey , it's still SUMMER -    "King of The Surf" - Trashmen.

                                        "Point Panic" / "Waikiki Run - Surfaris (one of the best Surf instro 45s ,                                                     EVER.).

                                      ''I Live For Cars and Girls" - Dictators. 

                                      'Hot Rod Hearse' - 3D Invisibles.

                                    "Thunder Alley"  - Davie Allan and The Arrows , Pandoras.

                                 "Surfin' Hearse" -  Jan and Dean , Untamed Youth.

                                    "Hot Generation" - Pandoras (I forget who did the original.).

                                 "Surfin' Sanford Bird" ( LAMONT ! WHERE'S MY GLASSES?!) - Deke Dickerson.

                 SPECIAL 4TH OF JULY SECTION - PAUL REVERE AND THE RAIDERS.

                             "SS 396" , "Orbit (The Spy)" , '' Louie , Louie (WELL , DUH.)" , "Judge GTO", 

                             "Corvair Baby" , "Powder Blue Mercedes Queen" , ''Crisco Party" (aka "Crisco ") ,

                             "Good Thing" , "Ups and Downs" , "Steppin' Out" (Huh huh , he said "69".) ,                                      "Kicks" , "Hungry" , " Let Me " , "Mr. Sun , Mr . Moon (Come on , it's the perfect song                              for 4th.) " , "Don't Take it So Hard"  , "Louise " , " Mo'Reen" , "Midnight Ride" , "I'm                   Not Your Steppin' Stone", "Night Train" , "You Can't Sit Down". "Him or Me".

                          and , honorable mention "Baby Make Up Your Mind"  , only because it's the hit that should have been.

http://www.trensmissions.ens.fr/wp-content/uploads/2014/06/voixdegarage29.ogg

Voix de garage#29 Special Summertime! (25/06/2014)

*Jiingle* Know Your Product / The Saints / Eternally Yours / 1978 / Australie (Brisbane)

School’s out / Alice Cooper / School’s out / 06/1972 / US (Detroit Rock City)

Sighs / The Revellions / Give it time / 2014 / Ireland

1789 / Fuzzy Vox / On Heat / 2014 / France (Joinville le Pont)

It Must be Summer / Fountains of Wayne / Utopia Parkway / 1999 / US (NYC)

Summertime Blues / Eddie Cochran / 21/07/1958 / US

California Sun / The Rivieras / single / 1964 / US (South Bend, Indiana)

*The 5' French talk*: the festivals (with as a background, The Tell Tale Couch / The Phantom Surfers / The Phantom Surfers & Dick Dale / 1996 / US California)

Feel Good Hit Of The Summer / Queens Of The Stone Age / 2000 / US (Palm Desert, CA)

*The quiet moment*: End of the Summer / The New York Dolls / Dancing Backward in High Heels / 15/03/2011 / US 

*Listen to that glitterous glitter*: Sea Cruise / Glitter Band / Hey / 1974 / UK (London)

Summertime / Glitter Wizard / Hunters Gatherers / 2011 / US (San Francisco)

Here comes the Summer / The Undertones / The Undertones / 05/1979/ UK (Derry, Northern Ireland)

Summer Babe / Pavement / Slanted & Enchanted / 1992 / US (LA)

*The Chachachachchacha-pelpelepel 60’s*: Surfin’ Bird / The Trashmen / Single / 1963 / US (Minnesota)

Fun in the Summer / The Surf Trio / Almost Summer / 1986 / US (Eugene, Oregon)

Zummer It’s A New Season / Edam Edam / Zummer EP / 2012 / France (Paris)

*The Norway lesson for summer homework*: I Got a Knife / Turbonegro / Sexual Harassment / 2012 / Norway

- See more at: http://www.trensmissions.ens.fr/voix-de-garage-29/#sthash.RpUHhK28.dpuf

I'd love to get a conversation going about this... Read the article and post your thoughts!

From: http://www.theguardian.com/music/musicblog/2014/jul/03/punk-has-a-problem-with-women-why

 

The Slits … Nearly 40 years on, female punk musicians still struggle to be recognised. Photograph: Julian Yewdall/Getty Images

 

Earlier this week, the BBC aired a Culture Show special Girls Will Be Girls about the “female punk spirit”. Next week, Amy Oden’s documentary From the Back of the Room– a celebration of women in punk – is screening in London. It’s shown with a telling regularity here in the UK, and not just because it’s an excellent piece of film-making. It addresses an issue that punk just can’t seem to shake: female visibility, or the lack of it.

 

For all the films and programmes about women's role in punk, their recognition has been a problem since the 1970s and it looks like very little has changed. Women were a part of punk from the beginning – as musicians, promoters, venue heads, artists, provocateurs, community organisers, documenting their local scenes in zines, films, books and photographs. As LA punk veteran Alice Bag has pointed out, punk started out as an inclusive and diverse movement, but was quickly annexed by white dudes. Women have had to fight for space and recognition in punk ever since.

 

Even as the Sex Pistols and the Clash began their noisy quest for world domination, the radical all-girl punk band the Slits faced opposition at every level of industry, as chronicled in guitarist Viv Albertine’s excellently sharp memoir, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys. In the 90s, riot grrrl rose up in protest at endemic punk scene sexism, while bands like Bikini Kill fought to reclaim the stage and the mosh pit. Two decades on, Alanna McArdle of Joanna Gruesome battles with sexist online trolls, Laura Jane Grace calls out the macho punk culture and both Syracuse, New York’s Perfect Pussy and Vancouver’s White Lung rage openly against the sexist boy majority. Same shit, different decade.

 

So why the groundhog day? Well, partly because the industry bros with power and influence aren’t doing all they can to change this inbalance. When Megan Seling interviewed Warped tour founder Kevin Lyman recently, challenging him over the persistent lack of female artists on the festival’s line-up, Lyman blamed women, saying there aren’t enough female bands out there to book.

 

Maybe there really are fewer women making punk music. But if that's the case, maybe it's because they see so few examples of female visibility at festivals like Warped that it doesn't occur to them that being in a band is an option. Maybe it's because men are more likely to have the time, confidence and disposable income necessary to make a band happen. Maybe it's because men don’t have to face constant objectification in the pages of guitar magazines, or the archetypal patronising music-shop dudes, or the steady line of snarky stage techies who prompted Sleater-Kinney’s Corin Tucker to write her 1997 Hey Sound Guy zine. Maybe it’s because women on the road face a set of obstacles that men in bands will never have to consider: sexual harassment, gendered violence, isolation, rape (and the subsequent blanket of silence and victim smearing that happens if the accused happens to be a punk hero). Maybe it's because the men who enjoy the freedom of the road aren’t worn down by the exhausting, pervasive sexism of promoters, venue managers and – should they garner the gaze of the music press – a media that is still, by and large, made by, for and about men. Maybe it's because the women who challenge the male hegemony in punk tend to get left out of the history books, prompting film-makers like Oden to retell the story.

 

Or maybe we only think there are fewer women out there because we only ever get to see the lucky few to whom industry gatekeepers deign to give a platform. Warped’sShiragirl stage – set up guerrilla-style by musician Shira in 2004 in response to Warped’s disproportionate boy/girl ratio – was a well-intentioned move, a way of ensuring women were present. But it's time that Warped – and others – change the way they support women in punk. As AbsolutePunk writer Kelly Doherty has pointed out, women-only stages, however benevolent, effectively ghettoize women:

 

The Shiragirl Stage is a way of the scene patting itself on the back and feeling super progressive when, really, it's yet another way of suggesting that women do not have a role to play in the important parts of the festival. The Shiragirl Stage will never, ever change the opinion of a young individual who believes that the touring circuit is something women should not participate in, as they won't look twice at the stage. How you change opinions is by giving females the chance to be in the same position as men and by showing people that they are just as capable.

 

Jennie Russell-Smith, musician and co-organiser of Rebellion festival, the UK’s biggest annual punk festival, agrees wholeheartedly. “This is the first time I’ve heard of the Shiragirl stage, and I’m appalled that someone would feel the need to have a stage where the girl bands are kept away from the male bands. Its ridiculous.” And the idea that there aren’t enough female bands out there? Bullshit, says Russell-Smith. “Years ago, I actively sought out women bands [for Rebellion line-ups]. Nowadays, because there are so many girl bands out there, I don’t even think about it.” Having women at Rebellion is important to Russell-Smith, but it’s not a quota thing, she says – its about diversity. This year’s Rebellion line-up includes Maid of Ace, the Duel, Vice Squad, Glitter Trash, the Ramonas, Louise Distras, Efa Supertramp, Healthy Junkies and Meg and Mog. “There are so many women getting out there and doing it, and it makes my heart sing.”

 

Russell-Smith grew up in north-east England, in a democratic local scene. “Us women were never made to feel inferior – but I know that’s not everybody’s experience, and I can’t speak for the women in London, or other parts of the world. I’ve been toying with the idea of a one-off Rebellion girls’ night out, a London gig, which would [celebrate] all-female or female-fronted bands. Everyone would be welcome audience-wise, men and women.” But ultimately, says Russell-Smith, there is a thin line between celebrating women and keeping a divide between the sexes.

 

So how do the punks with power ensure women are given equal footing? “The global punk family should stand together,” says Russell-Smith, “because some of us have opportunities that our sisters don’t. I’d also encourage women to contact Kevin [Lyman] in a proactive way about this. He’s welcome to come to Rebellion any time, and he can see how it works over here.”

SHADOWS IN THE VOID #2

Follow the LINK and get your ears bleeding !!!

SHADOWS IN THE VOID #1 

Shadows In The Void, a highly corrosive brand new podcast loaded with despair, angst, anger and violence provided by your epileptic host : Dead End Fred.

Get your ears drilled and bleed, Punk !

SUBSCRIBE

http://www.garagepunk.com/blogs/6608

Looks very interesting , indeed. I've frequently read that the young girl Chuck brought across state lines was , in fact , a Native American , not White , but , a Black man in Chuck's position , at that time , did'nt have a leg to stand on. He said he wanted to have her work as a Waitress at his club.

Chuck has'nt always exercised the best judgement. He had a siezure , or collapsed from exhaustion , the last time I saw him play. Beyond the standard blood pressure exam , etc. , he refused all medical attention . But he's going to outlive all of us , so , God love him.

Sweet!  I wouldn't mind visiting that Whittier place sometime.  Sounds like some interesting history there.

Very interesting stuff... Thanks, Kopper

This is really cool...

http://blogs.riverfronttimes.com/rftmusic/2014/06/chuck_berry_st_louis_homes_and_properties_before_he_was_rich_and_famous_photos.php

Chuck Berry's St. Louis Homes and Properties Before He Was Rich and Famous [Photos]

By Chad Garrison
Published Mon., Jun. 30 2014 at 3:25 AM

 

  

Chris Naffziger

This house, at 4420 Cottage Avenue, is indicative of the dwellings Chuck Berry called home before he hit it big. Berry lived here while in second and third grades.

In the late 1950s Chuck Berry purchased a 35-acre plot in rural St. Charles County where he dreamed of creating a lavish property to rival those of the segregated country clubs he'd seen growing up in St. Louis. The result was "Berry Park," a sprawling compound complete with guest cottages, a nightclub and guitar-shaped swimming pool. Today the 17,000-square-foot mansion he built at Berry Park remains the rock & roll legend's primary residence. He also keeps a second home in the affluent suburb of Ladue.

 

It wasn't always this way.

See also: Chuck Berry Reviews Classic Punk Records In Unearthed Jet Lag Zine From 1980

Click on the pin drops for a tour of Berry's early homes and businesses.

For the first 30 years of his life (minus a short stint in prison), Berry lived in essentially the same black, working-class neighborhood of north St. Louis. Here is a look at those first St. Louis properties owned or occupied by Chuck Berry -- before all those music royalties came rolling in. 

Up first: The site of Chuck Berry's birth -- the home where he got his first taste of music.

Chris Naffziger

Homer G. Phillips Hospital now sits on the site of Chuck Berry's birthplace.

2520 Goode Avenue
Chuck Berry was born October 18, 1926, at 6:59 a.m. inside a small home at 2520 Goode Avenue, now known as Annie Malone Drive. The family moved a few years after Berry's birth, and the home was soon torn down for construction of Homer G. Phillips Hospital, which served for decades as the city's only medical center for blacks. Although his time at the Goode home was short, it was here that a young Chuck Berry was first introduced to music. As he writes in his autobiography:

Mother and daddy were of the Baptist faith and sang in the Antioch Church choir. The choir rehearsed in our home around the upright piano in the front room. My very first memories, while still in my baby crib, are of musical sounds -- the assembled pure harmonies of the Baptist hymns, dominated by my mother's soprano and supported by my father's bass blending with the stirring rhythms of true Baptist soul. I was always trying to crawl out of my crib and into the front room to where the rhythm came from. Long before I learned to walk I was patting my foot to those Baptist beats, rocked by the rhythm of the deacons' feet focused on the tempo of the times. Oh! But the feeling it generated still stirs my memory of back when. Hallelujah!

Next: The Berrys move to a home with modern luxuries such as a telephone.

 

 

Chris Naffziger

Berry and his family would live here for two short years before moving again.

4420 Cottage Avenue
After briefly moving to a home across the street from Berry's birthplace on Goode Avenue, the Berry family settled at 4420 Cottage Avenue, also in the Ville neighborhood. They would stay at this location for just about two years. Recalls Berry of the 4420 Cottage home:

Late in the second grade our family moved again. Daddy found a five-room brick bungalow with full bath, full basement, central heating, and a front and backyard just two blocks away at 4420 Cottage Avenue. We thought it was a palace to have closets and front and back porches. The rent was $25 a month. Mother dug in her savings and added new pieces of furniture that included a new Whirlpool washing machine and a pedal Singer sewing machine that (to my delight) I was invited to pedal while mother sewed. Daddy had some white people install a telephone which brought a million questions from me about its function.

Next: The Berrys move to a home that Chuck will return to time and time again as a teen and young adult.

 

 

Chris Naffziger

The empty lot to the left is all that remains of the Berry property on Labadie Avenue.

4319 Labadie
While Berry was in fourth grade, his family moved again to a duplex on Labadie Street. The Berry family (which in addition to Chuck included his parents, Henry and Martha, and five siblings) would stay at this home for years with Berry returning to the home at the age of 21 (after serving four years in a juvenile center for a carjacking) and, again, a few years later with his new bride, Themetta. The Labadie home has since been torn down, but the property is still owned by Chuck Berry. In his autobiography Berry recalls that the duplex had four rooms with bath and basement and a second floor with the same number of rooms. And it was at this home that Berry first developed his infamous kink. He writes:

One evening I came through the gangway of home and heard water running in the bathroom on the second floor next door. The light from the window was casting down on the roof of our porch. Temptation told me I might finally see a girl's parts, so I hurried to the room and creeped toward the open window to redeem my dream. There, through six inches of raised shade, I saw -- for the first time in my life -- the bare buttocks of a woman about to step into the bathtub. I froze, instantly excited, and crouched stunned and amazed at my long-awaited view of the opposite sex. She even turned around momentarily and allowed a direct view of the front part as she came over to pull the down the shade.

Next: Chuck Berry and his young wife, Themetta, get their first place on Delmar Boulevard.

 

 

Chris Naffziger

This former boarding house, once owned by Berry's uncle, served as the first home to a newly married Chuck and Themetta.

4352 Delmar Boulevard
Chuck and Themetta Berry have been married now for 66 years. But in early 1949 the couple was newly hitched and looking for a place to call their own. They found that first spot in a rooming house owned by Berry's maternal uncle at 4352 Delmar. The couple would stay there for less than a year -- eventually moving back in with Berry's family at 4319 Labadie. Still for a short while, the happy newlyweds had a place of their own and felt that they were really making it -- even if they were not. During this time, Berry was earning $80 a week at an auto assembly plant and another $35 a week doing handyman work with his father. Themetta, meanwhile, brought in another $20 a week working at a cleaners. Writes Berry of their short stint at 4352 Delmar:

We had a 1941 Buick, a refrigerator and were on our way to riches. We were living like the best of the white folks until one evening we were dressed in our "Sunday clothes" on our way to a movie. All the tenants were on the porch chatting as we noticed our parking space. There was no '41 Buick parked where we'd left it at the curb. I boasted about calling the police but knew it had been repossessed by the finance company.

Up next: Berry moves to the home where he'd pen his greatest hits. The now-vacant building was recently placed on the National Register of Historic Places.

 

 

Chris Naffziger

Berry would live in this home, now vacant and owned by the city, while penning his greatest hits.

3137 Whittier Street
In 1950 an expecting Chuck and Themetta purchased their first home at 3137 Whittier Street. It was around this same time that Berry bought his first electric guitar, a second-hand instrument purchased for $30 in $5 installments. Soon an old friend who sang with Berry at the Sumner High School choir called Berry and invited him to play with his hand. After a several gigs, Berry caught the attention of boogie-woogie keyboardist Johnnie Johnson, who asked him to perform with his band at the Cosmo Club in East St. Louis, Illinois. The group soon became known as the Chuck Berry Combo, and by 1955, an enterprising Berry stopped by unannounced at Chess Records in Chicago and signed a contract.

 

 

Wikimedia Commons

Berry in a 1957 publicity photo.

It was while living at the Whittier home from 1950 to 1958 that Berry recorded his biggest hits, including "Maybelline," "Rock and Roll Music," "Sweet Little Sixteen," "Johnny B. Goode," "Reelin' and Rockin'," and "Roll Over Beethoven." In 1956 Berry's growing family (he and Themetta would eventually have four children) led him to build a two-room addition onto the back of the Whittier home. In 2012 the house was added the National Register of Historic Places, and today the badly deteriorating home is one of thousands of vacant properties owned by the city's LRA. Still visible (though faded) is the "B" on the home's metal awning that stands for "Berry." In his autobiography, Berry writes of his home on Whittier:

Savings were really accumulating in our joint account, and we finally found a house we were able to buy. We chose a small three-room brick cottage with a bath and full basement at 3137 Whittier Street, only five blocks from 4319 Labadie. Four-hundred and fifty cold cash dollars at one counting was the sweaty down payment on the $4,500 home. The white family of Dimottios who lived next door welcomed us with open arms, giving us a pot of spaghetti over the backyard fence. I remodeled the house, adding a half bath and bedroom in the basement, where we moved so we could rent out the upper three rooms for additional income.

Next: Berry buys a building to serve as headquarters for his budding music business and fan club.

 

 

Chris Naffziger

Berry's former fan club and music company is now a hair salon and daycare.

4221 Dr. Martin Luther King Jr. Drive (formerly Easton Avenue)
In late 1957 Berry established Chuck Berry Music Inc. and the Chuck Berry Fan Club, both of which operated out of a building he purchased at 4221 West Easton Avenue (now known as Dr. Martin Luther King Drive). It was inside this building that Berry produced his hit song "Memphis," recording the tune on a $79 Sears-Roebuck recorder. Today the building houses a hair salon and a daycare center.

 

Next: Berry opens up Club Bandstand, a music venue and tavern on North Grand Avenue.

 

Chris Naffziger

A vacant lot next to Powell Hall is all that's left of Berry's short-lived nightclub, Club Bandstand.

814 North Grand Avenue
In 1959 Chuck Berry opened up Club Bandstand, a bar and music venue adjacent to Powell Hall that he hoped would be like the mixed-race nightclubs he'd seen in the Northeast. It never took off. That same year, Berry was arrested for transporting a minor across state lines when he brought a fourteen-year-old woman he had met in El Paso, Texas, up to St. Louis to work for him at Club Bandstand. Berry would eventually be convicted of violating the Mann Act (also known as the "white-slave traffic act" for the racist ways in which it was enforced) and sentenced to three years in prison. Club Bandstand closed quietly within a year of opening its doors. Writes Berry:

The city came down with all sorts of ordinances about fire protection orders, and complaints were said to be coming from businesses a half block away about the noise and prowling late at night. When the liquor license was threatened because of an owner being involved in criminal activities, I decided to pull the stakes and quit.

Next: Chuck and Themetta move into a large home on a private street in north St. Louis.

 

 

Chris Naffziger

With this home, on a private street in north city, Chuck Berry had at last arrived.

13 Windermere Place
By the late 1950s Chuck Berry was constantly on the road touring and starting to receive handsome royalty checks for his music. He had finally made it, and in 1958 he and Themetta (whom he calls "Toddy") purchased what would be their last property in St. Louis before the money really started flowing and he moved on to mansions west of town. Writes Berry of his home on Windermere Place:

Jully 11, 1958, I purchased a large eleven-room dwelling on the northern half of a private street, 13 Windermere Place, for $30,000. It was more elaborate than anything Toddy and I'd ever dreamed of living in.

Contact the author at chad.garrison@riverfronttimes.com or on Twitter @chadgarrison.

---

I really wasn't looking for criticisms of this site. Like it or not, it's what we have to work with and offers the best of what we want to offer members... a place for them to discuss (forums), share videos, music, etc.

In all honesty, I liked the previous site a lot better and I was more inclined to interact there more often.

Would you say that the previous site we were using was better and/or people used it more? I guess I am looking for a comparison. Would you say that this host was better, comparable, or worse than that last place that hosted it?

I've been trying to figure out ways to try and lure people back to the Hideout so they actually start using it again, otherwise it seems kind of pointless to keep this site and continue paying for hosting and upgrades and deal with keep it all maintained and running smoothly. It's SO difficult to get people off of other sites like Facebook and Twitter and come use this place. So I thought I'd ask anyone out there amongst you who IS checking in and reading this site from time to time... What do you think we need to do to bring some traffic here? We have the Hideout Comps and the GPPR podcasts, and those obviously attract some people, but what more can we do? We've been trying to utilize our Facebook page, where we have an astounding 37,000+ likes and followers (compared to only a little more than 8,000 actual members here, and most of those are MIA), thinking that promoting this forum, our FREE Classifieds section, dirt-cheap ad rates, etc., but nothing seems to work to get people to come here and check in regularly enough to keep it alive.

So yeah, any thoughts on this subject are appreciated.

Thanks,

kopper

This week's podcast/episode of Revolution Rock featured music from Television, The Howlies, Jack White, The Undertones, Wire and more.

The Play List:

1. True Lovers - Guilty Pleasure # 9
2. Tijuana Panthers - Torpedo
3. The Howlies - Dirty Woman
4. Library Voices - Windsor Hum
5. The Schomberg Fair - Drunkard's Prayer
6. The Orwells - Southern Comfort
7. Swans - A Little God In My Hands
8. Perky Pat — The Coloniel
9. Antheads - Think Fast
10. Crystal Swells - Kelly Does Bayside
11. Bad Brains - The Regulator
12. The Jesus And Mary Chain - You Trip Me Up
13. Kestrels - Wild Eyes
14. Telstar Drugs - Unglued
15. Alex Chilton - Lost My Job
16. Jack White - High Ball Stepper
17. The Rockatones - Everythings Gone Wrong
18. One Way Street - In My Eyes
19. Canadian Squires - Leave Me Alone
20. The Iguanas - Outer Limits
21. Mach Kung-Fu - Hit Nation
22. The Deadly Ones - The Moonlight Surfer
23. Beck - Orphans
24. The Clash - Wrong'Em Boyo
25. Undertones - Teenaged Kicks (Live Amsterdam Paradiso 1980)
26. The Scavengers - Money In The Bank
27. The Government - Zippers Of Fire
28. Wire - The 15th
29. Franz Ferdinand - All For You Sophia
30. Television - Glory
31. Television - Ain't That Nothin' (Single Version)

Download/listen to the podcast here:  http://cjamlog1.cjam.ca/mp3dirnew/36-Revolution_Rock-20140628-1900-t1403978400.mp3

Check out my blog post on Television's album Adventure:  http://revrock.blogspot.ca/2014/06/televisions-adventure-show-515.html
 

Here is last week's episode of Revolution Rock featuring music from The Standells, The Churls, Cousins, The Ghost Wolves, Mac DeMarco, Husker Du, The Users, Iggy Pop and more.  

The Playlist:

1. The Standells - Dirty Water (Live University of Michigan, October 22nd, 1966)
2. The Churls - Trying To Get You Off My Mind
3. The Spectres - I Never Had A Love Like That
4. False Poets - Call The Doctor
5. Husker Du - Girl Who Lives On Heaven Hill
6. Ought - Habit
7. Doug Gillard - Upper Hand
8. The Birthday Party - The Dim Locator
9. Joy Division - Interzone
10. Invasions - Black Lagoon
11. Vaguess - Shadow People
12. Seven Story Redhead - Shake It Out!
13. Cellos - White Swans
14. The Walkmen - The Rat
15. The Shilohs - Queen Light Queen Dark
16. The Ghost Wolves - Shotgun Pistol Grip
17. Cold Warps - Dream Creepin’
18. Mac DeMarco - Passing Out The Pieces
19. Spoon - Yougot Yr Cherry Bomb
20. The Users - Listen
21. Iggy Pop - I'm A Conservative
22. Actual Water - Brighton
23. The Stomach Mouths - Coming Back Alive
24. The White Stripes - Death Letter
25. Thee Oh Sees - Penetrating Eye
26. Cousins - Death Man
27. Sun Kil Moon - I Love My Dad
28. OFF! - I Won't Be A Casualty
29. Buzzcocks - Time’s Up

Download/listen to the podcast here:  http://cjamlog1.cjam.ca/mp3dirnew/36-Revolution_Rock-20140614-1900-t1402768800.mp3

Check out my blog post on the band Cousins here:  http://revrock.blogspot.ca/2014/06/cousins-halls-of-wickwire-show-513.html

Radio What Wave Playlist Juen 26/2014

1. Flight Reaction....Take Your Time...from their self titled debut LP on 13 O'Clock Records outta Austin. The band is from Sweden and features long time garage guru Mans P Mansson. We played some of his previous combos a coupla weeks back on our Swedish garage event.

And right about here, we had Sean and Ryan, 2 of the organizers of the Anarchist Book Festival as guests. They were here to chat about their big event that was happening on the weekend.

2. Crass...Big A Little a....from a Crass single and a good way to continue with the anarchy.

3. Noble Savages....The Music Will Kill You....from their self titled CD.

4. The Mogs....Hate...from the El Mogamundo CD on What Wave Records.

5. Dustbin Flowers....Plastercene Nicotine...from their brand new CD and the first play here on CHRW. DF had their CD release party for this CD on the weekend.

6. Dustbin Flowers...What I'm Missing Now....as above.

7. Panic...Can't Cope...from their self titled debut LP. Mondo depresso combo from Toronto with Johnny Larue on the tubs.

8. Edmonton....Ghost In The Machine....from their soon to be released LP Walk It Off. Edmonton are not from Edmonton, actually Florida and they are about to release this record on Chisel Records, which just happens to be a mail order record store based here in sleepy London Ontario.

9. Steve Adamyck...High Above...from a recent single on La Ti Da Records.

10. Don't Touch The Dancers....Make Me Sick...from the brand new LDN CD put out by CHRW.

11. Don't Touch The Dancers....My Conscious...from the It's From London compilation 7" EP on It's Trash Records.

12. Dishrags...Death In The Family....from the Love/Hate CD on OPM Records. All girl punk combo from Vancouver from the late 70's and a request by Peter Strack.

13. Zellots...Blades...from their 1981 demos. From London Ontario but they spent some time in Vancouver when The Dishrags were active.

14. Girlschool....Take It Away...from the 1980 compilation LP, Labels Unlimited/The Second Record Collection. Really nice powerpop that predates their metal era.

15. Poison Girls....Persons Unknown....from the Total Exposure live LP from 1981. Possibly the only band that features a mother on lead vocals and her son on guitar.

16. RAMS....Beaten Up Dogs Don't Dance....from Switzerland and will be on their soon to be released LP. These guys are on the garagepunk hideout.

17. Pull My Daisy....Cadillac....also from Switzerland and this was on the cassette that came with What Wave zine #15. Features Rudi from Calypso Now cassette distribution.

18. Pull My Daisy.....AC DC....from a late 80's cassette release.

19. Teenage Head....Picture My Face...from their very first 7" and goes out to the Piper Clan who are regular listeners.

20. Marshmallow Overcoat....Groovy Little Trip....from The Very Best Of double LP that just came out recently.

21. Heather Haley....3 Blocks West Of Wonderland...demo from the former singer for The Zellots when they were based in Vancouver.


And thanx for all the phone calls, emails, facebook messages and Heys!!!! And thanx to all the crazies that tune in every week while they do the dishes and other mundane tasks!!

See ya next week when we do an all Canadian show to celebrate Canada Day on July 1.

And here's a link to the podcast:

http://chrwradio.ca/programs/radio-what-wave

The Revelators, live on the Rockin' Record Shop in 1995, KOPN/89.5 FM

John Schooley sez:

here's the time the Revelators played all Billy Childish songs onWhitney Shroyer's radio show. Recorded live to cassette, for maximum fidelity. Somebody should release this, think I like it better than Headcoats albums.

Listen here:

https://soundcloud.com/korrykeeker/the-revelators-live-on-the

I picked it up about a year ago , when it came out. The review is right on the money.

I didn't realize it was a show I already had , but I only had it on a cassette that Wax Trax in Chicago used to sell in the 80's. It is a great show , and the sound is great , so I was glad to get it on vinyl , plus the packaging is superb....The demos , I already had , too , but , it was a fine way to fill out two LPs.

I don't know that it's their best , but , I'm sure it's way up there.... Itwas a live radio broadcast , which accounts for the above - average sound.

Anyone got this yet? Thinkin' of picking it up... Here's a review from Slovenly.com:

Double-lp set of 21 songs, including an incredible 13-song live set recorded in 1979 with professional mixes for WPIX-FM NYC with full sonic assault! Probably the best Cramps live performance and recording ever, with Bryan & Ivy's guitars complimenting each other most brilliantly, Nick Knox's drumming is superb, and Lux providing great vocals and between-song banter. The version of "Human Fly" is like an a-bomb exploding in your living room! The top-quality sound on the 8 demos that complete this swank double LP have previously appeared on 1 or 2 reissues with inferior sound quality so get ready to hear them properly. Very de-LUX foldout gatefold sleeve filled with over 20 unknown photos from 1977-1979 plus 2 great interviews from early & obscure magazines. Club 57, NYC - 1979 - LIVE: 1. MYSTERY PLANE 2. DOMINO 3. TWIST AND SHOUT 4. WEEKEND ON MARS 5. VOODOO IDOL 6. ZOMBIE DANCE 7. ROCKIN’ BONES 8. HUMAN FLY 9. GARBAGEMAN 10. I WAS A TEENAGE WEREWOLF 11. SUNGLASSES AFTER DARK 12. T.V. SET 13. THE WAY I WALK. Studio demos - JUNE 1977: 14. LOVE ME 15. I WAS A TEENAGE WEREWOLF 16. SUNGLASSES AFTER DARK 17. T.V. SET 18. WHAT’S BEHIND THE MASK. Studio demos - FEBRUARY 1979: 19. TWIST and SHOUT 20. ROCKIN’ BONES 21. MAD DADDY. (Moonlight)

Hey all you Farfisa combo compact owners Can anybody help me out with a few photos? I just scored a combo compact that a mouse was living in,it went and chewed on some wires and I need help putting it back together,I have wiring diagrams I just need some photos of the main board that all the tabs are located on.If anyone could help me out that would be Awsome!!!

THE TRIP! JUNE 22ND SHOW!

Listen to this week's show here!  http://cjamlog1.cjam.ca/mp3dirnew/381-The_Trip-20140622-0000-t1403391600.mp3

The setlist: 


ALEX SPEARMAN - MAMA-KA TOKO-LAKA POO-POO 
VEECHAN MANEECHO- DANCE, DANCE, DANCE 
THE REASONS - SHIMMY SHIMMY KOKO BOP 
DAVE BARTHOLOMEW - HEY HEY 
THE STANDELLS - RIOT ON SUNSET STRIP 
THE ROOKS - BOUND TO LOSE 
THE MAKERS - I'M YOUR BIG MAN 
THE MAKERS - ALLRIGHT, ALLNIGHT, ALLRIGHT 
THE CIRCLE JERKS - PUT A LITTLE LOVE IN YOUR HEART 
THE CIRCLE JERKS - JUST LIKE ME 
THE STOOGES - NOT RIGHT 
THE HYPNOTICS - GUESS I'M FALLING IN LOVE 
JOHNNY THUNDERS & THE HEARTBREAKERS - BORN TO LOSE 
VIC GODARD - JOHNNY THUNDERS 
THE OTHER HALF - MR. PHARMACIST 
JOHNNY THUNDERS - PIPELINE 
HANGEE V - STORMY 
NEW COLONY VI- AT THE RIVER'S EDGE 
JACQUELINE TAIEB - 7:00 AM 
DORI PEYTON - RINGO BOY 
THE WOOLIES - WHO DO YOU LOVE? 
OBLIVIANS - DO THE MILKSHAKE 
THE INTERIORS - VOODOO DOLL 
OSCAR & THE MAJESTICS - I CAN'T EXPLAIN 
LORENZO HOLDEN - THE WIG 
J.L. SMITH - DID YOU DO THE MOSQUITO 
DAVE BARTHOLOMEW - SHRIMP & GUMBO 

Just a week left to go! Get those songs in!!